Published on Feb 11, 2013
” Record: Bluebird 8529 … Recorded May 9, 1940 “
Published on Feb 11, 2013
” Record: Bluebird 8529 … Recorded May 9, 1940 “
” On his paper route in Glendale, California, Marion and Duke would stop to visit the local firemen at the fire station. The firemen would always say “here comes Big Duke,” referring to the Airedale, “and Little Duke,” referring to Marion Morrison.
The nickname Duke stuck with Marion Morrison/John Wayne for the rest of his life.”
Marion Robert Morrison
JW (family nickname)
6′ 4″ (1.93 m)
” John Wayne (born Marion Morrison) was the son of pharmacist Clyde Morrison and his wife Mary. Clyde developed a lung condition that required him to move his family from Iowa to the warmer climate of southern California, where they tried ranching in the Mojave Desert. Until the ranch failed, Marion and his younger brother Robert E. Morrison swam in an irrigation ditch and rode a horse to school. When the ranch failed, the family moved to Glendale, California, where Marion delivered medicines for his father, sold newspapers and had an Airedale dog named “Duke” (the source of his own nickname). He did well at school both academically and in football. When he narrowly failed admission to Annapolis he went to USC on a football scholarship 1925-7. Tom Mix got him a summer job as a prop man in exchange for football tickets. On the set he became close friends with director John Ford for whom, among others, he began doing bit parts, some billed as John Wayne. His first featured film was Men Without Women (1930). After more than 70 low-budget westerns and adventures, mostly routine, Wayne’s career was stuck in a rut until Ford cast him in Stagecoach (1939), the movie that made him a star. He appeared in nearly 250 movies, many of epic proportions. From 1942-43 he was in a radio series, “The Three Sheets to the Wind”, and in 1944 he helped found the Motion Picture Alliance for the Preservation of American Ideals, a right-wing political organization, later becoming its President. His conservative political stance was also reflected in The Alamo (1960), which he produced, directed and starred in. His patriotic stand was enshrined in The Green Berets (1968) which he co-directed and starred in. Over the years Wayne was beset with health problems. In September 1964 he had a cancerous left lung removed; in March 1978 there was heart valve replacement surgery; and in January 1979 his stomach was removed. He received the Best Actor nomination for Sands of Iwo Jima (1949) and finally got the Oscar for his role as one-eyed Rooster Cogburn in True Grit (1969). A Congressional Gold Medal was struck in his honor in 1979. He is perhaps best remembered for his parts in Ford’s cavalry trilogy – Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950).”
|Pilar Wayne||(1 November 1954 – 11 June 1979) (his death) 3 children|
|Esperanza Baur||(17 January 1946 – 1 November 1954) (divorced)|
|Josephine Alicia Saenz||(24 June 1933 – 25 December 1945) (divorced) 4 children|
Slow talk and distinctive, gravelly voice
Distinctive cat-like walk
His movies frequently reflected his conservative values
Often starred with Maureen O’Hara
” Holds the record for the actor with the most leading parts – 142. In all but 11 films he played the leading part.
Ranked #16 in Empire (UK) magazine’s “The Top 100 Movie Stars of All Time” list. (October 1997)
Born at 1:00pm-CST.
Most published sources refer to Wayne’s birth name as Marion Michael Morrison. His birth certificate, however, gives his original name as Marion Robert Morrison. According to Wayne’s own statements, after the birth of his younger brother in 1911, his parents named the newborn Robert Emmett and changed Wayne’s name from Marion Robert to Marion Michael. It has also been suggested by several of his biographers that Wayne’s parents actually changed his birth name from Marion Robert to Marion Mitchell. In “Duke: The Life and Times of John Wayne” (1985), Donald Shepherd and Robert F. Slatzer state that when Wayne’s younger brother was born, “the Duke’s middle name was changed from Robert to Mitchell. . . . After he gained celebrity, Duke deliberately confused biographers and others by claiming Michael as his middle name, a claim that had no basis in fact.”
His production company, Batjac, was originally to be called Batjak, after the shipping company owned by Luther Adler‘s character in the filmWake of the Red Witch (1948). A secretary’s typo while she was drawing up the papers resulted in it being called Batjac, and Wayne, not wanting to hurt her feelings, kept her spelling of it.
In the comic “Preacher”, his ghost appears in several issues, clothed in his traditional gunfighter outfit, as a mentor to the hero of the series, Jesse Custer.
