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Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. JOE TURNER the very best of, live 18. SHIRLEY & LEE let the good times roll 20. FATS DOMINO swings 12. PHILLIP WALKER blues 10. BOB KIRKPATRICK feeling the blues 35. LITTLE RICHARD the little richard story 10. JUNIOR WELLS on tap 35. HUTTO hawk squat 30. HUTTO slidewinder 60. TARHEEL SLIM & LITTLE ANN wildcat tamer 25. BUDDY JOHNSON wails 60. Genre: Blues Album: Double Live At The Cowboy Bar Country: US Released: 1978 MP3 version RAR size: 1694 mb FLAC version RAR size: 1480 mb WMA version RAR size: 1771 mb Rating: 4. 9 Votes: 287 Other Formats: XM VOX ASF AAC RA MP1 AUD. A1 Boil Them Cabbage Down. A2 Up Jumped The Devil. A3 The Girl I Left Behind Me. A4 When My Blue Moon Turns To Gold Again 2:56. A5 Georgettw Blanc. B1 Jackson Hole Cowboy. B2 Golden Slipper. Clarence Gatemouth Brown, an eminent guitarist and singer who spent his career fighting purism by synthesizing old blues, country, jazz, Cajun and R&B styles, died on Saturday. He was 81. His death was confirmed by Rick Cady, his booking agent, who said Mr. Brown had suffered from lung cancer and heart disease. Walker, one of the few guitarists he admitted liking, was ill with an ulcer and left the stage in mid set at the Bronze Peacock club in Houston. Brown walked onstage, picked up Walker's guitar and made up a song on the spot he called Gatemouth Boogie. He earned 600 in tips in 15 minutes, he claimed. 'Gatemouth' Brown's Blues Voice Goes Quiet. We remember Clarence "Gatemouth" Brown, the singer and guitarist who died Saturday in his hometown of Orange, Texas. He had gone there to escape Hurricane Katrina. He was 81. Brown, who had been battling lung cancer and heart disease, was in ill health for the past year, said Rick Cady, his booking agent. Cady said the musician was with his family at his brother's house when he died. Brown's home in Slidell, La., a bedroom community of New Orleans, was destroyed by Katrina, Cady said. Clarence "Gatemouth" Brown Credit: Michael Wilson hide caption. ROBERT SIEGEL, host: Among the evacuees who left the New Orleans area before Hurricane Katrina struck was Clarence "Gatemouth" Brown. The 81-year-old eclectic singer and guitarist escaped the storm, but he died this weekend. He had heart disease and emphysema and had been fighting lung cancer for the past year. Here's his signature instrumental, "Okie Dokie Stomp." (Soundbite of "Okie Dokie Stomp") MELISSA BLOCK, host: That's Clarence "Gatemouth" Brown's "Okie Dokie Stomp" recorded in 1954. Brown made more than 30 albums and won a Grammy in 1982. He not only played all kinds of music, from jazz to country to blues to Cajun; he also played many instruments, guitar, fiddle and drums among them. SIEGEL: Gatemouth Brown was born in Vinton, Louisiana, and grew up in Orange, Texas. His musical dexterity and wide taste in style came in part from his surroundings as a child. His father worked for the railroad but sang and played fiddle in a Cajun band. Brown often said his father was his greatest musical influence. Mr. CLARENCE "GATEMOUTH" BROWN (Singer/Guitarist): See, I started out on guitar at first, strumming behind my dad whilst he was playing fiddle on the weekends. It would release tension, I suppose. They would have what they called a house party. There wasn't no clubs. And my dad and them used to play. Him and my uncles and all of them started playing, and I'd grab a guitar 'cause I always want to play, and I did that for five years. And the next thing you know I was picking up his fiddle, trying to saw on that. And I kept on it. It didn't sound too good, but I kept on till I learned how to play the fiddle. (Soundbite of music) Mr. BROWN: I got my first break back in 1947 when T-Bone Walker was playing at the Bronze Peacock in Houston. (Soundbite of music) Mr. BROWN: He got sick, a stomach problem or something. When he went to the bathroom, I picked up the guitar and invented a tune--I can't say I wrote it, but I invented it and wrote around it--called "Gatemouth Boogie." And the words were just coming out of nowhere. I said, `My name is Gatemouth Brown. I just got in your town.' (Soundbite of "Gatemouth Boogie") Mr. BROWN: (Singing) My name is Gatemouth Brown. I just got in your town. You don't like my style, I will not hang