Category: Blues


Happy Birthday Alexis Korner

 

 

 

Biography

 

” Without Alexis Korner, there still might have been a British blues scene in the early 1960s, but chances are that it would have been very different from the one that spawned the Rolling Stones, nurtured the early talents of Eric Clapton, and made it possible for figures such as John Mayall to reach an audience. Born of mixed Turkish/Greek/Austrian descent, Korner spent the first decade of his life in France, Switzerland, and North Africa, and arrived in London in May of 1940, just in time for the German blitz, during which Korner discovered American blues. One of the most vivid memories of his teen years was listening to a record of bluesman Jimmy Yancey during a German air raid. “From then on,” he recalled in an interview, “all I wanted to do was play the blues.”

  After the war, Korner started playing piano and then guitar, and in 1947 he tried playing electric blues, but didn’t like the sound of the pick-ups that were then in use, and returned to acoustic playing. In 1949, he joined Chris Barber’s Jazz Band and in 1952 he became part of the much larger Ken Colyer Jazz Group, which had merged with Barber‘s band. Among those whom Korner crossed paths with during this era was Cyril Davies, a guitarist and harmonica player. The two found their interests in American blues completely complementary, and in 1954 they began making the rounds of the jazz clubs as an electric blues duo. They started the London Blues and Barrelhouse Club, where, in addition to their own performances, Korner and Davies brought visiting American bluesmen to listen and play. Very soon they were attracting blues enthusiasts from all over England.

   Korner and Davies made their first record in 1957, and in early 1962, they formed Blues Incorporated, a “supergroup” (for its time) consisting of the best players on the early-’60s British blues scene. Korner(guitar, vocals), Davies (harmonica, vocals), Ken Scott (piano), and Dick Heckstall-Smith (saxophone) formed the core, with a revolving membership featuring Charlie Watts or Graham Burbridge on drums,Spike Heatley or Jack Bruce on bass, and a rotating coterie of guest vocalists including Long John Baldry, Ronnie Jones, and Art Wood (older brother of Ron Wood). Most London jazz clubs were closed to them, so in March of 1962 they opened their own club, which quickly began attracting large crowds of young enthusiasts, among them Mick Jagger, Keith Richards, and Brian Jones, all of whom participated at some point with the group’s performances; others included Ian Stewart, Steve Marriott, Paul Jones, and Manfred Mann. In May of 1962, Blues Incorporated was invited to a regular residency at London’s Marquee Club, where the crowds grew even bigger and more enthusiastic. John Mayall later credited Blues Incorporated with giving him the inspiration to form his own Bluesbreakers group.”Continue reading

 

 

 

 

 

 

 

Discography

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Happy Birthday To Clarence “Gatemouth” Brown & Lil Ed Williams Of The Blues Imperials

 

 

Mr Brown starts us off …

 

 

Biography

” Whatever you do, don’t refer to multi-instrumentalist Clarence “Gatemouth” Brown as a bluesman, although his imprimatur on the development of Texas blues is enormous. You’re liable to get him riled. If you must pigeonhole the legend, just call him an eclectic Texas musical master whose interests encompass virtually every roots genre imaginable.

  Brown learned the value of versatility while growing up in Orange, TX. His dad was a locally popular musician who specialized in country, Cajun, and bluegrass — but not blues. Later, Gate was entranced by the big bands of Count Basie, Lionel Hampton, and Duke Ellington (a torrid arrangement of “Take the ‘A’ Train” remains a centerpiece of Brown‘s repertoire). Tagged with the “Gatemouth” handle by a high school instructor who accused Brown of having a “voice like a gate,” Brown has used it to his advantage throughout his illustrious career. (His guitar-wielding brother, James “Widemouth” Brown, recorded “Boogie Woogie Nighthawk” for Jax in 1951.)

  In 1947, Gate’s impromptu fill-in for an ailing T-Bone Walker at Houston entrepreneur Don Robey‘s Bronze Peacock nightclub convinced Robey to assume control of Brown‘s career. After two singles for Aladdin stiffed, Robey inaugurated his own Peacock label in 1949 to showcase Brown‘s blistering riffs, which proved influential to a legion of Houston string-benders (Albert Collins, Johnny CopelandJohnny “Guitar” Watson, Cal Green, and many more have pledged allegiance to Brown‘s riffs). Peacock and its sister label Duke prospered through the ’50s and ’60s.” Continue reading

 

 

Discography

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Lil Ed and his Blues Imperials finish up the post …

 

 

 

 

 

 

 

Biography

 

” Diminutive nicknames are common enough on the Chicago blues scene and in the case of Lil’ Ed Williams the “little” is even shrunken down. This hard-driving guitarist and vocalist is nonetheless a formidable presence in the former genre circa the new millennium and events such as his 2007 Rattleshake tour and album. By then Williams had led his Blues Imperials for more than 25 years off and on, inviting comparisons to the kick-ass blues-rock of Hound Dog Taylor & the Houserockers. The “lil'” fellow has a connection both stylistic and ancestral with guitarist J.B. Hutto, a uniquely rough-hewn performer in his own right. Hutto would certainly have been proud to see his nephew go from working in a car wash to teaching Conan O’Brien how to play the blues in a skit on national television.” Continue reading

 

 

Discography

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Ready For The Blues – 22 Vintage Blues Tracks – One Hour Of Blues

 

 

 

 

Published on Dec 29, 2014

” Ready For The Blues – 22 Vintage Blues Tracks
♫ SUBSCRIBE HERE : http://bit.ly/10VoH4l
Find the album here: http://amzn.to/1D1r3gAhttp://bit.ly/1xqhSo0http://bit.ly/1Be5Grb
Join us on facebook : http://on.fb.me/1yY77w3
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… “

 

 

 

 

 

 

 

 

 

 

Yesterday We Were In Error With A Birthday . It Was Tommy Castro’s And Not Coco Montoya’s . Today We Make Amends.

