James Milton Campbell Jr. (September 7, 1934 – August 4, 2005), better known as Little Milton, was an American blues singer and guitarist, best known for his number-one R&B single "We're Gonna Make It" His other hits include "Baby, I Love You", "Who's Cheating Who?", and "Grits Ain't Groceries (All Around The World)".
A native of the Mississippi Delta, Milton began his recording career in 1953 at Sun Records before relocating to St. Louis and co-founding Bobbin Records in 1958. It wasn't until Milton signed to Checker Records that he achieved success on the charts. Other labels Milton recorded for include Meteor, Stax, Glades, Golden Ear, MCA, and Malaco. Milton was inducted into the Blues Hall of Fame in 1988.
Milton was born James Milton Campbell Jr. on September 7, 1934, in Inverness, Mississippi. He was raised in Greenville, Mississippi, by a farmer and local blues musician. According to some accounts the ‘Little’ handle was used to differentiate him from his father, Big Milton, a farmer and local performer. By age twelve he was a street musician, chiefly influenced by T-Bone Walker and his blues and rock and roll contemporaries. He joined the Rhythm Aces in the early part of the 1950s, a three piece band who played throughout the Mississippi Delta area. One of the members was Eddie Cusic who taught Milton to play the guitar. In 1951, Milton recorded several sides backing pianist Willie Love for Trumpet Records.
In 1953, while still a teenager playing in local bars, he was discovered by Ike Turner, who was a talent scout for Sam Phillips at Sun Records. Milton signed a contract with the label and recorded a number of singles. None of them broke through onto radio or sold well at record stores, so Milton left the Sun label in 1955. The next two years he released singles on Modern Records' subsidiary, Meteor Records.
In 1958, Milton moved to East St. Louis and set up the St. Louis-based Bobbin Records label, which ultimately scored a distribution deal with Leonard Chess' Chess Records. As a record producer, Milton helped bring artists such as Albert King and Fontella Bass to fame, while experiencing his own success for the first time. After a number of small format and regional hits, his 1962 single, "So Mean to Me," broke onto the Billboard R&B chart, eventually peaking at #14.
Following a short break to tour, managing other acts, and spending time recording new material, he returned to music in 1965 with a more polished sound, similar to that of B.B. King. After the ill-received "Blind Man" (R&B: #86), he released back-to-back hit singles. The first, "We're Gonna Make It," a blues-infused soul song, topped the R&B chart and broke through onto Top 40 radio, a format then dominated largely by white artists. He followed the song with #4 R&B hit "Who's Cheating Who?" All three songs were featured on his album, We're Gonna Make It, released that summer. Milton's song "Let Me Down Easy" was recorded by the Spencer Davis Group on The Second Album (1965), but his authorship was not acknowledged on the record. He released a single of it himself in 1968 on Checker. It was also chosen by Etta James as the final track in her final album The Dreamer in 2011.
Throughout the late 1960s Milton released a number of moderately successful singles, but did not issue a further album until 1969, with Grits Ain't Groceries featuring his hit of the same name, as well as "Just a Little Bit" and "Baby, I Love You". With the death of Leonard Chess the same year, Milton's distributor, Checker Records fell into disarray, and Milton joined the Stax label two years later Adding complex orchestration to his works, Milton scored hits with "That's What Love Will Make You Do" and "What It Is" from his live album, What It Is: Live at Montreux. He appeared in the documentary film, Wattstax, which was released in 1973. Stax, however, had been losing money since late in the previous decade and was forced into bankruptcy in 1975.
After leaving Stax, Milton struggled to maintain a career, moving first to Evidence, then the MCA imprint Mobile Fidelity Records, before finding a home at the independent record label, Malaco Records, where he received his second GRAMMY nomination for "Welcome To Little Milton" in 1999. He remained with the label for much of the remainder of his career. His last hit single, "Age Ain't Nothin' But a Number," was released in 1983 from the album of the same name. In 1988, Milton was inducted into the Blues Hall of Fame and won a W.C. Handy Award. His final album, Think of Me, was released in May 2005 on the Telarc imprint. He was an avid touring act and made one of his final appearances in May 2005 on a bill with The Allman Brothers.