around. BLOCK: On stage the man known as Gate often wore black, pointy boots, a studded Western shirt with a flowered yoke and a dark, feathered cowboy hat. And if he wasn't singing, he'd smoke a pipe. SIEGEL: In his 50-year career, Brown recorded with Eric Clapton, Ry Cooder, Bonnie Raitt and others. Clarence "Gatemouth" Brown died Saturday in the town where he grew up, Orange, Texas, at the age of 81. (Soundbite of song) Mr. BROWN: (Singing) . I return to be with you. Till then, darlin', be true. I'm praying to the God above that he'll please take care, take care of her, my love. Oh, baby, I hate, hate to leave you now, but, darlin', don't forget your vows. So long, so long for now . (unintelligible). (Soundbite of cheering and applause) BLOCK: You're listening to ALL THINGS CONSIDERED from NPR News. Copyright © 2005 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information. NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record. The Band. Since its beginnings in the late 1990s, the Hot Club of Cowtown’s star has continued to rise as its reputation for jaw-dropping virtuosity and unforgettable live shows has become the band’s global brand. Lauded for its “down-home melodies and exuberant improvisation” ( The Times, London), the Hot Club has always woven a combination of seemingly disparate styles together to its own magical effect, setting up camp “at that crossroads where country meets jazz and chases the blues away” ( The Independent ), remaining “conscious always that above all else, the music is for dancing and an old-fashioned good time” ( New York Times ). The band’s musical alchemy has been described as “another breathless journey in the Texas tardis” ( The Times, London), while American Songwriter observed that “the excellent three players of this band could be doing anything but have chosen to honor the greats of jazz and swing with their sound.” The Belfast Telegraph calls the Hot Club of Cowtown “a pretty much perfect country trio at the very top of their game,” and the New York Times , in a live review the trio as armed with “an arsenal full of technique and joy.” The Hot Club of Cowtown has toured extensively worldwide for over twenty years, both on its own and with with artists including Bob Dylan, Willie Nelson, Gatemouth Brown, the Avett Brothers, Dan Hicks, Bryan Ferry, Roxy Music, the Squirrell Nut Zippers, the Mavericks, the Dustbowl Revival, and others. Festivals/career highlights include the Women in Jazz series (part of Jazz at Lincoln Center), the Cambridge Folk Festival (UK), the Glastonbury Festival (UK), the Fuji Rock Festival (Japan), Byron Bay Blues & Roots Festival (AU), the National Folk Festival (US and AU), the Stagecoach Festival, the Winnipeg Folk Festival (CA), Waiting for Waits Festival (SP), the grand opening of the Country Music Hall of Fame and Museum in Nashville, Tennessee, The Barns at Wolf Trap, the Rochester Jazz Festival, the Strawberry Festival, the Hardly Strictly Bluegrass Festival, traveling as US State Department Musical Ambassadors to Azerbaijan, Armenia, Algeria, the Republic of Georgia, and the Sultanate of Oman, and being inducted into the Texas Western Swing Hall of Fame. EARLY YEARS & DISCOGRAPHY. In 1994 in New York City, Elana James placed an ad in the music section of the Village Voice looking to join a band, and Whit Smith answered it. Since then the music these two have made has always been a secret brew of energy, joie de vivre, and a respect for tradition that is often imitated but never equaled. By 1997, after founding a much larger Western swing orchestra in NYC, Elana and Whit pared back down to their essential elements and the duo that began as “Whit & Elana” grew — with the addition of a bass player and a lot of optimism and naïveté — into Hot Club of Cowtown. The trio moved to Austin, Texas, and released its first album, Swingin’ Stampede, in 1998 after signing with American roots label HighTone Records. Tall Tales (1999) and Dev’lish Mary (2000) soon followed, but it wasn’t until 2001 that the band’s lineup solidified with the arrival of bassist Jake Erwin, who cemented Hot Club’s larger-than-life, earth-shaking rhythmic foundation. Ghost Train (2002) first showcased the band’s shift toward original songwriting and Continental Stomp (2003) is a live album recorded in the Hot Club of Cowtown’s natural