Ralphs Fantastic Discovery

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Each of these scouts dedicated time and energy to capturing southern musical culture and preserving the sounds that have both inspired and haunted musicians, scholars, and enthusiasts around the globe ever since. One of the most under-recognized and important talent scouts for the major labels during this time was a largely obscure grocery store owner and retail merchant who had immigrated from Comiso, Sicily, and found his way to the small town of Itta Bena, Mississippi, not far from Greenwood.

Raffaele "Ralph" Lembo has never really interested scholars enough to warrant serious attempts to uncover evidence about him beyond a limited amount of oral testimony. In many accounts, he is portrayed like a character in a Horatio Alger novel whose inauspicious career started with selling dry goods from a pushcart and ended with his being a "part-time talent scout who focused most of his energies on building his retail emporium.


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After the onset of the Great Depression, Lembo seems to have faded into the background like so many of the unissued blues sides of the pre-World War II period. The works of Stephen Calt and Gayle Dean Wardlow have been a most salient influence on subsequent scholarship. Calt and Wardlow's King of the Delta Blues: The Life and Music of Charlie Patton puts forward several incorrect assertions and gives an overall negative impression of Ralph Lembo, with Charley Patton supposedly refusing to stoop so low as to record for the "tricky" Italian and instead presenting himself as a recording prospect to talent scout H.

Speir in Jackson, Mississippi.

Ralph Snart Adventures

So, as a child of about six years old, I took violin lessons from one of the violinists in the Concertgebouw Orchestra. Then we had to escape again from Holland to England — we came over in I did a pharmacology PhD at Manchester University. I became very close to him. He was a fantastic pianist and had it not been for Hitler I think he would have gone into music — he was a wonderful player, and also a conductor in his Berlin days.

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I discovered that I had a voice, so I started taking singing lessons in Rome and developed a tremendous love for Italian Baroque music. As I was working full time in the drug research industry, obviously my time was rather limited for my musical expression, and I had to do the sort of music that I could do with a pianist — in other words opera was out, and oratorio.


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  5. So I concentrated on the Lieder repertoire, and in fact Graham Johnson and I have made 10 records together. The trouble was I loved medical research — this was a time when the most extraordinary drug developments took place.

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    It was a wonderful thing to be intensely involved in my work — I worked very hard indeed in my own organisation. But then to have this wonderful outlet too, using my voice, giving recitals — but it had to be restricted.

    Likewise, in Wonders of Geology Mantell borrowed techniques from the Arabian Nights and punctuated his text as well with quotations from modern poetry. Formats varied, from Natural-theology treatises and Biblical exegeses and cosmological narratives to travel guides, narratives, dialogues and prose fiction.

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    He pays particular attention to the work of Hugh Miller as the populariser who best embodied the Victorian union of science and literature. The use of pictures, aptly woven within the text and the dreamlike qualities of certain illustrations and the abundant poetry quotations ensured the successful exploitation of texts and images.

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