 

 

 

 

Biography

” According to all the press and hype and hoopla for a time during the 1990s, Tommy Castro was pegged as the next big star of the blues. Long a favorite among Bay Area music fans, Castro — in the space of two album releases — took his music around the world and back again with a sheaf of praise from critics and old-time blues musicians alike. His music was a combination of soul-inflected rockers with the occasional slow blues or shuffle thrown into the mix to keep it honest. His vocals were laid-back and always a hair behind the beat, while his scorching guitar tone was Stevie Ray Stratocaster-approved. Crossover success did not seem out of the question.

  Born and raised in San Jose, California, Castro started playing guitar at the tender age of ten. Initially inspired by Mike Bloomfield, Eric Clapton, and Elvin Bishop, he started the inevitable journey into the roots of his heroes and discovered and quickly became enamored of B.B. King, Buddy Guy, Elmore James, Muddy Waters, and Freddie King. His vocal styling came from constant listening to Ray Charles, Wilson Pickett, James Brown, and Otis Redding. After playing with numerous Bay Area groups honing his chops, he landed a gig playing guitar for the San Francisco band the Dynatones, who were then signed to Warner Bros. The two-year stint augured well for Castro, playing to the biggest crowds he had seen up to that point and backing artists as diverse as Carla Thomas and Albert King.” Continue reading

 

 

Discography

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Today We Bid Happy Birthday To Bessie Smith And Coco Montoya

 

 

First a taste of Ms Bessie Smith ...

 

 

 

Biography

 

” The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of “The Empress of the Blues.” Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today’s listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed “blues singers,” Bessie Smith simply had no competition.

  Back in 1912, Bessie Smith sang in the same show as Ma Rainey, who took her under her wing and coached her. Although Rainey would achieve a measure of fame throughout her career, she was soon surpassed by her protégée. In 1920, Smith had her own show in Atlantic City and, in 1923, she moved to New York. She was soon signed by Columbia and her first recording (Alberta Hunter‘s “Downhearted Blues”) made her famous. Bessie Smith worked and recorded steadily throughout the decade, using many top musicians as sidemen on sessions including Louis Armstrong, Joe Smith (her favorite cornetist), James P. Johnson, and Charlie Green. Her summer tent show Harlem Frolics was a big success during 1925-1927, and Mississippi Days in 1928 kept the momentum going.” Continue reading

 

 

Discography

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And now some Coco Montoya …

 

 

Biography

 

” Though he grew up as a drummer and was raised on rock & roll, Coco Montoya became an outstanding blues guitarist after stints in the bands of Albert Collins and John MayallMontoya debuted as a leader in 1995 with the Blind Pig album Gotta Mind to Travel and garnered an award for Best New Blues Artist at the following year’s W.C. Handy Awards ceremonies.

  Born in Santa Monica, Montoya played drums for a local rock band that toured the region during the mid-’70s, playing in area clubs. Although he had recently been turned on to blues at an Albert King show, he was somewhat unprepared to sit in with another blues legend — “the Iceman” Albert Collins — when a bar-owner friend of Montoya invited the bluesman to play at his nightclub. Though his inexperience showed, the young drummer impressed Collins enough to hire him for a Pacific Northwest tour three months later. The tour soon ended, but the pair’s affiliation remained for more than five years, while Montoya learned much about the handling of blues guitar from “the Master of the Telecaster.” ” Continue reading

 

 

Discography

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Albert Castiglia – Somebody Loan Me A Dime – North Atlantic Blues Fest

 

 

Published on Jul 17, 2012

” North Atlantic Blues Festival Rockland Maine July 2012 “

 

 

 

 

 

 

 

 

 

 

Carlos Santana & Buddy Guy – Montreux Jazz Festival

 

 

 

Uploaded on Oct 23, 2006

” http://www.marinoshop.com.br – 1982 Drinkin’ TNT ‘n’ Smokin’ Dynamite (live) — Blind Pig (rec. 1974 Montreax Jazz Fest.)
Carlos Augusto Alves Santana (born July 20, 1947), known simply as Carlos Santana or Santana, is a Grammy Award-winning Mexican-born American Latin rock musician and guitarist.
He became famous in the late 1960s and early 1970s with his band, the Santana Blues Band, going mostly under the title “Santana,” which created a highly successful blend of salsa, rock, blues, and jazz fusion. Their sound featured his often high-pitched and distorted guitar lines set against Latin American instrumentation such as timbales and congas. Santana continued to work in these forms over the following decades, and experienced a sudden resurgence of popularity and critical acclaim in the late 1990s.
Over his career he has sold an estimated 80 million albums worldwide.

  George “Buddy” Guy (born July 30, 1936) is an American blues and rock guitarist and singer. Known as an inspiration to Jimi Hendrix, Eric Clapton and other 1960s blues and rock legends, Guy is considered an important exponent of Chicago blues. He is the father of female rapper Shawnna.
Guy is known for his showmanship; for example, he plays his guitar with drumsticks, or strolls into the audience while jamming and trailing a long guitar cord.
Born in Lettsworth, Louisiana, Guy grew up in Louisiana where he learned to play guitar at a womens trucker convention[citation needed]. In the early ’50s he began performing with bands in Baton Rouge. Soon after moving to Chicago in 1957, Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for the Cobra label. He recorded sessions with Junior Wells for Delmark Records under the pseudonym Friendly Chap in 1965 and 1966. “

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Happy One Hundredth Birthday To Theodore Roosevelt “Hound Dog” Taylor

 

 

 

 

Biography

 

” Alligator Records, Chicago’s leading contemporary blues label, might never have been launched at all if not for the crashing, slashing slide guitar antics of Hound Dog Taylor. Bruce Iglauer, then an employee of Delmark Records, couldn’t convince his boss, Bob Koester, of Taylor‘s potential, so Iglauer took matters into his own hands. In 1971, Alligator was born for the express purpose of releasing Hound Dog‘s debut album. We all know what transpired after that.

