There are NO LINKS to MP3 files on this blog.
This blog is for information only!

All Are Welcome!


Gene Tracy - Truckstop #4 A Night Out With Gene Tracy 1974

On: Wednesday, June 27, 2012

Gene Tracy
Ivan Eugene Morris
Anadarko, Oklahoma, USA
Apr 08 1927 - 1979 age ~52

01 Intro, Airplane Flyover, Wong The Chinaman
02 Come Home Drunk, The Lost Weekend
03 Appendicitis, Truck Driver With Laryngitis
04 Toughest Broad In San Antonio
05 Skidders
06 Safety Belts, The Echo
07 The Coyote
08 The Storm, Weather Vane
09 Old-Fashioned Cars, Two Sailors
10 Protector Of Morals






Standup
Truck Stop, Good Time TCD-0004
ENJOY!
His other material on this blog is HERE  
The following are WANTED
Truckstop 26 More Live From Charlotte NC




MacLean & MacLean - Bitter Reality 1976 (Canada)

On: Saturday, June 23, 2012

Gary MacLean
Birth name
Jun 25 1944 –  Dec 05 2001 age 57

Blair MacLean
Birth name
~1943 – Oct 29 2008 age ~65

MacLean & MacLean were best known for their raunchy, often scatological humor, which was combined with (usually humorous) renditions of folk and popular songs, with one brother playing guitar and the other banjo (though they also played other instruments). The duo began performing in 1972 and during their career played venues ranging from the Commodore Ballroom in Vancouver, British Columbia to the Edinburgh Fringe Festival. Source: Wikipedia

01 Intro To Jesus 1:11
02 Jesus Was Just A Guy 4:59
03 George Saunders' School Of Suicide 1:40
04 Bland Ole Opry (Slim Chance, Stretch Marks) 7:57
05 Ken And Barbie 0:46
06 Frankie Fontaine (King Of Genital Rock) 2:58
07 Lies MacLean & MacLean Told Me About Rock & Roll 9:34
08 Shit! 4:08
09 The Gross Manual (14 Sure-Fire Jokes) 4:30
10 The End 2:31
11 When Will You Learn 0:45 
*Mixture of studio, and live at The Chimney, Toronto





Standup and Musical Comedy
El Mocambo – ELMO 753
Enjoy!



Redd Foxx - Uncensored 1995

On: Sunday, June 17, 2012

Redd Foxx
John Elroy Sanford
St. Louis, Missouri USA
Dec 09 1922 – Oct 11 1991 age 68

"Uncensored" sees Redd Foxx seeming very relaxed as he delivers joke after hilarious joke. The audience is with him, he's with them, and it all makes for a very pleasurable, uplifting and genuinely funny listening experience.
He tells of unfaithful wives, cannibal chiefs, the origins of certain black expressions, contemplates what would happen if only Liberace, Johnny Mathis and Sonny Liston survived WWIII and even relates a story of Moses, St. Peter and "J.C." playing a friendly game of golf. He tells one tale after another to an audience that is very hugely enjoying itself.
The title of the CD might fool you. Foxx's material is not explicit. It's more implicit and subtle, and this was the man's genius. Unlike today, a comedian couldn't just come out and "say it." He had to be crafty about it or face whatever would ensue, be it censorship, arrest, or some other consequence. Foxx was one of the masters of this type of craftiness. This is why, in my opinion, his stuff is infinitely more clever than most of the raw stuff that's out there today.
One of the other things that made Foxx great was his interplay with his audience. Behind the raspy voice, pinpoint timing and wonderfully bawdy humor, was a caring, sensitive man who was aware that, perhaps, his audience really needed to let go. Many times, you can hear him say, "Go on and laugh, honey" or "You can laugh out loud here, friends." Also, to his credit, in all the recordings I have of Foxx (and I have a few), he was never cruel with the people that came to see him, unlike so many comedians of today. This undercurrent of true sensitivity amidst all the laughs, at least to me, was what made Foxx a truly great comedian.
Foxx saw hard times when he was starting out in comedy, and I get the impression that he was sensitive to the fact that perhaps some of his audience might've been going through some hard times, as well. Even years after the material was initially recorded, whenever you let Redd Foxx take a spin on your turntable or in your CD player, be it in the form of Uncensored or any of his many other albums, you end up in a better mood. I'm sure his audience of the time felt the exact same way. Performed in front of an African-American audience, Uncensored sees Redd Foxx seeming very relaxed as he delivers joke after hilarious joke. The audience is with him, he's with them, and it all makes for a very pleasurable, uplifting and genuinely funny listening experience.
He tells of unfaithful wives, cannibal chiefs, the origins of certain black expressions, contemplates what would happen if only Liberace, Johnny Mathis and Sonny Liston survived WWIII and even relates a story of Moses, St. Peter and "J.C." playing a friendly game of golf. He tells one tale after another to an audience that is very hugely enjoying itself.
The title of the CD might fool you. Foxx's material is not explicit. It's more implicit and subtle, and this was the man's genius. Unlike today, a comedian couldn't just come out and "say it." He had to be crafty about it or face whatever would ensue, be it censorship, arrest, or some other consequence. Foxx was one of the masters of this type of craftiness. This is why, in my opinion, his stuff is infinitely more clever than most of the raw stuff that's out there today.
One of the other things that made Foxx great was his interplay with his audience. Behind the raspy voice, pinpoint timing and wonderfully bawdy humor, was a caring, sensitive man who was aware that, perhaps, his audience really needed to let go. Many times, you can hear him say, "Go on and laugh, honey" or "You can laugh out loud here, friends." Also, to his credit, in all the recordings I have of Foxx (and I have a few), he was never cruel with the people that came to see him, unlike so many comedians of today. This undercurrent of true sensitivity amidst all the laughs, at least to me, was what made Foxx a truly great comedian.
Foxx saw hard times when he was starting out in comedy, and I get the impression that he was sensitive to the fact that perhaps some of his audience might've been going through some hard times, as well. Even years after the material was initially recorded, whenever you let Redd Foxx take a spin on your turntable or in your CD player, be it in the form of Uncensored or any of his many other albums, you end up in a better mood. I'm sure his audience of the time felt the exact same way. 