Great-uncle of boxer/actor Tommy Morrison, aka “The Duke”.
An entry in the logbook of director John Ford‘s yacht “Araner”, during a voyage along the Baja peninsula, made a reference to one of Wayne’s pranks on Ward Bond: “Caught the first mate [Wayne] pissing in [Ward] Bond’s flask this morning – must remember to give him a raise.”
He and his drinking buddy, actor Ward Bond, frequently played practical jokes on each other. In one incident, Bond bet Wayne that they could stand on opposite sides of a newspaper and Wayne wouldn’t be able to hit him. Bond set a sheet of newspaper down in a doorway, Wayne stood on one end, and Bond slammed the door in his face, shouting “Try and hit me now!” Wayne responded by sending his fist through the door, flooring Bond (and winning the bet).
His favorite drink was Sauza Commemorativo Tequila, and he often served it with ice that he had chipped from an iceberg during one of his voyages on his yacht, “The Wild Goose”.
The evening before a shoot he was trying to get some sleep in a Las Vegas hotel. The suite directly below his was that of Frank Sinatra (never a good friend of Wayne), who was having a party. The noise kept Wayne awake, and each time he made a complaining phone call it quieted temporarily but each time eventually grew louder. Wayne at last appeared at Sinatra’s door and told Frank to stop the noise. A Sinatra bodyguard of Wayne’s size approached saying, “Nobody talks to Mr. Sinatra that way.” Wayne looked at the man, turned as though to leave, then backhanded the bodyguard, who fell to the floor, where Wayne knocked him out by crashing a chair on top of him. The party noise stopped.
He was a member of the Sigma Chi Fraternity.
His spoken album “America: Why I Love Her” became a surprise best-seller and Grammy nominee when it was released in 1973. Reissued on CD in the aftermath of the terrorist attacks of September 11, 2001, it became a best-seller all over again.
Pictured on one of four 25¢ US commemorative postage stamps issued on Friday, March 23rd, 1990 honoring classic films released in 1939. The stamp featured Wayne as The Ringo Kid in Stagecoach (1939). The other films honored were Beau Geste (1939), The Wizard of Oz (1939), and Gone with the Wind (1939).
Upon being cast by Raoul Walsh in Fox’s The Big Trail (1930) the studio decided his name had to be changed. Walsh said he was reading a biography on General “Mad” Anthony Wayne and suggested that name. The studio liked the last name but not the first and decided on “John Wayne” as the final rendition.
He once made a cameo appearance on “The Beverly Hillbillies” (1962). In episode, “The Beverly Hillbillies: The Indians Are Coming (#5.20)”(1967). And when asked how he wanted to be paid, his answer, in return, was “Give me a fifth of bourbon – that’ll square it.”.
In 1973 he was awarded the Gold Medal from the National Football Foundation for his days playing football for Glendale High School and USC.
Arguably Wayne’s worst film, The Conqueror (1956), in which he played Genghis Kahn, was based on a script that director Dick Powell had every intention of throwing into the wastebasket. According to Powell, when he had to leave his office at RKO for a few minutes during a story conference, he returned to find a very enthused Wayne reading the script, which had been in a pile of possible scripts on Powell’s desk, and insisting that this was the movie he wanted to make. As Powell himself summed it up, “Who am I to turn down John Wayne?”.
Among his favorite leisure activities were playing bridge, poker, and chess.
He was buried at Pacific View Cemetery in Corona del Mar, California, (a community within his hometown of Newport Beach). His grave finally received a plaque in 1999.
Inducted into the Hall of Great Western Performers of the National Cowboy and Western Heritage Museum in 1974.
Grandfather of actor Brendan Wayne.
Because his on-screen adventures involved the slaying of a slew of Mexicans, Native Americans and Japanese, he has been called a racist by his critics. They believe this was strengthened by a Playboy Magazine interview in which he suggested that blacks were not yet qualified to hold high public office because “discrimination prevented them from receiving the kind of education a political career requires”. Yet all of his three wives were of Latin descent.
He was voted the 5th Greatest Movie Star of all time by Entertainment Weekly.
Just on his sheer popularity and his prominent political activism, the Republican party in 1968 supposedly asked him to run for President of the USA, even though he had no previous political experience. He turned them down because he did not believe America would take a movie star running for the President seriously. He did however support Ronald Reagan‘s campaigns for governor of California in 1966 and 1970, as well as his bid for the Republican presidential nomination in 1976.