  Named after President Theodore Roosevelt, Mississippi-native Taylor took up the guitar when he was 20 years old. He made a few appearances on Sonny Boy Williamson‘s fabled KFFA King Biscuit Time radio broadcasts out of Helena, Arkansas, before coming to Chicago in 1942. It was another 15 years before Taylor made blues his full-time vocation, though. Taylor was a favorite on Chicago’s South and West sides during the late ’50s and early ’60s. It’s generally accepted that Freddy King copped a good portion of his classic “Hide Away” from an instrumental he heard Taylor cranking out on the bandstand.

  Taylor‘s pre-Alligator credits were light — only a 1960 single for Cadillac Baby‘s Bea & Baby imprint (“Baby Is Coming Home”/”Take Five”), a 1962 45 for Carl Jones‘ Firma Records (“Christine”/”Alley Music”), and a 1967 effort for Checker (“Watch Out”/”Down Home”) predated his output for Iglauer.” Continue reading

 

 

 

Discography

 

Hound Dog Taylor & the Houserockers
1971 Hound Dog Taylor & the Houserockers Alligator Records
(84)
Natural Boogie
1973 Natural Boogie Alligator Records
(38)
Beware of the Dog
1975 Beware of the Dog Alligator Records
(33)
Genuine Houserocking Music
1982 Genuine Houserocking Music Alligator Records
(15)
Freddie's Blues
1994 Freddie’s Blues Wolf
(4)
Release the Hound
2004 Release the Hound P-Vine Records
(17)

 

 

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2013 Chicago Blues Festival – Finale

 

 

 

Published on Jun 10, 2013

” James Cotton, Billy Branch, Matt Skoller, Lil’ Ed,, Eddy Clearwater, Deitra Farr, John Primer, Demetria Taylor, Felton Crews, Billy Flynn, Kenny Smith, Johnny Iguana.”

 

 

 

 

 

 

 

 

 

 

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Happy Birthday Shemekia Copeland

 

 

 

Biography

” The daughter of renowned Texas blues guitarist Johnny Copeland, Shemekia Copeland began making a splash in her own right before she was even out of her teens. Projecting a maturity beyond her years, Copeland fashioned herself as a powerful, soul-inflected shouter in the tradition of Koko Taylor and Etta James, yet also proved capable of a subtler range of emotions. Copeland was born in Harlem in 1979 and her father encouraged her to sing right from the beginning, even bringing her up on-stage at the Cotton Club when she was just eight years old. She began to pursue a singing career in earnest at age 16, when her father’s health began to decline due to heart disease; he took Shemekia on tour with him as his opening act, which helped establish her name on the blues circuit. She landed a record deal with Alligator, which issued her debut album, Turn the Heat Up!, in 1998, when she was just 19 years old (sadly, her father didn’t live to see the occasion).” Continue reading

 

 

Discography

 

Turn the Heat Up!
1998 Turn the Heat Up! Alligator Records
(8)
Wicked
2000 Wicked Alligator Records
(7)
Talking to Strangers
2002 Talking to Strangersalbum review Alligator Records
(13)
The Soul Truth
2005 The Soul Truthalbum review Alligator Records
(2)
Never Going Back
2009 Never Going Back Telarc Distribution
(2)
33 1/3
2012 33 1/3album review Telarc
(17)

 

 

 

 

 

 

 

 

 

 

 

 

Happy Birthday Mance Lipscomb

 

 

 

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Saffire The Uppity Blues Women – “He Makes It Hard For Me To Sing The Blues” 6-7-09

 

 

 

Uploaded on Aug 8, 2009

” Sassy, irreverent, fun, & multi-talented are just some of the words to describe Ann Rabson, Andra Faye, & Gaye Adegbalola, otherwise known as Saffire, the Uppity Blues Women. Sadly they are parting to go their separate ways after something like 25 years as Saffire. This was recorded on their “Farewell Legacy Tour” stop at The Yale in Vancouver with Ann Rabson tastely playing the eighty-eights and singing this wonderful song.”

 

 

 

 

 

 

 

 

 

 

Sonny Terry & Brownie McGhee: Key To The Highway

 

 

 

 

Uploaded on Mar 8, 2009

” Sonny Terry & Brownie McGhee performing Big Bill Broonzy’s standard. Must be in the late ’70s. This has been shown before. I just edited it for my own needs… “

 

 

 

 

 

 

 

 

 

 

 

 

Happy Birthday Ms Holliday

 

 

 

Biography

 

” The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. More than a half-century after her death, it’s difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. Billie Holiday‘s highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, “I always wanted Bessie‘s big sound and Pops‘ feeling”), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers.

  With her spirit shining through on every recording, Holiday‘s technical expertise also excelled in comparison to the great majority of her contemporaries. Often bored by the tired old Tin Pan Alley songs she was forced to record early in her career, Holiday fooled around with the beat and the melody, phrasing behind the beat and often rejuvenating the standard melody with harmonies borrowed from her favorite horn players, Armstrong and Lester Young. (She often said she tried to sing like a horn.) Her notorious private life — a series of abusive relationships, substance addictions, and periods of depression — undoubtedly assisted her legendary status, but Holiday‘s best performances (“Lover Man,” “Don’t Explain,” “Strange Fruit,” her own composition “God Bless the Child”) remain among the most sensitive and accomplished vocal performances ever recorded. More than technical ability, more than purity of voice, what made Billie Holiday one of the best vocalists of the century — easily the equal of Ella Fitzgerald or Frank Sinatra — was her relentlessly individualist temperament, a quality that colored every one of her endlessly nuanced performances.