habitat and joyful home base, the Continental Club in Austin, Texas. In 2008 American label Shout Factory released a 20-track Best of the Hot Club of Cowtown retrospective, followed by Wishful Thinking (2009). In 2011 the band released the first of a three-part series of albums dedicated exclusively to its roots: What Makes Bob Holler arrived in 2011 with Western swing standards made famous by Bob Wills and his Texas Playboys; Rendezvous in Rhythm was released in 2013, a collection of American Songbook standards and Gypsy-influenced hot jazz in the style of Django Reinhardt and Stephane Grappelli; and in 2016 Midnight on the trail, re-imagined cowboy ballads, traditional Western swing, and songs by Gene Autry, Cindy Walker, Johnny Mercer, Bob Wills, Tommy Duncan, and others, was released in 2016. To celebrate its 20th anniversary in 2017 the Hot Club of Cowtown re-released Western Clambake which was previously available only as a cassette that the band created in 1997 to sell while busking in San Diego’s farmers markets and at Balboa Park. Crossing the Great Divide (2019) is the band’s latest recording, a seven-song EP of songs by Robbie Robertson, Bob Dylan and The Band to celebrate the 50th anniversary of The Band’s first two albums, Music from Big Pink and The Band. The Hot Club of Cowtown’s latest studio album, Wild Kingdom, a collection of all new songs–eleven originals and three hand-picked standards–was released worldwide in September 2019. AWARDS & HONORS. Ameripolitan Music Awards, winner, Western Swing Group of the Year (2015) Ameripolitan Music Awards, winner, (Elana James) Western Swing Female of the Year (2015) Texas Western Swing Hall of Fame (Inducted in 2004) Western Music Association’s Crescendo Award (2002) True West Magazine’s Best of the West Awards, Best Music Group Best Music Group (2012) Village Voice’s Pazz & Jop Poll (2012) Ameripolitan Music Awards, nominated, Western Swing Group of the Year (2014) Ameripolitan Music Awards, (Elana James) nominated, Western Swing Female of the Year (2014) Roots Music Reports names “What Makes Bob Holler” a worldwide Top 20 Roots Country Album (2011) ALBUMS. WILD KINGDOM (Gold Strike) 2019, Produced by the Hot Club of Cowtown (Orchard) CROSSING THE GREAT DIVIDE (Gold Strike) 2019 7-song EP of songs by The Band WESTERN CLAMBAKE (Gold Strike) 1997 & 2017, 20th anniversary re-issue CD MIDNIGHT ON THE TRAIL (Gold Strike) 2016, Produced by the Hot Club of Cowtown RENDEZVOUS IN RHYTHM (Gold Strike) 2013, Produced by Lloyd Maines WHAT MAKES BOB HOLLER (Proper) 2011, Produced by the Hot Club of Cowtown WISHFUL THINKING (Gold Strike) 2009, Produced by Hot Club of Cowtown & Mark Hallman THE BEST OF THE HOT CLUB OF COWTOWN (Shout!Factory) 2008 FOUR DEAD BATTERIES SOUNDTRACK (HighTone) 2005 CONTINENTAL STOMP (HighTone) 2003, Produced by Lloyd Maines GHOST TRAIN (HighTone) 2002, Produced by Gurf Morlix HOT JAZZ (Buffalo) 2002 (Japan only) HOT WESTERN (Buffalo) 2002 (Japan only) DEV’LISH MARY (HighTone) 2000, Produced by Lloyd Maines TALL TALES (HighTone) 1999, Produced by Dave Stuckey SWINGIN’ STAMPEDE (HighTone) 1998, Produced by the Hot Club of Cowtown. TELEVISION & FILM. Later With Jools Holland and the Jools Holland New Year’s Eve Hootenanny (UK), $40 a Day with Rachael Ray (US), the Grand Ol’ Opry Live (US), Good Morning Azerbaijan (AZ), BBC Live From Glastonbury broadcast (UK), Larry’s Country Diner (US), and the Texas Music Cafe. Songs in film and on soundtracks: Four Dead Batteries, In Search of a Midnight Kiss. RADIO. Mountain Stage, Etown, World Cafe, A Prairie Home Companion, All Things Considered, FOX News Radio, Morning Edition, Sirius Satellite, XM Satellite, ABC live (Australia), BBC live (UK) PERFORMANCE HIGHLIGHTS. Midsummer Night’s Swing at Lincoln Center, Cambridge Folk Festival, Glastonbury Festival, Fuji Rock Festival, Byron Bay Blues and Roots Festival, National Folk Festival (US and AU), Stagecoach Festival, Winnipeg Folk Festival, Waiting for Waits Festival (SP), Country Music Hall of Fame, Nashville, TN, Barns at Wolftrap, Rochester Jazz Festival, Strawberry Festival, Jazz at Lincon Center, US State Department Musical Ambassadors to Azerbaijan, Armenia, Georgia, and Oman, Texas Western Swing Hall of Fame (inducted 2004), tours with Bob Dylan, Willie Nelson, the Mavericks, Roxy Music, the Avett Brothers, Bryan