BIOGRAPHY AND DISCOGRAPHY

Though he attained musical immortality through his songwriting and producing skills that brought hits to scores of New Orleans artists throughout the 1950’s, Dave Bartholomew’s own recording career was hardly an incidental sideline. His creative ideas first found an outlet with his own releases starting at the dawn of rock in 1947 and even after assuming the mantle of Imperial Records top producer in late 1949 he enjoyed a decade of solid releases under his own name, despite the fact they gradually took a back seat commercially to the work he oversaw for others.

Born in 1918 in Edgard, Louisiana, Dave Bartholomew was taught the trumpet by Peter Davis, the same man who’d instructed Louis Armstrong, and by his teens Bartholomew was playing professionally. Soon after being offered the chance to join Jimmie Lunceford’s nationally renown swing band he was drafted into the Army in World War Two which changed his musical direction. Serving his hitch as a musician he was taught composing and arranging skills by a fellow serviceman and upon his discharge he put together a band of future notables in New Orleans with the intent on playing Dixieland jazz.

Finding the musical winds had shifted in his absence Bartholomew gravitated towards the growing commercial sounds when local hero Roy Brown introduced rock ‘n’ roll in mid-1947 Bartholomew was quickly snatched up by the same label, DeLuxe, and recorded his first sides in a hybrid style. Though their failure commercially resulted in no new sessions for over a year he gained a reputation as the leader of the premier band in the city. Upon his re-emergence on record in 1949 his streamlined sound became the cornerstone of the New Orleans rock movement.

Recording for King Records even as he was employed as a producer by Imperial, Bartholomew’s records were strong local sellers though with one national hit to show for it. His songwriting, arranging and production skills were evident throughout and were abetted by his adventurish trumpet playing and unique and engaging vocals. By the early to mid-1950’s his own recording career was secondary to his other more lucrative pursuits, but he remained a creative force whenever he stepped into the spotlight as an artist.

By the mid-1960’s Bartholomew effectively retired both as a producer and a recording artist, choosing instead to pursue his first love Dixieland jazz in live gigs, as well as frequently touring as lead trumpeter with Fats Domino, whom he propelled to stardom, overseeing his studio output from 1949-1963.

Though Bartholomew was elected to Songwriters Hall Of Fame, and the Rock ‘n’ Roll Hall Of Fame as a Non-Performer for his production work, his own records state the case that his lengthy career as a featured artist in his own right was of nearly equal merit. Sharp as ever into his golden years, Bartholomew passed away at the age of 100, one of the final links to rock’s birth and meteoric rise for which he was largely responsible.
 
 

DAVE BARTHOLOMEW DISCOGRAPHY (Reviews To Date On Spontaneous Lunacy):
 
SHE’S GOT GREAT BIG EYES
(DeLuxe 1104; November, 1947)
A glorified jam session and a somewhat crude one at that, though Bartholomew shows he already grasped the importance of never letting up on the pedal. (3)

DAVE’S BOOGIE WOOGIE
(DeLuxe 1115; December, 1947)
Hardly aiming high it shows competent playing and reasonably good ideas, it’s also messy and unrefined, two words you’d never associate with Bartholomew. (2)

NEW ORLEANS LOVER MAN
(DeLuxe 3213; April, 1949)
As sideman… behind Chubby Newsom

CLOSE TO TRAIN TIME
DeLuxe 3213; April, 1949)
As sideman… behind Chubby Newsom

GIRT TOWN
(DeLuxe 3217; April, 1949)
A breakthrough of sorts for Bartholomew as both an artist and producer, wherein he constructs a more commercial sound after a long sabbatical from recording, crafting this with a more streamlined approach topped by his own unique but charming vocals. (5)

COUNTRY BOY
(DeLuxe 3223; June, 1949)
A strong story delivered with plenty of wit and pride to connect it with a likeminded audience in which Bartholomew solves the conundrum of how to feature the trumpet as a soloing instrument gave him his only national hit record as an artist and one that was well-deserved. (8)

MR. FOOL
(DeLuxe 3223; June, 1949)
Sort of an alternate universe version of the top side with the same basic plot and melody but with a milder arrangement lacking in rhythm and featuring the worst aspects of the trumpet, showing how just a few changes launched Bartholomew’s hitmaking career. (3)

CARNIVAL DAY
(Imperial 5064; February, 1950)
Not all it could be despite a vivid topic, interesting construction and a natural connection to make for Bartholomew, as nothing seems to mesh in the backing track while the lyrics aren’t descriptive enough to fully set the scene… a good idea that needed tightening up. (4)

THAT’S HOW YOU GOT KILLED BEFORE
(Imperial 5064; February, 1950)
A clever narrative highlighting Bartholomew’s naturally quirky vocal style with some really strong lyrics and subtle humor in the arrangement, it might not be too commercial sounding but the band really cooks while Dave gets to show off the full scope of his creative instincts. (8)

AIN’T GONNA DO IT
(Imperial 5069; April, 1950)
A song Bartholomew would return to many times with other acts and you can see why he believed it in so much with its tight story, catchy melody and strong rhythm, but you can also see why this fell short as he overemphasizes the latter at the expense of the former. (5)

COUNTRY BOY GOES HOME
(Imperial 5069; April, 1950)
Though he’s muscled up the musical arrangement for this saga since the prequel a year ago, nothing else has been improved – it’s using the same vocal structure and features a weaker story so while this may sound slightly better it’s a lesser record due to the context. (6)

MESSY BESSIE
(Imperial 5089; August, 1950)
Despite some charm and an odd musical allure it doesn’t seem as if much thought or time went into this one as the lyrics give the impression of being tossed off rather quickly and Bartholomew’s delivery is self-conscious and awkward at times. (4)

