Jimmy Scott, was an American jazz vocalist famous for his high countertenor voice and his sensitivity on ballads and love songs. Lionel Hampton gave him the nickname "Little Jimmy Scott" because he looked young and was short and of slight build. His phrasing made him a favorite of artists including Billie Holiday, Ray Charles, Frankie Valli, Dinah Washington, and Nancy Wilson.
In the late 1950s, the Doo Wop era began in a small subway arcade shop located beneath the Walgreen's Drug Store at Broadway and 42nd Street in New York City. Jerry Greene, a young teenager from Brooklyn, would travel to Times Square in search of records he heard on the Alan Freed radio show. One of his favorite stops was a costume jewelry store that strangely enough, also sold records - twenty for a dollar.
Jimmy Scott (born July 17, 1925), aka "Little" Jimmy Scott, is an American jazz vocalist.
Scott has Kallmann's syndrome, a genetic condition. The condition stunted his growth at four feet eleven inches until, at age 37, he grew another 8 inches to the height of five foot seven inches. The condition prevented him from reaching puberty, leaving him with a high, undeveloped voice in the contralto range, hence his nickname "Little" Jimmy Scott.(Wiki)
This obscure folk-rock artist from the late '60s left a track record of a few albums and a handful of obscure single releases, including the languid "Lyanna" and the demanding "Don't Leave Me Now." Campbell first came to prominence as a singer/songwriter on the folk club scene. He signed a contract with the interesting Fontana label, which released much cutting edge folk-rock and psychedelic music. He recorded one album and three singles for them before switching dizzily to the Vertigo label. The resulting album took a proud place in this label's catalog, right between the largely forgotten Dr. Strangely Strange and the grandly remembered Paranoid by Black Sabbath. It was definitely Campbell's most famous album, entitled Half Baked with just a note of derision. The album's title track is in turn the most well-known cut by this artist.
This collection brings together the most influential country and western artists from country music’s golden age. Pioneering artists combined traditional mountain music with new instruments and sounds – launching their songs onto the national scene. Enjoy this unique collection of country’s original hits and hit makers. This one-of-a-kind set is the most comprehensive country music collection ever devoted to the classic hits of the ’50s and ’60s.
Starkly printed in black and white with washed-out, grainy photographs, this is one heavy slab of blues by a player who is not as well-known as he should be. Guitarist Jimmy Rogers was usually overshadowed by the leaders he worked for, Muddy Waters particularly. He was also sometimes confused with the hillbilly singer Jimmie Rodgers, and although they might have sounded good together, they don't have anything in common. This reissue collection grabs 14 tracks done at various times in the mostly early '50s which involve practically a who's who of performers associated with the most intense and driving Chicago blues. This includes the aforementioned Waters, leaving behind his role as leader for a few numbers to add some stinging guitar parts. There is also a pair of harmonica players, each of whom could melt vinyl siding with their playing. These are the Walters, big and little, as in Big Walter Horton and Little Walter. Pianist Otis Spann, bassist Willie Dixon, and drummer Fred Belew are also on hand, meaning the rhythm section action is first class.