  Billie Holiday‘s chaotic life reportedly began in Baltimore on April 7, 1915 (a few reports say 1912) when she was born Eleanora Fagan Gough. Her father, Clarence Holiday, was a teenaged jazz guitarist and banjo player later to play in Fletcher Henderson’s Orchestra. He never married her mother, Sadie Fagan, and left while his daughter was still a baby. (She would later run into him in New York, and though she contracted many guitarists for her sessions before his death in 1937, she always avoided using him.) Holiday‘s mother was also a young teenager at the time, and whether because of inexperience or neglect, often left her daughter with uncaring relatives. Holiday was sentenced to Catholic reform school at the age of ten, reportedly after she admitted being raped. Though sentenced to stay until she became an adult, a family friend helped get her released after just two years. With her mother, she moved in 1927, first to New Jersey and soon after to Brooklyn.” Continue Reading

 

 

 

 

 

Discography

 

New Orleans
1947 New Orleans Jazz Crusade  
(6)
 
  Billie Holiday, Vol. 2 1950 Billie Holiday, Vol. 2    
(3)
 
 
Billie Holiday Sings
1950 Billie Holiday Sings Mercury  
(20)
 
 
An Evening with Billie Holiday
1953 An Evening with Billie Holiday Decca / Verve  
(6)
 
  Billie Holiday, Vol. 3 1954 Billie Holiday, Vol. 3 Jolly Roger Records  
(2)
 
  Music for Torching 1955 Music for Torching Clef Records  
(6)
 
  A Recital by Billie Holiday 1956 A Recital by Billie Holiday Clef Records  
(1)
 
  Jazz Recital 1956 Jazz Recital Clef Records  
(0)
 
  Velvet Moods 1956 Velvet Moods Clef Records  
(1)
 
 
Lady Sings the Blues
1956 Lady Sings the Blues album review Verve  
(213)
 
 
Songs for Distingué Lovers
1957 Songs for Distingué Lovers album review Verve / PolyGram  
(217)
 
 
Body & Soul [Verve]
1957 Body & Soul [Verve] album review Mobile Fidelity Sound Lab  
(26)
 
 
Lady in Satin
1958 Lady in Satin album review Columbia  
(129)
 
  Blues Are Brewin' 1958 Blues Are Brewin’ Universal/Decca  
(0)
 
 
Stay with Me
1959 Stay with Me album review Verve  
(11)
 
  Comes Love   Comes Love Dazzling Dames  
(0)
 
  Lady in Satin: The Centennial   Lady in Satin: The Centennial    
(0)
 
  Billie Holiday and Her Orchestra   Billie Holiday and Her Orchestra Jazz Portraits  
(0)
 
 
Dove Collection
  Dove Collection Prism Leisure Corporation (UK)  
(1)
 
  100 Years of Lady Day   100 Years of Lady Day Documents  
(0)
 
  Magic   Magic Must Have Records  
(0)

 

 

 

 

More videos

 

Jazz legend Billie Holiday enjoys revival at 100

Billie Holiday’s 10 essential recordings in celebration of 100th anniversary of jazz great’s birth

Billie Holiday – About the Singer – American Masters

Remembering Billie Holiday

Billie Holiday at 100

For Billie Holiday’s 100th Birthday, Tributes

 

 

 

 

 

 

Happy birthday Billie , we love you .

 

 

 

 

 

 

 

 

 

 

 

 

Happy Birthday “Big” Walter Horton

 

 

 

Biography

” Big Walter Horton, sometimes known as Shakey Walter Horton, is one of the most influential blues harmonica players of all time, and a particular pioneer in the field of amplified harmonica. He isn’t as widely known as his fellow Chicago blues pioneers Little Walter and Sonny Boy Williamson II, due mostly to the fact that, as a rather shy, quiet individual, he never had much taste for leading his own bands or recording sessions. But his style was utterly distinctive, marked by an enormous, horn-like tone, virtuosic single-note lines, fluid phrasing, and an expansive sense of space. Horton‘s amplified harp work graced sides by Muddy Waters, Jimmy Rogers, Otis Rush, Johnny Shines, Tampa Red, and many others; he was frequently cited as an inspiration by younger players, and most accounts of his life mention a testimonial from legendary bassist/songwriter Willie Dixon, who once called Horton“the best harmonica player I ever heard.”

  Horton was born April 6, 1918, in Horn Lake, MS, near Memphis. He began teaching himself to play the harmonica — a gift from his father — at age five, and moved with his mother to Memphis not long after, where he played in Handy Park (near the famed Beale Street) for tips. During his preteen years in the late ’20s, he played — and likely recorded at least a couple of sides — with the Memphis Jug Band (as Shakey Walter); he also learned more about his craft from Will Shade, the Jug Band‘s main harmonica player, and Hammie Nixon, a cohort of Sleepy John Estes. Horton played wherever he could during the Depression — dances, parties, juke joints, street corners — and teamed up with the likes of Robert Johnson, Johnny Shines, Homesick James, and David “Honeyboy” Edwards, among others; he also worked as a sideman in several touring blues bands, including those of Ma Rainey and Big Joe Williams, and spent his first brief period in Chicago. In 1939, he backed guitarist Charlie “Little Buddy” Doyle on some sessions for Columbia. Around the same time (according to Horton himself), he began to experiment with amplifying his harmonica, which if accurate may have made him the first to do so. ”  Continue reading

 

Discography

 

 

 

 

 

 

 

 

 

 

 

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Roy Rogers & Norton Buffalo – Ain’t No Bread In The Breadbox

 

 

 

Happy Birthday To Two More Giants Of The Blues , Mr Muddy Waters & Mr Gary Moore

 

 

Muddy Waters – Live Dortmund, Germany 29.10.1976

 

 

 