Milton died at the age of 70 on August 4, 2005, from complications following a stroke in his adopted hometown of Memphis, Tennessee. He was posthumously honored with a marker on the Mississippi Blues Trail in Inverness.
(Edited from Wikipedia)
For “Little Milton - Chicago Blues His Early Years 1953-1962 (2014 Jasmine)” go here:
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01. Beggin' My Baby.mp3
02. Somebody Told Me.mp3
03. If You Love Me Baby.mp3
04. Alone And Blue.mp3
05. Homesick For My Baby.mp3
06. Lookin' For My Baby.mp3
07. Love At First Sight.mp3
08. Let's Boogie Baby.mp3
09. Let My Baby Be.mp3
10. Ooh My Little Baby.mp3
11. That Will Never Do.mp3
12. I'm A Lonely Man.mp3
13. Long Distance Operator.mp3
14. I Found Me A New Love.mp3
15. I'm Tryin'.mp3
16. Strange Dreams.mp3
17. Hold Me Tight.mp3
18. Same Old Blues.mp3
19. Dead Love.mp3
20. My Baby Pleases Me.mp3
21. Hey Girl.mp3
22. Cross My Heart.mp3
23. I'm In Love.mp3
24. Lonely No More.mp3
25. I Need Somebody.mp3
26. So Mean To Me.mp3
27. Someone To Love.mp3
28. Losing Hand.mp3
29. I Wonder Why.mp3
Little Milton is one of the very few blues artists who ever managed to stay at the top of his game in a career that lasted from the late 1940s until his death in 2005 at the age of 71. In the pantheon of blues greats only B. B. King and Bobby 'Blue' Bland have comparable careers. This collection features all of his notable 45s recorded for Sun, Bobbin and Chess between 1953-1962.
The 29 tracks on this superb set feature Milton's stunning vocals and guitar. Listening to the earlier tracks you will hear elements of Fats Domino, B. B. King, Bobby Bland and even Elmore James, then as the material moves into 1957 Milton really finds his own unique vocal style. (Jasmine notes)
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For “Little Milton - Sings Big Soul (2014 Kent)” go here:
https://www.imagenetz.de/hQdHA
1. Little Milton - Misty Blue (4:12)
2. Little Milton - A Nickel and a Nail (4:15)
3. Little Milton - Rainy Night In Georgia (4:50)
4. Little Milton - Can't Trust Your Neighbour (4:28)
5. Little Milton - What Our Love Needs (3:31)
6. Little Milton - A Man Needs a Woman (3:53)
7. Little Milton - Caught In the Act (of Gettin' It On) (4:32)
8. Little Milton - You Left a Goldmine For a Gold Digger (3:49)
9. Little Milton - That's the Way I Feel About 'Cha (4:20)
10. Little Milton - Gonna Have a Murder On Your Hands (3:24)
11. Little Milton - I'd Rather Go Blind (5:00)
12. Little Milton - Strugglin' Lady (4:03)
13. Little Milton - This Time They Told the Truth (4:37)
14. Karen Brown & Little Milton - Mr. and Mrs. Untrue (3:57)
15. Little Milton - Lovable Girl (3:21)
16. Little Milton - I Had a Talk With My Baby Last Night (5:39)
17. Little Milton - The End of the Rainbow (5:04)
18. Little Milton - We're Gonna Make It (3:01)
The title of Ace's 2014 compilation emphasizes Little Milton's singing, which is appropriate as that was the featured instrument on his albums for Malaco. Little Milton was with the Southern soul label for nearly 20 years, debuting in 1984 with Playing for Keeps and leaving after 2002's Guitar Man. Little Milton Sings Big Soul culls 18 highlights from these records, slightly emphasizing his ballad side but finding space for some deep soul and funky grooves.
This doesn't proceed in chronological order but that winds up emphasizing how Milton's records were consistent, always working from the same formula and containing the same punchy, slightly too clean production. This cherry-picked compilation is a testament to a giant in winter: it shows he had a mastery of the form, that he never lost his powerful skills and could always be counted on to entertain. As a portrait of the last third of his career, this compilation could hardly be better. (AllMusic notes)
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