Wayne was initiated into DeMolay in 1924 at the Glendale Chapter in Glendale California.
Received the DeMolay Legion of Honor in 1970.
He was a Master Mason. In other words, he was a good man who became a member of the Masonic Fraternity.
Pictured on a 37¢ USA commemorative stamp in the Legends of Hollywood series, issued on Thursday, September 9th, 2004. The first-day ceremonies were held at Grauman’s Chinese Theatre in Hollywood. “
Happy Birthday John Wayne
Published on Nov 4, 2014
” Dr John (Mac Rebennack) demonstrates New Orleans-style blues playing exclusively for our readers. Look for him on the cover of our December 2014 issue! “
Published on Dec 29, 2014
” Ready For The Blues – 22 Vintage Blues Tracks
♫ SUBSCRIBE HERE : http://bit.ly/10VoH4l
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00:00 – Don’t Start Me Talkin’ – Sugar Blue
03:56 – Still a Fool – Muddy Waters, Little Walter
07:14 – That’s Allright – Jimmy Rogers
10:06 – My Babe – Little Walter
12:51 – Rock Me – Muddy Waters, James Cotton
16:05 – Shake the Boogie – Sonny Boy Williamson
18:53 – All Night Boogie – Howlin Wolf
21:11 – I’m a Man – Bo Diddley, Billy Boy Arnold
24:15 – I’m In the Mood – John Lee Hooker, Eddie Kirkland
27:25 – King Biscuit Stomp – Big Joe Williams
30:00 – The Blues That Made Me Drunk – Sonny Boy Williamson
33:02 – Chicago Breakdown – Doctor Ross
35:59 – Baker Shop Boogie – James Cotton, Willie Nix
38:44 – Evening Sun – Big Walter Horton, Johnny Shines
41:14 – Easy – Big Walter Horton
44:18 – Jump the Boogie – Papa Lightfoot
46:41 – Mambo Chillun – John Lee Hooker
49:36 – Standing At the Crossraods – Elmore James
52:24 – Saturday Night – Roy Brown
54:46 – Straight Alky Blues – Leroy Carr
58:09 – Chicken Hearted Woman – Clarence Samuels
01:00:50 – Sugar Mama – Pee Wee Hughes
JazzAndBluesExperience – SUBSCRIBE HERE : http://bit.ly/10VoH4l (Re)Discover the Jazz and Blues greatest hits – JazznBluesExperience is your channel for all the best jazz and blues music. Find your favorite songs and artists and experience the best of jazz music and blues music. Subscribe for free to stay connected to our channel and easily access our video updates! – Facebook FanPage:http://www.facebook.com/JazznBluesExp… “
Uploaded on May 30, 2009
” SAMBO ARTHUR IRBY takes lead vocals on this one.CORKY SIEGEL- Harmonica/Piano/Vocals. JIM SCHWALL – Guitar/Vocals, The “Legendary” SAM LAY – Drums/Vocals, ROLLO RADFORD – Bass/Vocals, SAMBO ARTHUR IRBY- Percussion’s, Drums, Vocals”
” Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers — and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream. Waller also pioneered the use of the pipe organ and Hammond organ in jazz — he called the pipe organ the “God box” — adapting his irresistible sense of swing to the pedals and a staccato right hand while making imaginative changes of the registration. As a composer and improviser, his melodic invention rarely flagged, and he contributed fistfuls of joyous yet paradoxically winsome songs like “Honeysuckle Rose,” “Ain’t Misbehavin,'” “Keepin’ Out of Mischief Now,” “Blue Turning Grey Over You” and the extraordinary “Jitterbug Waltz” to the jazz repertoire.
During his lifetime and afterwards, though, Fats Waller was best known to the world for his outsized comic personality and sly vocals, where he would send up trashy tunes that Victor Records made him record with his nifty combo, Fats Waller & His Rhythm. Yet on virtually any of his records, whether the song is an evergreen standard or the most trite bit of doggerel that a Tin Pan Alley hack could serve up, you will hear a winning combination of good knockabout humor, foot-tapping rhythm and fantastic piano playing. Today, almost all of Fats Waller‘s studio recordings can be found on RCA’s on-again-off-again series The Complete Fats Waller, which commenced on LPs in 1975 and was still in progress during the 1990s.” Continue reading
Uploaded on Aug 29, 2010
” Some rare footage of two great Mississippi blues men, the fiery slide of Fred McDowell and the sweet and mellow John Hurt with his beautiful finger picking style, only glimpses that leave you wanting a whole lot more. Plus some of the young white guys who were making great music at the time, John Koerner and the Paul Butterfield band with Paul on harp and Mike Bloomfield on guitar.”