Ferry, Gatenouth Brown, the Squirrel Nut Zippers. QUOTES. “This trio’s stylistic genesis–as well as title–stems from the realization that the great heritage of strings (guitars and violins) originates mutually with the Manouche gypsies of France and the no-less virtuosic hillbilly pickers and fiddlers of Oklahoma and Texas….Together for over 15 years and a dozen albums, the threesome of high-heeled violinist Elana James, guitarist Whit Smith and bassist Jake Erwin showed from the beginning that jazz and country music could exist together on the same page, a highly commendable achievement if ever there was one.” -Will Friedwald, Wall Street Journal. “The timing, swing, and the chemistry of these three virtuoso musicians…is a joy to behold” – Guitarist. “[Elana’s voice] just flows with 1930s wonderment, it has an underlying sexiness that draws the listeners in until each and every one is caught in her musical spell…” -David Knowles, Maverick Magazine. “The hot jazz is what Hot Club do best, and this is a …band I once said I could listen to forever. That still stands.” -Duncan Warwick, Country Music People. “Unfussy and unpretentious, their blend of down-home melodies and exuberant improvisation harks back to a lost era of so-called western swing. When they plunge into Orange Blossom Special your thoughts turn not so much to runaway trains as to a B-52 tearing up a runway.” -Clive Davis, The Times (London) “One of the finest performances by a visiting American country act I’ve witnessed for a very long time… they pretty much lifted the roof [off of the Black Box in Belfast] a couple of months back…a pretty much perfect country trio at the very top of their game.” -Ralph McLean, The Belfast Telegraph. “Perhaps the first thing one notices when listening to the Hot Club of Cowtown is its lack of irony, self-consciousness and forced hipness in embracing a style of music that so easily lends itself to such things…Stylistically, the band steps out from the shadow of its influences to become more than a faithful retro band that likes to raise its tempo every now and then. It’s writing more of its own songs and varying its delivery… conscious always that above all else, the music is for dancing and an old-fashioned good time.” -Neil Strauss, New York Times. “…Spirit, originality and skill that would surely have impressed Stephane Grappelli and Django Reinhardt back in the 1930s.” -Robin Denselow, the Guardian (London) “Cynics could say that they play hick-jumping with jazz sophistication, or jazz sweetness with hoedown grit. Either way, they scoop off the best parts of both styles, and are a supremely entertaining combo.” -Martin Longley, Coventry Telegraph (UK) “This Austin-based western swing/jazz trio–violin, guitar and upright bass –will bring even the tamest audience to its feet. Plus, instrument aficionados will drool over the 1925 Gibson acoustic, 1937 Gibson amp and all the other classic gear that helps to keep Cowtown hot and hoppin’.” – Chicago Tribune. “Would that any night of hot jazz and western swing could be as satisfyingly entertaining as this minimally outfitted (there are but three of them) party band par excellence. -Bernard Zuel, Sydney Morning Herald (Australia) “Austin trio Hot Club Of Cowtown sounds like it’s spent the last 40 years in tiny rural clubs. The group’s old-fashioned mixture of Western swing and hot jazz leaves all the irony at home, and what’s left is a refreshingly sweet-natured, accomplished, old-school treat, mixing the perky rhythms of swing masters like Bob Wills with the European gypsy music of Django Reinhardt and Stephane Grappelli.” – The Onion. “The young band distinguishes itself by its technical musicianship and vast acreage of diverse styles alone, but it seals the deal on stage, subtly and methodically casting aside the audience’s daily worries and levitating the room into a dreamy salon of carefree abandon. Even the heartbreak songs are served sunny-side up.” -Derek Raymaker, Toronto Globe & Mail. “I doubt that many rock bands expend more energy in their playing, but what I admire most here is the unified point of view: a nostalgic love of western swing, big-band crooning, ragtime, even jazz improvisation.” -Marc Mickelson, Soundstage.com. “Smith’s fretwork conjures up Reinhardt’s energetic stint with Duke Ellington, while [James] exudes pure