01 Thanksgiving Day 0:45
02 Bye, Bye 1:18
03 Sex In The Dark 0:42
04 Cannibal Customs 1:06
05 Mink 0:26
06 Colored People 2:03
07 Mashed Potatoes 0:23
08 School 0:33
09 No Dogs Allowed 0:46
10 Miracle Golf 0:55
11 Slack And Pack 0:50
12 Sugar Ray Robinson 0:13
13 Facing The Truth 1:25
14 End Of The World 1:29
15 Horn Blowing 0:19
16 Well Pussy 0:35
17 Grand Central Station 0:44
18 The Hat 0:54
19 Tarzan's Tell 1:27
20 International Redd 0:34
21 Mop Bucket 0:44
22 Memories 0:48
23 Pregnant 0:22
24 War Stories 2:28
25 Goodies From A Nut 1:32
26 The Wrong Zipper 2:15
27 Old People 0:31
28 My Old Lady 1:03
29 240 Big Ones 1:29
30 Dogs 1:58
31 Poverty 0:17
32 Ooh! 0:38
33 Joe Lewis 1:04
34 Confusions 1:11
35 The Dental Drunk 0:45
36 There Was 1:00
37 A Prayer 1:01


Standup
Loose Cannon – 314-528 061-2
Enjoy!



Harry Taylor – More Titters By Taylor Vol 2 1960s

On: Saturday, June 16, 2012

Harry Taylor
Birth name
Birthplace
Born/Died
Official Site
Wikipedia

"Americas Smartest Supper Club Star"
Until Harry Taylor made his electronic escape about a year ago via an initial album entitled "Taylor-Made Titters", he was virtually a captive jester of the sun-worshiping smart set. Prince Charming of the high potentates and big wigs of industry, Taylor's barbed bandiage was exclusively heard in the smart supper rooms of the Kenilworth Hotel on Miami Beach and the Cavalier Hotel in Virginia Beach, Virginia, with occasional jaunts to Al Green's Restaurant, sanctuary for Detroit's automotive executives.
Taylor's intimate and original comedy, parodies and patter, most of which he writes himself, is slanted to the sophisticates who inhabit these posh resort playgrounds and are more used to giving orders than having a supper-club star tell them that they are sitting there like bums while their wives light their own cigarettes.
Harry Taylor is surely one of the first and one of the fastest of the avant-garde "intimate" entertainers. He never lets his audience get a half a laugh away before he tops a line with another one that is funnier and sneakier than the first.
Much of his comedy is invented at the moment, because much of his material is fashioned for the smart, world-traveled set he's entertaining. Note that he mentions every person in the room b y name. Because of the the fame of his audience, only first names are used in this case. However, at any given moment, he can run through the first and last names of a room of 350 people and gag up their occupations, home towns, and some other incidentals. He applies this phenomenal feat of mnemonics nightly. Catch this on Volume 1.
If the piano and voice sound a few cuts above the average saloon clown, it's because Harry Taylor is a former conductor-arranger and was a child prodigy concert pianist turned supper-club star for financial reasons. Taylor possesses a brilliant tenor voice, but he uses it sparingly lest he detract from his basic comedy mood.
When Taylor is performing, he surveys his room like a cat contemplating a convention of field mice. He misses not a bra strap's adjustment, a cold hand on a knee, or the most whispered aside.
Taylor's the epitome of the "intimate" supper club entertainer. He's the Prince Charming of the bourbon-on-the-rocks set who sets them up and then picks them off like a skilled skeet shooter.
Note, on this album, his ability to twist a folk tune into a satirical opera one moment and a ridiculous rock 'n roll number the next. His "Auctioneer" number is loaded with double entendre, but, like every line Harry Taylor writes and delivers, it's in good taste.
Taylor tosses lines at a torrid pace and every laugh is long and authentic. But, even the laughs have been shortened to allow more room for the fabulously funny Harry Taylor giving you "More Titters By Taylor". ~Dick Hoekstra, Amusement Editor, Ft. Lauderdale News