” Singer, songwriter, and guitar virtuoso Jimmy Thackery carved an enviable niche for himself in the world of electric blues. Known for his gritty, blue-collar approach and marathon live shows, Thackery was for many years part of the Nighthawks, one of the hardest-working blues bar bands in North America. By the late ’80s, he was touring and recording under his own name, and finding widespread acceptance on the festival circuit. His hard-edged, tough-as-nails approach to guitar playing and his trio’s driving rhythm section holds appeal for fans of both the straight-ahead blues of Muddy Waters and the roots rock of Bruce Springsteen and Joe Grushecky. Like the Nighthawks and Grushecky‘s Houserockers, much of the material Thackery performs can safely be called blues or blues-rock. Hardcore blues like “It’s My Own Fault” and popular blues-rock chestnuts like “Red House” from Jimi Hendrix are fair game for Thackery & His Drivers, which included Michael Patrick on bass and Mark Stutso on drums and vocals.
Born in Pittsburgh, Thackery was raised in Washington, D.C. In high school, he played in a band with Bonnie Raitt‘s brother, David, who exposed him to the music of Buddy Guy; Thackery saw both Guy and Jimi Hendrix perform in Washington, D.C. Thackery joined the Nighthawks in 1974, after being introduced to harmonica man Mark Wenner by fellow guitarist Bobby Radcliff, who was then based in D.C. Thackery recorded more than 20 albums with the Nighthawks and toured the U.S., Canada, Europe, and Japan. He left the band in 1987 and struck out on his own, needing a break from the Nighthawks‘ 300-nights-a-year tour schedule. ” Continue reading
” The premier blues shouter of the postwar era, Big Joe Turner‘s roar could rattle the very foundation of any gin joint he sang within — and that’s without a microphone. Turner was a resilient figure in the history of blues — he effortlessly spanned boogie-woogie, jump blues, even the first wave of rock & roll, enjoying great success in each genre.
Turner, whose powerful physique certainly matched his vocal might, was a product of the swinging, wide-open Kansas City scene. Even in his teens, the big-boned Turner looked entirely mature enough to gain entry to various K.C. nighteries. He ended up simultaneously tending bar and singing the blues before hooking up with boogie piano master Pete Johnson during the early ’30s. Theirs was a partnership that would endure for 13 years.
The pair initially traveled to New York at John Hammond‘s behest in 1936. On December 23, 1938, they appeared on the fabled Spirituals to Swing concert at Carnegie Hall on a bill with Big Bill Broonzy,Sonny Terry, the Golden Gate Quartet, and Count Basie. Turner and Johnson performed “Low Down Dog” and “It’s All Right, Baby” on the historic show, kicking off a boogie-woogie craze that landed them a long-running slot at the Cafe Society (along with piano giants Meade Lux Lewis and Albert Ammons).
As 1938 came to a close, Turner and Johnson waxed the thundering “Roll ‘Em Pete” for Vocalion. It was a thrilling up-tempo number anchored by Johnson‘s crashing 88s, and Turner would re-record it many times over the decades. Turner and Johnson waxed their seminal blues “Cherry Red” the next year for Vocalion with trumpeter Hot Lips Page and a full combo in support. In 1940, the massive shouter moved over to Decca and cut “Piney Brown Blues” with Johnson rippling the ivories. But not all of Turner‘s Decca sides teamed him with Johnson; Willie “The Lion” Smith accompanied him on the mournful “Careless Love,” while Freddie Slack’s Trio provided backing for “Rocks in My Bed” in 1941.