countrified fiddle goodness.” -David Lynch, Austin Chronicle. “Working in such tradition, the Hot Club of Cowtown can burn, playing fast and furious driving rhythms at break-neck pace, and the wild abandon of Whit’s fleet-fingered solos improvised over dangerous changes can leave a listener slack-jawed and winded.” -Baker Rorick, Guitar Magazine. “Their sly mix of hot licks and cool vocals remains equally driven by the twang of Texas roadhouses as the gypsy string jazz of Reinhardt and Grappelli.” -Eli Messenger, Country Standard Time. “…Infusing classic pop and jazz tunes with plenty of string-band verve.” -Mike Joyce, Washington Post. “If rosin were flammable, violinist Elana [James] would be charged with arson.” – ink19.com. “While its repertoire and style draw from classic western swing and hot violin/guitar jazz of the Parisian 1930s and ’40s, it’s one of the most original groups on the Americana circuit, deserving of attention both live and on record.” -Craig Havighurst, Nashville Tennessean. When the cowboy sings album download gatemouth brown. Oak Ridge Boys - Elvira (lun, 08 mar 2021) Song written by Dallas Frazier, realesed in December 1965 . But the most successful version was recorded by The Oak Ridge Boys, for MCA in 1981, it reached number one on the US country charts on May 30, 1981 , also arrived at number one of the Canadian country lists. The album was certified double platinum by the RIAA. Elvira: Song written by Dallas Frazier, realesed in December 1965, for Capitol seal, with the production of Marvin Hughes, arrived at the position 72 of lists US Billboard Hot 100. The song was included on the album, Elvira (Capitol 1966). But the most successful version was recorded by The Oak Ridge Boys, for MCA in 1981, it reached number one on the US country charts on May 30, 1981 , also arrived at number one of the Canadian country lists. The song was included on the album, Fancy Free (Capitol 1981). The album was certified double platinum by the RIAA. Ray Baker, who worked on this song, tells that he met Dallas Frazier in a small brewery called The High Hat in Madison, Tennessee. Dallas was a handsome young boy who had just moved from California and worked for Ferlin Husky at a gas station it was owned by Ferlin. They made friends immediately, one day leaving the brewery, Ray and Dallas driving through East Nashville, almost passed a red light at the intersection of Gallatin Road (a main road) and a side street called Elvira Street. They stopped in time and while they were sitting drinking beer and having a good time, Dallas looked up and noticed the street sign. Immediately he began to sing the chorus of what would become the song Elvira. Versions: Dallas Frazier 1965 (Capitol) Baby Ray 1967 (Imperial Records) Kenny Rogers & The first edition 1970 (Reprise Records) Rodney Crowell 1978 (Warner Bros) Ronnie Hawkins 1979 (United Artists Records) Obie McClinton 1980 (Sunbird Records) The Oak Ridge Boys 1981 (MCA) Ka’au Crater Boys 1998 (Roy Sakuma Productions) Miquel Batlle Garriga [email protected] The Oak Ridge Boys – Elvira lyrics [Chorus] Elvira, Elvira My heart’s on fire, for Elvira [Verse 1] Eyes that look like heaven, lips like cherry wine That girl can sure enough make my little light shine I get a funny feeling, up and down my spine Cause I know that my Elvira’s mine So I’m singin’ [Chorus] Elvira, Elvira My heart’s on fire, for Elvira [Bridge] Giddy up, oom poppa, omm poppa, mow mow Giddy up, oom poppa, omm poppa, mow mow, heigh-ho Silver, away [Verse 2] Tonight I’m gonna meet her, at the Hungry House Cafe And I’m gonna give her all the love I can, yes I am She’s gonna jump and holler, cause I’ve saved up my last two dollars We’re gonna search and find that preacher man And I’m singin’ [Chorus] Elvira, Elvira My heart’s on fire, for Elvira [Bridge] Giddy up, oom poppa, omm poppa, mow mow Giddy up, oom poppa, omm poppa, mow mow, heigh-ho Silver, away [Chorus] Elvira, Elvira My heart’s on fire, for Elvira [Bridge] Giddy up, oom poppa, omm poppa, mow mow Giddy up, oom poppa, omm poppa, mow mow, heigh-ho Silver, away [Chorus] Elvira, Elvira My heart’s on fire, for Elvira [Bridge] Giddy up, oom poppa, omm poppa, mow mow Giddy up, oom poppa, omm poppa, mow mow, heigh-ho Silver, away [Chorus] Elvira, Elvira My heart’s on fire, for Elvira. Western Music Time (06 - 10 Jan 