01 Side 1
02 Side 2


Komedy At The Kenilworth, Miami Beach And The Nationally Known Cavalier Hotel Virgina Beach. Recorded Live At These World Famous Hotels.


 


Stand-up
Calor Records – LC-2002
ENJOY!
His Other Albums on this blog are HERE 
WANTED
An Evening With Harry Taylor
Love





.

Bill Cosby - Fat Albert 1973

On: Sunday, June 10, 2012

Bill Cosby
William Henry Cosby Jr
Philadelphia, Pennsylvania, USA
Jul 12 1937 -

In the early 1970s, after Bill Cosby had emerged as one of the funniest, most original comedians around, he masterminded the FAT ALBERT animated series, populated with characters from Cosby's Philadelphia youth. In fact, these characters had already appeared for some time in Cosby's live monologues. It was a natural step, then, for Cosby to release the FAT ALBERT album in 1973; ostensibly a spin-off of the series, the comedy recording was actually just an audio document of routines he'd been performing for years.
Captured live in Reno, NV, Cosby weaves his long, colorful narratives with both warmth and masterful comic precision. He pokes good-natured fun, not only at the lovably quirky Fat Albert, but also at members of his own family (including his brother Russell, the subject of many a Cosby story). The gritty urban setting of Cosby's scenarios contrasts nicely with the compassion the comedian obviously feels for his characters, even as he takes great delight in revealing their foibles.
 
01 Fat Albert's Car 8:21
02 Fat Albert Plays Dead 2:06
03 Fat Albert Got a Hernia 3:53
04 My Wife and Kids 4:13
05 My Dad's Car 5:49
06 My Brother Russell 2:29
07 Fernet Branca 9:37
 
Stand-up
MCA-333
ENJOY!
His other material on this blog is "tagged" at the bottom of this post
WANTED
At His Best 2004
At Home With Bill Cosby 1987
Hardheaded Boys 1985
Icon
Cosnarati, State Of Emergency 2009
Cosby Album 1984
Why Is There Air Vol 2 Taiwan
Down Under 1971
Zaman Ucup Godiyor 1996
Late Show 1987
Late Show Live Volume II
After Hours Vol 1




.

George Carlin - Napalm And Silly Putty 2001 (Audio Book)

On: Friday, June 8, 2012

George Carlin
George Denis Patrick Carlin
New York, New York USA
May 12 1937 - Jun 22 2008 age 71
Official Site
Life Timeline

This book contains much of Carlin's stand-up comedy material. The title derives from one of the observations in the book: Carlin finds it interesting that the same race can invent something as fun and innocent as Silly Putty and something as deadly as napalm - the two have many similar properties. The title is also an allusion to the type of thoughts that occupy his time, saying, "on one hand I kinda like it when a lot of people die, but on the other hand, I always wonder how many unused frequent flyer miles they had."



01 Audiobook 2hrs 28m



 


Humorous Audio Book
* * *
Enjoy!



Brother Dave Gardner - Brother Dave Gardner’s New Comedy Album 1976

On: Monday, June 4, 2012

Dave Gardner
David Gardner
aka Brother Dave Gardner
Jackson, Tennessee USA
Jun 11 1926 - Sep 22 1983 age 57