Turner ventured out to the West Coast during the war years, building quite a following while ensconced on the L.A. circuit. In 1945, he signed on with National Records and cut some fine small combo platters under Herb Abramson‘s supervision. Turner remained with National through 1947, belting an exuberant “My Gal’s a Jockey” that became his first national R&B smash. Contracts didn’t stop him from waxing an incredibly risqué two-part “Around the Clock” for the aptly named Stag imprint (as Big Vernon!) in 1947. There were also solid sessions for Aladdin that year that included a wild vocal duel with one of Turner‘s principal rivals, Wynonie Harris, on the ribald two-part “Battle of the Blues.” ” Continue reading
” One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within that realm, Mahal soon broadened his approach, taking a musicologist’s interest in a multitude of folk and roots music from around the world — reggae and other Caribbean folk, jazz, gospel, R&B, zydeco, various West African styles, Latin, even Hawaiian. The African-derived heritage of most of those forms allowed Mahal to explore his own ethnicity from a global perspective and to present the blues as part of a wider musical context. Yet while he dabbled in many different genres, he never strayed too far from his laid-back country blues foundation. Blues purists naturally didn’t have much use for Mahal‘s music, and according to some of his other detractors, his multi-ethnic fusions sometimes came off as indulgent, or overly self-conscious and academic. Still, Mahal‘s concept was vindicated in the ’90s, when a cadre of young bluesmen began to follow his lead — both acoustic revivalists (Keb’ Mo’, Guy Davis) and eclectic bohemians (Corey Harris, Alvin Youngblood Hart).
Taj Mahal was born Henry St. Clair Fredericks in New York on May 17, 1942. His parents — his father a jazz pianist/composer/arranger of Jamaican descent, his mother a schoolteacher from South Carolina who sang gospel — moved to Springfield, Massachusetts, when he was quite young, and while growing up there, he often listened to music from around the world on his father’s short-wave radio Bo Diddley. While studying agriculture and animal husbandry at the University of Massachusetts, he adopted the musical alias Taj Mahal (an idea that came to him in a dream) and formed Taj Mahal & the Elektras, who played around the area during the early ’60s. After graduating, Mahal moved to Los Angeles in 1964 and, after making his name on the local folk-blues scene, formed the Rising Sons with guitarist Ry Cooder. The group signed to Columbia and released one single, but the label didn’t quite know what to make of their forward-looking blend of Americana, which anticipated a number of roots rock fusions that would take shape in the next few years; as such, the album they recorded sat on the shelves, unreleased until 1992.” Continue reading
” Legendary blues guitarist died on Thursday night at the age of 89.
Daughter Patty King said he died in Las Vegas of as-yet-undisclosed causes, two weeks after being placed in home hospice care while suffering from dehydration, according to CNN.”
” Born Riley B. King on September 16, 1925 on a plantation in Itta Bena, Mississippi, King was widely regarded as one of the greatest and most influential guitarists and blues musicians of all-time. After starting out on street corners in Mississippi as a youngster, he hitchhiked to Memphis in 1947 and got an early break when he performed on radio there the next year.”
” He scored his first hit with 1952’s “Three O’Clock Blues” and soon began to tour extensively, logging an incredible 342 concerts in 1956. He released his first album, Singin’ the Blues, the next year, and during a career that spanned over six decades, he released more than 40 studio albums, in addition to over a dozen live albums.
With hundreds of songs in his catalog, the man nicknamed the King of the Blues is best known for such signature tracks as: “The Thrill Is Gone,” “Everyday I have the Blues,” “Why I Sing the Blues” and “How Blue Can You Get.” “
Read more here and at the many links below :
You’re in fine company up there in Blues Heaven … you will be missed … Rest In Peace Mr King
Published on Mar 17, 2012
” Terry ” Harmonica ” Bean in live – Mike Jay Greene (guitare), Fred Jouglas (basse) et Simon “Shuffle” Boyer (batterie). @ l’Espace le Bois aux Dames Samoëns Haute Savoie France le Vendredi 16 Mars 2012 “
Published on Jan 3, 2015
” I like Clapton’s opening comment at 0:12 “If there was a coin we could be like,you know,I could be on one side and he could be on the other”. Jeff Beck should have the words “Talent Scout” in his resume because he knew great talent when he saw it, heard it or performed with them. Les Paul,Cliff Gallup,B.B. King,Bo Diddley,Scotty Moore,Little Richard,Jerry Lee Lewis,Chuck Berry,Matt Murphy Paul Burlison,Buddy Guy,Earl Hooker,James Burton,Steve Cropper,Hank Marvin,Ian Stewart,Hendrix,Clapton,Page,Townsend,Rod Stewart,Ron Wood,Billy Gibbons,John McLaughlin,Stevie Wonder,Stanley Clarke,Jan Hammer,Carlos Santana,David Gilmour,Roger Waters,Aynsley Dunbar,Cozy Powell,Jack Bruce,Tim Bogert,Carmine Appice,Buddy Miles,Paul McCartney are just a few of many more to add.