Published on Jun 30, 2013

” 01. Intro & After Hours
02. Soon Forgotten
03. Howlin’ Wolf Blues
04. Hoochie Coochie Man
05 Blow Wind Blow
06 Can’t Get No Grindin’
07 Long Distance Call
08 Got My Mojo Workin’
09 Got My Mojo Workin’ (First Encore)
10 Theme
11 Got My Mojo Workin’ (Second Encore) “

 

 

 

Gary Moore – Live Blues (1993) Special Guest B. B. King – Full Concert

 

 

 

 

Uploaded on Nov 25, 2011

” Track list :
Live Blues (30-04-1993) – Live at the Town and Country Club, special guest B. B. King

01. Cold Day In Hell
02. Walking By Myself
03. Story Of The Blues
04. Oh Pretty Woman
05. Intro
06. Separate Ways
07. Too Tired
08. Still Got The Blues
09. Since I Met You Baby
10. The Thrill Is Gone
11. The Sky Is Crying
12. Further On Up The Road
13. King Of The Blues
14. Jumpin’ At Shadows
15. Stop Messin’ Around “

 

 

 

 

     Fans of Muddy & Gary can see our expanded birthday celebrations of both superstars here (for Muddy) and here (for Gary) . Enjoy .

 

 

 

 

 

 

 

Happy Birthday Gary

 

 

 

Early Life And Career

” Moore started performing at a young age, having picked up a battered acoustic guitar at the age of eight. He got his first quality guitar at the age of 14, learning to play the right-handed instrument in the standard way despite being left-handed. He moved to Dublin in 1968 at the age of 16. His early musical influences were artists such as Albert KingElvis PresleyThe Shadows and The Beatles. Later, having seen Jimi Hendrix and John Mayall’s Bluesbreakers in his home town of Belfast, his own style was developing into a blues-rock sound that would be the dominant form of his career in music.

Moore’s greatest influence in the early days was guitarist Peter Green of Fleetwood Mac who was a mentor to Moore when performing in Dublin. Green’s continued influence on Moore was later repaid as a tribute to Green on his 1995 album Blues for Greeny, an album consisting entirely of Green compositions. On this tribute album, Moore played Green’s 1959 Les Paul Standard guitar which Green had lent to Moore after leaving Fleetwood Mac. Moore ultimately purchased the guitar, at Green’s request, so that “it would have a good home”.

While less popular in the US, Moore’s work “brought substantial acclaim and commercial success in most other parts of the world – especially in Europe”. Throughout his career, Moore was recognised as an influence by many notable guitarists including Vivian Campbell, Patrick Rondat, John NorumPaul Gilbert, Gus GSlashOrianthiJoe BonamassaAdrian SmithDoug AldrichZakk Wylde, Randy RhoadsJohn Sykes and Kirk Hammett.

He collaborated with a broad range of artists including Phil LynottGeorge Harrison,Trilok GurtuDr. Strangely StrangeColosseum IITravelling WilburysAlbert Collins,Jimmy NailMo FosterGinger BakerJack BruceJim CapaldiB.B. KingBob Dylan,Vicki BrownCozy PowellRod Argentthe Beach BoysOzzy OsbournePaul RodgersKeith EmersonRoger DaltreyAlbert King and together with Colosseum II with Andrew Lloyd Webber on the composer’sVariations album in 1978. He experimented with many musical genres, including rock, jazzbluescountryelectric blueshard rock and heavy metal.

In 1968, aged 16, Moore moved to Dublin to join the group Skid Row with Noel Bridgeman and Brendan “Brush” Shiels. It was with this group that he earned a reputation in the music industry, and his association with Phil Lynott began.

 

 

 

 

 

 

 

 

Allmusic:

” Skid Row would go on to issue several singles and albums (including 1970’s Skid and 1971’s 34 Hours), and although the group mounted a few tours of Europe and the U.S., it failed to obtain breakthrough commercial success, leading to Moore‘s exit from the group in 1972.Moore then formed his own outfit, the Gary Moore Band (along with members drummer Pearse Kelly and bassist John Curtis), for which the guitarist also served as vocalist. But after the trio’s debut album, 1973’s Grinding Stone, sunk without a trace, Moore hooked up once more with ex-bandmate Lynott in Thin LizzyMoore‘s initial tenure in Lizzy proved to be short-lived, however, as his fiery playing was featured on only a handful of tracks. Moore then set his sights on studio work (appearing on Eddie Howell‘s 1975 release, Gramaphone Record), before joining up with a prog rock/fusion outfit, Colosseum II.

 

 

 

 

 

 

 

 

” But once more, Moore‘s tenure in his latest outfit was fleeting; he appeared on only three recordings (1976’s Strange New Flesh, plus a pair in 1977, Electric Savage and War Dance), as Moore accepted an invitation by his old buddy Lynott to fill in for a Thin Lizzy U.S. tour, playing arenas opening for Queen.”

 

 

 

 

 

 

 

 

About Gary Moore

” Moore proved to be quite busy in 1978, as the guitarist appeared on three other artists’ recordings — Andrew Lloyd Webber’s Variations, Rod Argent’s Moving Home, and Gary Boyle’s Electric Glide. The same year, Moore issued his second solo release (almost five years after his solo debut), Back on the Streets, which spawned a surprise Top Ten U.K. hit in May of 1979, the bluesy ballad “Parisienne Walkways,” and featured vocal contributions by Lynott. Moore joined forces with his Lizzy mates once more in 1979, appearing on arguably the finest studio album of their career, Black Rose, which proved to be a huge hit in the U.K. (for a fine example of Moore’s exceptional guitar skills, check out the album’s epic title track). But predictably, Moore ultimately exited the group once more (this time right in the middle of a U.S. tour), as a rift had developed between Moore and Lynott. Undeterred, Moore lent some guitar work to drummer Cozy Powell’s solo release, Over the Top, in addition to forming a new outfit, G Force, which would only remain together for a lone self-titled release in 1980.”

 

 

 

 

 

 

 

 

Click here to reserve your copy!