FRANTIC CHICK
(Imperial 5089; August, 1950)
A misleading title is the least of this record’s problems as this decidedly non-frantic jazzy instrumental has no hook, no singular vision and no compelling playing as everyone involved seems to be half-heartedly going through the motions. (2)

GOING TO CHOW
(Imperial 5096; September, 1950)
Rather lackluster instrumental, fairly well played but not really suited for rock’s more aggressive needs as Bartholomew’s trumpet doesn’t lock you in while the rest of the band only contributes in small ways making the title the only point of mild interest here. (3)

AH CUBANAS
(Imperial 5096; September, 1950)
A more interesting and slightly more ambitious idea but one that is almost too far outside rock’s usual boundaries to be appreciated in this context which combined with potentially troubling stereotypes make this more of a curiosity despite its quirkiness. (3)

TRA-LA-LA
(Decca 48216; June, 1951)
A solid arrangement with some really discreet touches highlight this song which takes its framework from Bartholomew’s work on “The Fat Man”, adjusted to compensate for Tommy Ridgley’s more strident vocals resulting in a modest hit. (6)

ANYTHING BUT LOVE
(Decca 48226; July, 1951)
Though uncredited on the label other than as songwriter, Bartholomew produces and leads the band through his own standout arrangement which came from the same session with the same singer as the last release that came out under his own name. (6)

ONCE IN A LIFETIME
(Decca 48226; July, 1951)
A throwaway track for the most part, competently done as usual, but without much ambition as Bartholomew leans towards a classier sound with the horns on a song that is far too confusing and unfocused to pay much attention to otherwise. (3)

SWEET HOME BLUES
(King 4482; October, 1951)
A curious start to his King tenure as this finds Bartholomew not playing with his own band, but rather being backed by Todd Rhodes who oversees the arrangement on a loose adaption of a standard from the 1800’s, fairly competent but artistically indistinct. (4)

TWINS
(King 4482; October, 1951)
A surprisingly rocking trumpet-led instrumental which features excellent playing from both Bartholomew and Todd Rhodes’ band in support on a tight, multi-faceted arrangement that never lets up making this perfect, if unlikely, for getting down. (6)

IN THE ALLEY
(King 4508; February, 1952)
A quirky shouted vocal is a little disorienting but the overall spirit shown in commendable in this ode to casual drunkenness and if Todd Rhodes’ band isn’t quite complex enough to boost the track, their playing doesn’t detract from it either. (6)

I’LL NEVER BE THE SAME
(King 4508; February, 1952)
The presence of some strong blues elements, particularly John Faire’s prominent guitar, throws off the song in a way since Bartholomew’s vocal delivery counters that image and makes this too much of a hybrid song rather than a well-focused production with a clear vision. (3)

LAWDY LAWDY LARD
(King 4523; March, 1952)
Two-part record with rather perfunctory vocals by Tommy Ridgley which set the scene for what is really an extended mid-tempo dance groove, well played as you’d expect but hardly seeking to dazzle you in the process. (5)

MY DING-A-LING
(King 4544; June, 1952)
Though it’s just a childish novelty based on two interpretations of the title phrase and its potentially naughty implications, Bartholomew sells this well with a faux innocent vocal and a catchy sing-songy melody to convey the right lighthearted mood. (6)

BAD HABIT
(King 4544; June, 1952)
A straightforward song with a good premise that is undersold by Bartholomew’s self-conscious vocals and the seemingly random observations contradicting each other, but it’s redeemed by the tight band playing a reliably catchy pattern that never feels stale. (5)

MOTHER KNOWS BEST
(King 4559; September, 1952)
Essentially a re-worked idea from his earlier hit for Jewel King, the song here is mostly well done but the failure to change the age of the narrator undercuts what might’ve been a more compelling point to make in the story itself. (5)

THE GOLDEN RULE
(King 4559; September, 1952)
A sneaky good record with a very good story, some great lines and an engaging delivery by Bartholomew’s cracked voice, while Todd Rhodes’ band carries out their parts with tight efficiency with guitar and saxes each getting a chance to shine. (8)

BOUNCIN’ THE BOOGIE
(Specialty 444; November, 1952)
As The Royal Kings… With his crack studio band finally getting their own record to show off their wares, Bartholomew doesn’t let them down, giving them a powerful two minute explosion of sounds that work together beautifully and lets each member get their due. (8)

TEACHIN’ AND PREACHIN’
(Specialty 444; November, 1952)
As The Royal Kings… A perfect summation of the New Orleans rock sound of the 1950’s, with elements of Bartholomew’s past glories all blended together and served up by the decade’s best band in an understated manner. (7)

WHO DRANK MY BEER WHILE I WAS IN THE REAR
(Imperial 5210; November, 1952)
The most amazing thing about this is that it was a cover of a recent country tune, not an original, even though it seems to perfectly reflect the quirky humor and personality of Bartholomew who adds immeasurably to the song with his haughty delivery. (9)

LITTLE GIRL SING DING-A-LING
(Imperial 5210; November, 1952)
A pointless remake of a song not yet a year old which was done more for mercenary reasons – by the label or Dave himself – than artistic ones, on top of which this version needlessly alters the precise delivery which helped put the other across so well. (3)

HIGH FLYING WOMAN
(King 4585; December, 1952)
Though he wrote a fairly decent song here about haunted romantic regret, Dave’s the wrong guy to sing this as he can’t deliver the sincere pathos necessary to connect, while Todd Rhodes’ band plays it straight behind him. (4)