2021) (Mon, 11 Jan 2021) Stampede – Roy Rogers End title to The Big Stampede (early John Wayne film) – Studio Orch. When the Moon Comes Over Sun Valley – Sons of the Pioneers The Search for Gold El Dorado – George Alexander & the Mellomen Wanderers of the Wasteland – Sons of the Pioneers Dutchman’s Gold – The Reinsmen Sunbonnet Sue – Fort Worth Doughboys Sundown on the Prairie – Tex Ritter Rowdy – Clint Eastwood Remembering The Alamo The Alamo - Marty Robbins Overture - soundtrack Main Title/Legend of the Alamo Santa Ana The Last Roundup – The Ames Brothers Amapola - Gene Autry Cielito Lindo – Robert Delgado Free with Love - Soundtrack from Hopalong Cassidy's: The Eagle’s Brood (1935) Rex Allen Sings Smiley Burnette compositions Ridin’ All Day – Rex Allen Hold on Little Dogie, Hold On – Rex Allen It’s My Lazy Day - Rex Allen and Don Edwards Ridin’ Down the Canyon – Rex Allen. George Strait - Ocean Front Property (Tue, 22 Dec 2020) Ocean Front Property George Strait performs "Ocean Front Property" Live Video. "Ocean Front Property" is a song written by Dean Dillon, Hank Cochran and Royce Porter, and recorded by American country music artist George Strait. It was released in December 1986 as the lead-off single and title track from his album of the same name. It was a number-one hit in both the United States and Canada.On the 45 record single, "My Heart Won't Wander Very Far From You" is the B-side. WIKIPEDIA George Strait Ocean Front Property Lyrics If you leave me, I won't miss you, And I won't ever take you back. Girl, your mem'ry won't ever haunt me 'Cause I don't love you, and now if you'll buy that. I got some ocean front property in Arizona. From my front porch you can see the sea. I got some ocean front property in Arizona. If you'll buy that, I'll throw the golden gate in free. I don't worship the ground you walk on. I never have and that's a fact. I won't follow or try to find you 'Cause I don't love you, and now if you'll buy that. Yeah, if you'll buy that I'll throw the golden gate in free. Ronnie Milsap - (There's) No Gettin' Over Me (Tue, 08 Dec 2020) His 18th No. 1 hit on the Billboard Hot Country Singles chart in August 1981, "(There's) No Gettin' Over Me" marked the apex of Milsap's popularity as a crossover artist, reaching No. 5 on the Billboard Hot 100 chart and number two Hot Adult Contemporary Singles. Ronnie Milsap performs "(There's) No Gettin' Over Me" "(There's) No Gettin' Over Me" is a song written by Walt Aldridge and Tom Brasfield, and recorded by American country music singer Ronnie Milsap. It was released in June 1981 as the first single from the album There's No Gettin' Over Me. Known by many fans by its less grammatically correct title "There Ain't No Gettin' Over Me" — the song's official title appears nowhere in the lyrics — the song became one of Milsap's biggest country and pop hits during his recording career. His 18th No. 1 hit on the Billboard Hot Country Singles chart in August 1981, "(There's) No Gettin' Over Me" marked the apex of Milsap's popularity as a crossover artist, reaching No. 5 on the Billboard Hot 100 chart and number two Hot Adult Contemporary Singles. WIKIPEDIA Follow @newhillbillycom Ronnie Milsap - (There's) No Gettin' Over Me Lyrics Well you can walk out on me tonight If you think that it ain't feeling right But darling There's ain't no getting over me Well you can say that you need to be free But there ain't no place that I won't be Sweet darling bass run up There ain't no getting over me I'll be the bill you forgot to pay bass run up I'll be the dream that keeps you awake I'll be the song on the radio I'll be the reason that you tell the boys no Don't you know You can tell everyone that we're through You might even believe it too But darling There's ain't no getting over me Sweet darling lead, bass run up There ain't no getting over me I'll be the face that you see in the crowd I'll be the times that you cry out loud I'll be the smile when there's no one around I'll be the book that you just can't put down So you can walk out on me tonight If you think that it ain't feeling right But darling There's ain't no getting over me You'll see sweet darling There's ain't no getting over me No no no no No Darling There ain't no getting over me Oh No darling There ain't no getting over me Oh darling There ain't no getting over me. 