 

 

 

 

 

 

 

 

Irish Rockers

” In the 1980s Gary established his reputation as one of the top guitarists on the heavy metal scene with a series of rock albums that showcased his skill. Kirk Hammett of Metallica, who cites Gary as one of his top 5 influences, sums up Gary’s style of playing very well: “Gary’s technique was very modern, but his guitar style was very blues-based. His phrasing was very, very blues-based. He played long, sustained notes coupled with really super fast-picked notes and he had a great legato style“.

 

 

 

 

 

 

 

” In 1990, Moore returned to his blues roots with ‘Still Got the Blues’, with contributions from Albert King, Albert Collins and George Harrison. The album was well received by fans and was his biggest seller. He stayed with the blues format until 1997, when he decided to experiment with modern dance beats on Dark Days in Paradise; this left many fans, as well as the music press, confused. With Back to the Blues, Moore return to his tried and tested blues format in 2001. In 2002 he got back to more of a hard rocking style with the album Scars. He also returned to playing some of his metal-period material in the 2003 Monsters of Rock Tour. Then he continued on with the blues rock style on Power of the Blues (2004), Old New Ballads Blues (2006), Close As You Get (2007) and Bad For You Baby (2008).”

 

 

 

 

 

 

 

Gary Moore Official Website

 

” The, Back To The Blues’ (2001) album saw him revisit The Blues with renewed vigour and determination, after the more experimental ‘Dark Days In Paradise’ (1997) and ‘A Different Beat’ (1999) albums. A ten-track collection that mixed excellent Moore originals, with gritty and intense covers of standards. But, in the tradition of keeping his fans and critics guessing, 2002 saw Gary Moore crashing back onto the music scene with what had to be his heaviest collection of songs since the late 1980’s, once again forcing people to reassess any opinions and preconceptions they might have had of him.”

 

 

 

 

 

 

 

” That time round though, Moore had decided to share the limelight, joining forces with ex-Skunk Anansie bassist Cass Lewis and Primal Scream drummer Darrin Mooney to form ‘Scars’, a true power trio in every respect. The ‘Scars’ album was completed in early 2002 and that line-up, then went on to record the ‘Live at the Monsters of Rock’ (2003) live CD and DVD, which featured the band’s set as performed on two separate nights on the UK Tour in May 2003. That live set encompassed a diverse range of material, from across Gary’s playing career.”

 

 

 

 

 

 

 

” 2004 saw possibly the rawest album yet, with ‘Power of the Blues’. The 10-track set, recorded mostly live in the studio, ranged from the hard rock/blues of the title track, via the upbeat swing of “Can’t find my baby”, to the haunting “Torn Inside”.

 

 

 

” Taking time out in August 2005, for a brief reunion with former Thin Lizzy band members, for a one off concert in Dublin, to mark the occasion of Phil Lynott’s birth. The evening was filmed for the 2006 DVD release, ‘Gary Moore and Friends, One Night in Dublin, A Tribute to Phil Lynott’.

 

 

 

 

 

 

 

” With his 2007 studio album ‘Close As You Get’, Gary continued in a direction not too dissimilar from ‘Old, New, Ballads, Blues’, released in 2006. Mixing original tunes with some interesting Blues covers that Gary had rediscovered, whilst researching for his award winning radio series, “Blues Power”, on Planet Rock (UK based digital/internet “radio” station). September 2008 saw the release of what would turn out to be Gary’s last studio album, “Bad for you Baby”. Again, a powerful collection of tracks, of original material and selected blues covers. After being on the road for most of 2008 and into 2010 with the “Blues” line up of the touring band. Gary returned from a tour of Russia and the Far East, and decided to reunite with his old sparring partner from the rock line up’s of the 1980’s, Neil Carter. The plan was to put together a “Rock” line up and dust off a selection of tracks from the mid to late 1980’s.”

 

 

 

“Adding Jon Noyce, (ex Jethro Tull/Sessions) on bass, some one who was also part of the, “One Night in Dublin” Tribute DVD in 2005, and Darrin Mooney (Primal Scream/Sessions) on drums, who was no stranger to the touring and recording line during the late 1990’s and early 2000’s. This line up, hit the road in May of 2010, performing a live set based around a selection of tracks from the “Rock Years” of the 1980’s. This proved to be a real treat for fans, old & new, as many would have not heard Gary play these songs live, either for a very long time, or in many cases, at all. In addition to the older tunes, a number of new “Celtic Rock” style tracks were included in the show, which went down very well with the live audiences. Tracks, which Gary was planning to record and embellish, on his next studio project. A project that was ready to start when Gary returned from a short holiday break.”

 

 

 

 

 

 

 

” Unfortunately, that was not to be, as Gary passed away in his sleep in the early hours of February 6th, 2011, in Estepona, Spain. After being such a “force of nature” in the guitar-playing firmament, for many years, as part of a professional career that began when he was only 16. He leaves behind a huge hole for many, not just his close family and friends, but guitar fans around the world.”

 

 

 

 

 

 

 

 

 

” Of all the many tributes paid since Gary’s passing, maybe this one, from Gary’s friend and musical collaborator, Don Airey, might sum up the best of most people’s thoughts of Gary: “At the 1984 Donington Festival during the long solo in “Empty Rooms” the previously restive crowd went so quiet, you could hear a pin drop – everyone back and behind stage stopped whatever they were doing and just stood to listen open-mouthed. His artistry touched thousands of people over the years, not least those of us lucky enough to have shared a stage or a recording studio with him. Sleep tight old mate, you’ll be sorely missed.” “

 

 

 

 

 

 

Gary Moore


RIP


1952 – 2011

 

 

 

Discography

Albums

Grinding Stone

‎ ◄ (4 versions)

P.I. Records 1973

Gary Boyle Featuring: Gary MooreRobert Awhai*, Kenny Shaw* – Electric Glide ‎ ◄ (5 versions)

Gull 1978

Back On The Streets

‎ ◄ (14 versions)

MCA RecordsMCA RecordsMCA Records 1978

Corridors Of Power

‎ ◄ (18 versions)

Virgin 1982

Rockin’ Every Night – Live In Japan

‎ ◄ (10 versions)

Virgin 1983

Victims Of The Future

‎ ◄ (15 versions)

Virgin 1983

Live

‎ ◄ (2 versions)

Jet Records 1983

We Want Moore!

