CLARENCE GATEMOUTH BROWN BLUES POSTER A LONG WAY HOME Mint Original 1996 Promo Only Modern Electric Texas Start Price USD 12.77 Current Price USD 12.77 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Wednesday, November 26, 2008 End Time Wednesday, December 03, 2008 Location Devil's Backbone, Texas See more about 'CLARENCE GATEMOUTH BROWN BLUES POSTER A LONG WAY HOME' Description CLARENCE "GATEMOUTH" BROWN A LONG WAY HOME Promo PosterCategory / Style / Moods: Blues * Electric Texas Blues * Texas Blues * Modern Electric Blues * Modern Electric Texas Blues * Country * Guitar * Vocals * Violin * Bass * Harmonica * Mandolin * Producer * Drums / 9.77 S  RN: 29701996 22" X 22" VERVE PROMO POSTERCLARENCE "GATEMOUTH" BROWNA LONG WAY HOMECONDITION: EXCELLENT 8 OF 10 OR BETTER(MINOR HANDLING AND EDGE DINGS IF ANY)TOUGH TO FIND PROMOTIONAL ONLYClick the pix to get a better look TRACKS:   1.  Blues Power Clapton, Russell 3:42 2.  Somebody Else Brown 7:06 3.  Dockside Boogie Brown 5:39 4.  I'll Be There (If You Ever Want Me) Gabbard, Price 4:43 5.  Here I Go Again Charles 4:32 6.  Deep, Deep Water Brown 3:07 7.  The Blues Walk Brown 3:24 8.  Mean and Evil Russell 3:09 9.  Underhand Boogie Brown 2:25 10.  Don't Think Twice, It's All Right Dylan 4:49 11.  Tobacco Road Loudermilk 2:54 12.  Don't Cry Sister Cale 4:15 13.  Long Way Home Brown 5:39  Biography by Bill Dahl Whatever you do, don't refer to multi-instrumentalist Clarence "Gatemouth" Brown as a bluesman, although his imprimatur on the development of Texas blues is enormous. You're liable to get him riled. If you must pigeonhole the legend, just call him an eclectic Texas musical master whose interests encompass virtually every roots genre imaginable. Brown learned the value of versatility while growing up in Orange, TX. His dad was a locally popular musician who specialized in country, Cajun, and bluegrass -- but not blues. Later, Gate was entranced by the big bands of Count Basie, Lionel Hampton, and Duke Ellington (a torrid arrangement of "Take the 'A' Train" remains a centerpiece of Brown's repertoire). Tagged with the "Gatemouth" handle by a high school instructor who accused Brown of having a "voice like a gate," Brown has used it to his advantage throughout his illustrious career. (His guitar-wielding brother, James "Widemouth" Brown, recorded "Boogie Woogie Nighthawk" for Jax in 1951.) In 1947, Gate's impromptu fill-in for an ailing T-Bone Walker at Houston entrepreneur Don Robey's Bronze Peacock nightclub convinced Robey to assume control of Brown's career. After two singles for Aladdin stiffed, Robey inaugurated his own Peacock label in 1949 to showcase Brown's blistering riffs, which proved influential to a legion of Houston string-benders (Albert Collins, Johnny Copeland, Johnny "Guitar" Watson, Cal Green, and many more have pledged allegiance to Brown's riffs). Peacock and its sister label Duke prospered through the '50s and '60s. Gate stayed with Peacock through 1960. The R&B charts didn't reflect Brown's importance (he hit only once nationwide with 1949's two-sided smash "Mary Is Fine"/"My Time Is Expensive"). But his blazing instrumentals ("Boogie Uproar," "Gate Walks to Board," 1954's seminal "Okie Dokie Stomp"), horn-enriched rockers ("She Walked Right In," "Rock My Blues Away"), and lowdown Lone Star blues ("Dirty Work at the Crossroads") are a major component of the rich Texas postwar blues legacy. Brown broke new ground often -- even in the '50s, he insisted on sawing his fiddle at live performances, although Robey wasn't interested in capturing Gate's violin talent until "Just Before Dawn" (his final Peacock platter in 1959). The '60s weren't all that kind to Brown. His cover of Little Jimmy Dickens' country novelty "May the Bird of Paradise Fly Up Your Nose" for tiny Hermitage Records made a little noise in 1965 (and presaged things to come stylistically). But the decade was chiefly memorable for Brown's 1966 stint as house bandleader for The!!!!Beat, a groundbreaking syndicated R&B television program out of Dallas hosted by WLAC DJ Bill "Hoss" Allen. When Gate began to rebuild his career in the '70s, he was determined to do things his way. Country, jazz, even calypso now played a prominent role in his concerts; he became as likely to launch into an old-time fiddle hoedown as a swinging guitar blues. He turned up on Hee Haw with pickin' and grinnin' pal Roy Clark after they cut a sizzling 1979 duet album for MCA, Makin' Music. Acclaimed discs for Rounder, Alligator, Verve, and Blue Thumb in the '80s, '90s, and 2000s have proven that Gatemouth Brown is a steadfastly unclassifiable American original. Gatemouth Brown passed away on September 10, 2005 in Orange, TX. Review by Bill Dahl One of the few lousy recordings of this determinedly eclectic multi-instrumentalist's lengthy career. He's stuck going the superstar cameo route a la John Lee Hooker (there's less Gate on this disc than on any other Gate set), welcoming Eric Clapton aboard for some amazingly generic guitar solos; vocally duetting with frog-voiced Leon Russell and chirpy Maria Muldaur, and backing Loudermilk as he sings his own composition "Tobacco Road" (where's Lou Rawls when you need him?). A handful of acoustic numbers add depth, but there's not much here at all that's likely to satisfy Gate's legion of blues fans. This exquisite slice of retro Rock'n'Roll Americana history is an original first and only print single sheet paper promotional advertisement (A.K.A. handbill or flyer) for a music recording as released on CD, LP and/or cassette. A Sound Deal does not sell poster re-prints, scans or duplications of any kind, so please don't ask. Add me to your favorites for red hot sales bulletins and sneak previews of upcoming auctions. Combine Items to Save $$$!!! 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