'Gatemouth' Brown Dead At 81. Clarence "Gatemouth" Brown, the singer and guitarist who built an over 60-year-long career playing blues, country, jazz and Cajun music, died Saturday at his brother's house in Orange, Texas, where he had gone to escape Hurricane Katrina. He was 81. Brown, who had been battling lung cancer and heart disease, had been in ill health for the past year and lost his home in Slidell, Louisiana, to Hurricane Katrina. "He was completely devastated," said Rick Cady, Brown's booking agent. "I'm sure he was heartbroken, both literally and figuratively. He evacuated successfully before the hurricane hit, but I'm sure it weighed heavily on his soul." Brown's career first took off in the 1940s with blues hits "Okie Dokie Stomp" and "Ain't That Dandy," but he bristled when he was labeled a bluesman. In the second half of his career, he became known as a musical jack-of-all-trades who played a half-dozen instruments and culled from jazz, country, Texas blues, and the zydeco and Cajun music of his native Louisiana. By the end of his career, Brown had more than 30 recordings and won a Grammy award in 1982. Trending News. "I'm so unorthodox, a lot of people can't handle it," Brown said in a 2001 interview. Brown recorded with Eric Clapton, Ry Cooder, Bonnie Raitt and others, but he took a dim view of most musicians - and blues guitarists in particular. He called B.B. King one-dimensional. He dismissed his famous Texas blues contemporaries Albert Collins and Johnny Copeland as clones of T-Bone Walker, whom many consider the father of modern Texas blues. "All those guys always tried to sound like T-Bone," Brown said. Brown's versatility came partly from a childhood spent in the musical mishmash of southwestern Louisiana and southeastern Texas. He was born in Vinton, La., and grew up in Orange, Texas. Brown often said he learned to love music from his father, a railroad worker who sang and played fiddle in a Cajun band. Brown, who was dismissive of most of his contemporary blues players, named his father as his greatest musical influence. "If I can make my guitar sound like his fiddle, then I know I've got it right," Brown said. Cady said Brown was quick-witted, "what some would call a 'codger."' Brown started playing fiddle by age 5. At 10, he taught himself an odd guitar picking style he used all his life, dragging his long, bony fingers over the strings. In his teens, Brown toured as a drummer with swing bands and was nicknamed "Gatemouth" for his deep voice. After a brief stint in the Army, he returned in 1945 to Texas, where he was inspired by blues guitarist T-Bone Walker. Brown's career took off in 1947 when Walker became ill and had to leave the stage at a Houston nightclub. The club owner invited Brown to sing, but Brown grabbed Walker's guitar and thrilled the crowd by tearing through "Gatemouth Boogie" - a song he claimed to have made up on the spot. He made dozens of recordings in the 1940s and '50s, including many regional hits - "Okie Dokie Stomp," "Boogie Rambler," and "Dirty Work at the Crossroads." But he became frustrated by the limitations of the blues and began carving a new career by recording albums that featured jazz and country songs mixed in with the blues numbers. "He is one of the most underrated guitarists, musicians and arrangers I've ever met, an absolute prodigy," said Colin Walters, who is working on Brown's biography. "He is truly one of the most gifted musicians out there. "He never wanted to be called a bluesman, but I used to tell him that though he may not like the blues, he does the blues better than anyone," added Walters. "He inherited the legacy of great bluesmen like Muddy Waters and John Lee Hooker, but he took what they did and made it better." Brown - who performed in cowboy boots, cowboy hat and Western-style shirts - lived in Nashville in the early 1960s, hosting an R&B television show and recording country singles. In 1979, he and country guitarist Roy Clark recorded "Makin' Music," an album that included blues and country songs and a cover of the Billy Strayhorn-Duke Ellington classic "Take the A-Train." Survivors include three daughters and a son. First published on September 11, 2005 / 11:31 PM. © 2005 CBS Interactive Inc. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed. The Associated Press contributed to this report.