‎ ◄ (9 versions)

10 Records 1984

Dirty Fingers

‎ ◄ (13 versions)

Castle Classics 1984

We Want Moore!

‎ (LP, Album + 12″)

10 Records 1984

Run For Cover

‎ ◄ (12 versions)

10 Records 1985

G-Force (19) & Gary Moore – G-Force ‎ ◄ (7 versions)

VictoriaJet Records 1987

Live At The Marquee

‎ ◄ (10 versions)

Raw Power 1987

Wild Frontier

‎ ◄ (20 versions)

10 Records 1987

Phil CollinsGary MooreRod Argent – Wild Connections ‎ ◄ (5 versions)

Tring International PLC 1987

Don Airey Featuring: Gary MooreCozy PowellChris Thompson & Colin Blunstone – K2 (Tales Of Triumph & Tragedy) ‎ ◄ (4 versions)

MCA Records 1988

After The War

‎ ◄ (16 versions)

VirginVirgin 1989

Still Got The Blues

‎ ◄ (20 versions)

VirginVirgin 1990

Skid Row (2) Feat. Gary Moore – 34 Hours ‎ (CD, Album, RE)

Repertoire Records 1990

After Hours

‎ ◄ (11 versions)

VirginVirgin 1992

Blues Alive

‎ ◄ (9 versions)

VirginVirgin 1993

Blues For Greeny

‎ ◄ (5 versions)

Virgin 1995

Greg Lake Feat. Gary Moore – King Biscuit Flower Hour Presents Greg Lake In Concert ‎ (CD)

King Biscuit Flower Hour Records 1995

Dark Days In Paradise

‎ ◄ (3 versions)

Virgin 1997

A Different Beat

‎ ◄ (2 versions)

Raw Power 1999

Corridors Of Power / Run For Cover – The Back To Back Collection

‎ (2xCD, Album, RM, RE, Dig)

Axe Killer Records 2000

Back To The Blues

‎ (CD, Album)

Sanctuary Records 2001

Scars

‎ ◄ (4 versions)

Sanctuary Records 2002

Live At Monsters Of Rock

‎ ◄ (2 versions)

Sanctuary Records 2003

Power Of The Blues

‎ (CD, Album)

Sanctuary Records 2004

Old New Ballads Blues

‎ ◄ (3 versions)

Eagle Records 2006

Close As You Get

‎ ◄ (3 versions)

Eagle RecordsEagle Records 2007

Bad For You Baby

‎ ◄ (2 versions)

Eagle Records 2008

Essential Montreux

‎ (5xCD, Box)

Eagle RecordsEagle Records 2009

Live At Montreux 2010

‎ (CD, Album)

Eagle RecordsEagle Records 2011

Blues For Jimi

‎ ◄ (4 versions)

Eagle Records 2012

Gary Boyle Featuring: Gary MooreRobert Awhai*, Kenny Shaw* – Electric Glide ‎ (CD, Album, RE, RM)

Esoteric Recordings 2012

 

 

 

 

 

 

 

 

Concert Videos

Gary Moore – Live Blues (1993) Special guest B. B. King FULL CONCERT

Gary Moore – Avo Session

Gary Moore – Blues for greeny. complete

BBM (Bruce, Baker, Moore) – Live At Germany (1993)

[Complete] Gary Moore – Live At Monsters Of Rock (Sheffield Arena 2003)

GBD- Gary Moore Wild Frontier Tour 1987 (Isstadion Stockholm)

Gary Moore & The Midnight Blues Band – Live at Montreux 1990

Gary Moore playing for the last time – Guitarist Magazine

 

 

Interviews

Gary Moore – Interview 2004

Gary Moore interview by Tomi Lindblom (2004) / Finland

Gary Moore Interview – Re-released

Gary Moore VH 1 Interview 1994

 

 

 

Links, Fan Pages , Etc…

last.fm

Gary Moore | Facebook

The Lord Of The Strings – World Wide Gary Moore Fanclub

Gary Moore – Profile & Discography for Blues-Rock Guitarist Gary Moore

Gary Moore | Vintage Guitar® magazine

Gary Moore – Listen to Free Music by Gary Moore on Pandora …

iTunes – Music – Gary Moore – Apple

Gary Moore music – Listen Free on Jango || Pictures, Videos …

Gary Moore – Artist Details – Eagle Rock

GARY MOORE music discography with reviews and MP3

nolifetilmetal.com

gary-moore.net

 

 

 

 

Obituaries

Gary Moore – Telegraph – Telegraph.co.uk 

Gary Moore Obituary – London, England – Tributes.com

Gary Moore, former Thin Lizzy guitarist, dies aged 58 | Music …

Thin Lizzy Guitarist Gary Moore Dead at 58

Find A Grave

 

 

 

 

2002 ZZ TOP & GARY MOORE LIVE

 

 

 

 

 

Robert William Gary Moore

April 4th, 1952 – February 6th, 2011

Remembered today and everyday……

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 Happy Birthday Muddy

 

 

 

 

 

 

 

 

 

 

Early Life

 

” Although in his later years Muddy usually said that he was born in Rolling Fork, Mississippi in 1915, he was actually born at Jug’s Corner in neighboring Issaquena County in 1913. Recent research has uncovered documentation showing that in the 1930s and 1940s he reported his birth year as 1913 on both his marriage license and musicians’ union card. A 1955 interview in the Chicago Defender is the earliest claim of 1915 as his year of birth, which he continued to use in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. Muddy’s gravestone gives his birth year as 1915.” 