The opening song “Cause We’ve Ended as Lovers” was written by Stevie Wonder and was voted the number 1 most beautiful instrumental of All Time. Jeff dedicated that song to Roy Buchanan on his landmark 1975 LP “Blow by Blow”. Since it was Jeff Beck who turned me onto Roy Buchanan’s music (I have almost every recording by him starting back from 1957) so I felt that I had to add,what I think is, Roy’s most beautiful song as a follow up. This Roy Buchanan song is an instrumental version of “The Messiah Will Come Again” recorded live in Chicago around 1985. Roy was known as “The World’s Greatest Unknown Guitarist” and there is a great book about him titled “American Axe”http://www.amazon.com/Roy-Buchanan-Am…
Buy it if you want to learn more about this great guitarist.
Jeff Beck http://en.wikipedia.org/wiki/Jeff_Beck
Jeff Beck Discography http://en.wikipedia.org/wiki/Jeff_Bec…
Blow by Blow LP http://en.wikipedia.org/wiki/Blow_by_…
Roy Buchanan http://en.wikipedia.org/wiki/Roy_Buch…
Roy Buchanan’s first lp from 1972 http://en.wikipedia.org/wiki/Roy_Buch…)
Back issues of Jeff Beck Bulletins http://www.ainian.com/backbull.html
0:00 Nice intro by Clapton
0:34 Cause We’ve Ended As Lovers
2:54 Eric Clapton lets loose
3:30 Doyle Bramhall II solo
4:02 Jeff Beck’s solo
Nathan East-Bass http://en.wikipedia.org/wiki/Nathan_East
Steve Gadd-Drums http://en.wikipedia.org/wiki/Steve_Gadd
6:13 The Messiah Will Come Again (I love how this song starts off slow then by the end it’s smoking hot. I once listened to this song 13 times in a row and it still gives me the goose bumps when ever I hear those pinched harmonics and Flash Guitar runs.
Here is a link to one of my favorite Roy Buchanan songs called “When A Guitar Plays The Blues” at Carnegie Hall in NYC https://www.youtube.com/watch?v=Ka7yH…
And here is another link of Roy performing “Green Onions” and “Short Fuse” at Carnegie Hall in NYC 1985https://www.youtube.com/watch?v=NNW-5… “
” There’s been considerable discussion about whether Bobby Darin should be classified as a rock & roll singer, a Vegas hipster cat, an interpreter of popular standards, or even a folk-rocker. He was all of these and none of these. Throughout his career he made a point of not becoming committed to any one style at the exclusion of others; at the height of his nightclub fame he incorporated a folk set into his act. When it appeared he could have gone on indefinitely as a sort of junior version of Frank Sinatra, he would periodically record pop/rock and folk-rock singles whose principal appeal lay outside of the adult pop market. At one point he started calling himself Bob Darin and recorded songs with vague anti-establishment overtones that could be said to be biting the largely bourgeois hands that fed his highest-paying gigs. It may be most accurate to say that Darin was, above all, a singer who wanted to do a lot of things, rather than make his mark as a particular stylist. That may have cost him some points as far as making it to the very top of certain genres, but also makes his work more versatile than almost any other vocalist of his era.”
” When Darin had his first hits in the late ’50s, he was a teen idol of sorts, albeit a teen idol with much more talent and mature command than the typical singer in that style. The novelty-tinged “Splish Splash” was his breakthrough smash, followed by “Queen of the Hop” and the ballad “Dream Lover.” There was a slight R&B feel to Bobby‘s delivery that may well have influenced R&B-pop/rock singers such as Dion, though it would be an exaggeration to call Darin a blue-eyed soul man. In late 1959, he found a new direction when the swinging “Mack the Knife,” a tune from Brecht–Weill‘s Threepenny Opera musical, made number one. The song came from an album of pop standards, heralding his move toward light big band jazz, which was consolidated by the Top Ten success of “Beyond the Sea” in 1960.”