Next to Homer & Jethro, the most successful Southern-derived comedian was undoubtedly Brother Dave Gardner. In the late '50s and into the mid-'60s, Gardner's albums found themselves ensconsed in record collections in far more urbane and Northerly locales than one would suspect, and his style was instantly influential and widely imitated. Variously described as a "Southern Lenny Bruce" or "Billy Graham with a sense of humor," Gardner's best routines still sound fresh and original today, a testament to his off-kilter genius. There was much, much more to this small-statured stand-up comic than your average hillbilly plowboy set of wheezy jokes; Gardner may just very well have been the true innovative genius of classy Southern humor.
After recording a handful of semi-successful singles as a drummer/vocalist in and around his native Memphis (he had the original hit of "White Silver Sands"), Gardner found his true calling when Chet Atkins discovered him in Nashville doing comedy routines between drum solos. His on-stage character (and by most accounts, off-stage as well) was one part hipster, one part Sunday-morning preacher, peppered with off-the-wall observations about history and life, all of it barely concealing a personality that was as convention shattering as the times would barely allow. His debut album on RCA, Rejoice, Dear Hearts!, was released at the height of the comedy-album craze in 1960, and his follow-up, Kick Thy Own Self, was even more successful. Gardner's act played well on national TV, so well, in fact, that a young Ray Stevens took whole Gardner routines, set them to music, and scored big with most of them well into the late '60s ("Ahab, the Arab," "Speedball," etc.). In the late '60s, a Memphis rock & roll band -- the Hombres -- took one line from a Gardner routine and fleshed it out into a hit song, "Let It All Hang Out." On-stage, Gardner was a law and entity unto himself. Although his original ascension to stardom was made, not unlike Bruce, with carefully constructed "bits," as time went on these gave way more and more to off-the-wall but trenchant observations. But unlike Bruce, Gardner never totally abandoned these staples of his nightclub act and his records. Instead, the nightly grind in clubs caused him to expand on them, and true fans of his fertile comic imagination can compare his telling of "The Motorcycle Story" (from one of his early albums) with the full-blown treatment it receives -- almost covering an entire side of an album -- on his second-to-last LP, Out Front. Rather than sounding like a comedian giving a perfunctory reading of a well-known (and well-worn) routine, he sounds as if he just concocted it moments ago, his enthusiasm in telling the tale literally bounding off the grooves. His sense of timing was unerring, and his ability to respond to his surroundings would often send him into a free association rant that would spawn an ad-lib passage that would stretch over several minutes. One of his greatest personal quirks on-stage was that he never timed his act in the conventional sense, and although he wore an expensive watch on-stage, he never bothered to look at it. Generally credited (oddly enough) with the invention of the 100 millimeter cigarette, Gardner had them custom-made for him in quantity starting in the early '60s. Once he had pulled three of them from his similarly custom-made cigarette case, fired them up, and disposed of them in rapid, chain-smoking succession, he knew he had filled his time on-stage. Gardner's involvement with drugs somewhat derailed his career after a bust for marijuana possession in 1962. Although he never wore it on his sleeve the way Bruce did, Gardner -- by all accounts -- had a voracious and most experimental appetite for them and was not above sneaking in veiled references in one of his routines. He was cleared, but the resulting publicity flap closed off the big television shows and forced him out of the big rooms up North and into the small-time Southern club circuit. After a small prison stint for tax evasion in the the early '70s (his defense at his trial was to tell the judge, "I didn't know how much money I made, so I figured it was a fraud to fill out one of them things"), Gardner's career was pretty much dead in the water, having gone from RCA Victor to Capitol to their budget label, Tower, to no deal at all. Working small clubs, his humorous and skewered outlook nonetheless stayed intact, a true rebel spirit that refused to be brought down, even though he was now under the "management" of a racist billionaire who was trying to remold him for the "good ol' boy" Hee Haw crowd. He recorded for a spate of small labels right up to the end, including one-offs for Four Star (his last, where he asks a stunned Nashville crowd, "I wonder if Johnny Cash turned Billy Graham on?") and another for the short-lived record division of the Tonka toy company. At the time of his death in 1983, he was working on a low-budget motion picture called, ironically enough, Chain Gang. Although he is seldom remembered today -- except by old timers who smile when you mention his name -- Gardner's influence on all branches of comedy continues to be writ large. 
 
Recorded live at The Exit/In, Nashville, Tennessee. Produced by Millie Gardner.

01 Jimmy Carter
02 Little David
03 Violin Player
04 Motorcycle Story
05 Governor's Driver
06 Red River Valley
07 Black and White
08 Lost My Mind 

 
Stand-up with a Southern bent & not PC at all! Plus Music
4 Star Records DLP-1131
ENJOY!
His other albums on this blog are "tagged" at the bottom of this post
WANTED
Live In Concert Volume 1 1983 (VIDEO)
Live In Concert Volume 2 1983 (VIDEO)
Coward At The Alamo b/w You Are My Love (45) 1960
Hop Along Rock b/w All By Myself (45) 1958


.
.........Click "Older Posts" link, above, to see, umm, Older Posts. Yeah.