” In the early ’60s, Darin had mostly abandoned rock for the adult pop market, becoming a huge success on the Vegas-nightclub circuit, and moving into the all-around entertainer mode with starring roles in movies (including one as a non-singing jazz musician in John Cassavetes’ Too Young Blues). He also continued to score regular hits with the likes of “You Must Have Been a Beautiful Baby,” “Things,” and “Lazy River.” To keep people guessing, there was also a hit cover of “What’d I Say” and some country tunes (one of which, “You’re the Reason I’m Living,” made it to number three on the pop charts). Around 1963, he put a folk section into his nightclub act that employed guitarist Roger McGuinn, then a couple of years away from fame as the leader of the Byrds.”Continue reading
1958 Bobby Darin  Atlantic 1959 That’s All Atlantic 1960 This Is Darin Atlantic 1960 Darin at the Copa Atlantic 1960 For Teenagers Only Collectors’ Choice Music 1960 The 25th Day of December Atco / Atlantic 1961 Two of a Kind Atco 1961 Twist with Bobby Darin Atco 1961 Love Swings Atco 1962 Bobby Darin Sings Ray Charles Atco 1962 Things & Other Things Collectors’ Choice Music 1962 Oh! Look at Me Now Capitol 1963 You’re the Reason I’m Living Capitol 1963 It’s You or No One Atco 1963 18 Yellow Roses Capitol 1963 Earthy! Capitol 1964 Winners Atco 1964 Hello Dolly to Goodbye Charlie Capitol 1964 The Lively Set [Original Soundtrack] Decca 1965 Venice Blue Capitol 1965 I Wanna Be Around Capitol 1966 Bobby Darin Sings The Shadow of Your Smile Atlantic 1966 In a Broadway Bag (Mame) Atlantic 1966 If I Were a Carpenter Atlantic 1966 1966 Academy Award Song Kit Atlantic 1967 Inside Out Atlantic 1967 Something Special Atlantic 1967 Dr. Doolittle Atlantic 1968 Bobby Darin Born Walden Robert Cassotto 1969 Commitment Direction 1971 Live! At the Desert Inn Concord / Neon Tonic / Universal (Pty) Ltd. 1972 Bobby Darin 
Published on Nov 2, 2012
” Mr. Jimi Hendrix with his 12 string acoustic guitar. Filmed in widescreen. A very clear image of Jimi and his guitar work.”
Published on Jul 9, 2014
” The Howlin ‘Wolf Story – The Secret History of Rock & Roll
Documentary about Chester A. Burnett, better known as Howlin’ Wolf
Rare footage of Howlin’ Wolf presented by the Rolling Stones on Shindig performing “How Many More Years?
First presentation of previously unknown or unavailable performance footage,
Drummer Sam Lay’s rare, never-before-seen home movies of stars of the Chicago Blues clubs from the early ’60s,
Newly discovered photos of Howlin’ Wolf and his band,
First filmed interview with Howlin’ Wolf’s family.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976,
allowance is made for “fair use” for purposes such as criticism,
comment, news reporting, teaching, scholarship,and research.
Fair use is a use permitted by copyright statute that might otherwise be infringing.
Non-profit, educational or personal use tips the balance in favor of fair use.”
” With each new album, guitarist, singer, and songwriter “Steady Rollin'” Bob Margolin continues to expand the boundaries of modern blues. Margolin, a sideman for Muddy Waters from 1973 to 1980, was born on May 9, 1949, and raised in Brookline, MA, became enamored with the recordings of Chuck Berry while still in high school and began playing out a few years later while attending Boston University in the early ’70s. Working with a variety of Boston-area blues bands and one he called the Boston Blues Band, he elected to pursue music full-time. In 1973, he joined Waters on the road and in the studio for seven years, playing festivals and clubs around the U.S., Canada, and Europe with the legendary bluesman, who died in 1983. Highlights of his career with Waters‘ band included the taping for The Last Waltz on Thanksgiving Day 1976, and performing at the White House for Jimmy Carter in August 1978.” Continue Reading
” If the blues has a truly mythic figure, one whose story hangs over the music the way a Charlie Parker does over jazz or a Hank Williams does over country, it’s Robert Johnson, certainly the most celebrated figure in the history of the blues. Of course, his legend is immensely fortified by the fact that Johnson also left behind a small legacy of recordings that are considered the emotional apex of the music itself. These recordings have not only entered the realm of blues standards (“Love in Vain,” “Crossroads,” “Sweet Home Chicago,” “Stop Breaking Down”), but were adapted by rock & roll artists as diverse as the Rolling Stones, Steve Miller, Led Zeppelin, and Eric Clapton. While there are historical naysayers who would be more comfortable downplaying his skills and achievements (most of whom have never made a convincing case as where the source of his apocalyptic visions emanates from), Robert Johnson remains a potent force to be reckoned with. As a singer, a composer, and as a guitarist of considerable skills, he produced some of the genre’s best music and the ultimate blues legend to deal with. Doomed, haunted, driven by demons, a tormented genius dead at an early age, all of these add up to making him a character of mythology who — if he hadn’t actually existed — would have to be created by some biographer’s overactive romantic imagination.
The legend of his life — which by now, even folks who don’t know anything about the blues can cite to you chapter and verse — goes something like this: Robert Johnson was a young black man living on a plantation in rural Mississippi. Branded with a burning desire to become great blues musician, he was instructed to take his guitar to a crossroad near Dockery’s plantation at midnight. There he was met by a large black man (the Devil) who took the guitar from Johnson, tuned it, and handed it back to him. Within less than a year’s time, in exchange for his everlasting soul, Robert Johnson became the king of the Delta blues singers, able to play, sing, and create the greatest blues anyone had ever heard.” Continue reading
” Guitar mastermind Joe Bonamassa, a young player with the childhood dream of playing music similar to legends like Stevie Ray Vaughan, Eric Clapton, and Jimi Hendrix, was 22 when he inked a deal with Epic. Hailing from Utica, New York, Bonamassa could play the blues before he could drive a car. He first heard Stevie Ray Vaughan at age four and was instantly taken by Vaughan‘s high-powered playing. At age eight, he opened for B.B. King, and at age 12, he was playing regularly around upstate New York. It was soon thereafter that Bonamassa hooked up with the band Bloodline, which featured other musicians’ sons: Waylon Krieger (Robby Krieger‘s son), Erin Davis (Miles Davis‘ drummer kid), and Berry Oakley, Jr. (son of the Allman Brothers bassist). Bloodline released a self-titled album, but Bonamassa wanted to move on. In summer 2000 he guested for Roger McGuinn on Jethro Tull‘s summer tour, later releasing his debut solo album, A New Day Yesterday. Produced by longtime fan Tom Dowd, the album marked a move toward a more organic and rock-sounding direction. He put together a power trio with drummer Kenny Kramme and bassist Eric Czar and hit the road to support the album.” Continue Reading
Uploaded on Jan 21, 2010
” The great country blues singer and guitarist Big Bill Broonzy performs “Worried Man Blues,” “Hey, Hey” and “How You Want It Done.” From the DVD “A Musical Journey: The Films of Pete, Toshi and Dan Seeger.” More info at http://www.guitarvideos.com/products/… “
” The staff of Charlie Hebdo was honored tonight at the PEN American Center gala, following much controversy, and they received a standing ovation as they affirmed their commitment to free speech and free expression.
There was a recent controversy when a group of authors refused to participate in the gala because of their opposition to what they perceive as the French publication’s “intolerance.” Salman Rushdie and a whole host of other writers stood up for Charlie Hebdo, defending them from that charge of intolerance and insisting the free speech principle is of paramount importance.
Well, the gala happened tonight (under heavy security), and they received the award to a standing ovation.”
The six dhimmi authors who shamefully refused to participate are: Peter Carey, Michael Ondaatje, Francine Prose, Teju Cole, Rachel Kushner and Taiye Selasi .
Published on Nov 4, 2014
” The Blues Brothers – Full Concert
Recorded Live: 12/31/1978 – Winterland (San Francisco, CA)
0:00:00 – Can’t Turn You Loose (Intro)
0:01:49 – Hey Bartender
0:04:44 – Messin’ With The Kid
0:08:06 – (I Got Everything I Need) Almost
0:11:27 – Rubber Biscuit
0:14:55 – Shotgun Blues
0:20:40 – Groove Me
0:24:26 – I Don’t Know
0:29:57 – Soul Man
0:33:04 – B Movie Box Car Blues
0:38:44 – Flip, Flop & Fly
0:42:41 – Jailhouse Rock
Joliet Jake Blues (John Belushi) – vocals
Elwood Blues (Dan Akroyd) – harmonica, vocals
Steve Cropper – guitar
Matt Murphy – guitar
Donald Dunn – bass
Tom Malone – trombone, trumpet, saxophone
Lou Marini – saxophone
Tom Scott – saxophone
Alan Rubin – trumpet
Paul Shaffer – keyboards
Murphy Dunne – piano
Steve Jordan – drums
Willie Hall – drums “