 

 

 

 

 

 

 

 

” Muddy’s grandmother, Della Grant, raised him after his mother died shortly following his birth. Della gave the boy the nickname “Muddy” at an early age because he loved to play in the muddy water of nearby Deer Creek. Muddy later changed it to “Muddy Water” and finally “Muddy Waters”.

The shack where Muddy Waters lived in his youth on Stovall Plantation is now located at the Delta Blues Museum in Clarksdale, Mississippi. He started out on harmonica, but by age seventeen he was playing the guitar at parties, emulating two blues artists who were extremely popular in the south, Son House and Robert Johnson.”

 

 

 

 

 

 

 

 

” On November 20, 1932, Muddy married Mabel Berry; Robert Nighthawk played guitar at the wedding, and the party reportedly got so wild the floor fell in. Mabel left Muddy three years later when Muddy’s first child was born; the child’s mother was Leola Spain, sixteen years old (Leola later used her maiden name Brown), “married to a man named Steven” and “going with a guy named Tucker”. Leola was the only one of his girlfriends with whom Muddy would stay in touch throughout his life; they never married. By the time he finally cut out for Chicago in 1943, there was another Mrs. Morganfield left behind, a girl called Sallie Ann.

 

 

 

 

 

 

 

 

Muddy Waters Official Website

 

“Growing to manhood there, in the very heart of the region that had spawned this magnificent music, Waters was drawn early to its stark, telling, expressive power. He had been working as a farm laborer for several years when at thirteen he took up the harmonica, the instrument on which many blues performers first master the music’s rudiments. Four years later he made the switch to guitar. “You see, I was digging Son House and Robert Johnson.”

 

 

 

 

 

 

 

 

” The two were the undisputed masters of the region’s characteristic “bottleneck” style of guitar accompaniment. With this technique the Delta bluesman could utilize the guitar as a perfect extension of his voice, the sliding bottleneck matching the dips, slurs, sliding notes and all the tonal ambiguity of the voice as it is used in singing the blues.Within a year, Waters recalled, he had mastered the bottleneck style and the jagged, pulsating rhythms of Delta guitar. He had learned to sing powerfully and expressively in the tightly constricted, pain-filled manner that characterized the best Delta singers.”

 

 

 

 

 

 

 

 

” By the time a team of Library of Congress field collectors headed by Alan Lomax visited and recorded Waters for the Library’s folksong archives in 1941 (they were looking for Robert Johnson at the time, unaware of his death three years earlier), returning to record him further the following year, he had had several years’ local performing experience behind him.Providing the musical impetus for dancers at rough-and-tumble back country dances, in juke joints, and at picnics, houseparties and other rural entertainments had sharpened the young bluesman’s vocal and instrumental abilities to a keen edge. The recordings show the strikingly distinctive power of the young Waters, both as singer and master of Delta bottleneck guitar.”

 

 

 

 

 

 

 

 

Britannica

” In 1943 Waters—like millions of other African Americans in the South who moved to cities in the North and West during the Great Migration from 1916 to 1970—relocated to Chicago. There he began playing clubs and bars on the city’s South and West sides while earning a living working in a paper mill and later driving a truck. In 1944 he bought his first electric guitar, which cut more easily through the noise of crowded bars. He soon broke with country blues by playing electric guitar in a shimmering slide style. In 1946 pianist Sunnyland Slim, another Delta native, helped Waters land a contract with Aristocrat Records, for which he made several unremarkable recordings. By 1948 Aristocrat had become Chess Records (taking its name from Leonard and Phil Chess, the Polish immigrant brothers who owned and operated it), and Waters was recording a string of hits for it that began with “I Feel Like Going Home” and “I Can’t Be Satisfied.” His early, aggressive, electrically amplified band—including pianist Otis Spann, guitarist Jimmie Rodgers, and harmonica virtuoso Little Walter—created closely integrated support for his passionate singing, which featured dramatic shouts, swoops, and falsetto moans. His repertoire, much of which he composed, included lyrics that were mournful (“Blow Wind Blow,” “Trouble No More”), boastful (“Got My Mojo Working,” “I’m Your Hoochie Coochie Man”), and frankly sensual (the unusual 15-bar blues “Rock Me”). In the process Waters became the foremost exponent of modern Chicago blues.”

 

 

 

 

 

 

 

 

” Tours of clubs in the South and Midwest in the 1940s and ’50s gave way after 1958 to concert tours of the United States and Europe, including frequent dates at jazz, folk, and blues festivals. Over the years, some of Chicago’s premier blues musicians did stints in Waters’s band, including harmonica players James Cotton and Junior Wells, as well as guitarist Buddy Guy. Toward the end of his career, Waters concentrated on singing and played guitar only occasionally. A major influence on a variety of rock musicians—most notably the Rolling Stones (who took their name from his song “Rollin’ Stone” and made a pilgrimage to Chess to record)—Waters was inducted into the Rock and Roll Hall of Fame in 1987.”

 

 

 

 

 

 

 

 

Allmusic

 

” By the end of the ’50s, while Waters was still making fine music, his career was going into a slump. The rise of rock & roll had taken the spotlight away from more traditional blues acts in favor of younger and rowdier acts (ironically, Waters had headlined some of Alan Freed‘s early “Moondog” package shows), and Waters‘ first tour of England in 1958 was poorly received by many U.K. blues fans, who were expecting an acoustic set and were startled by the ferocity of Waters‘ electric guitar. Waters began playing more acoustic music informed by his Mississippi Delta heritage in the years that followed, even issuing an album titled Muddy Waters: Folk Singer in 1964. However, the jolly irony was that British blues fans would soon rekindle interest in Waters and electric Chicago blues; as the rise of the British Invasion made the world aware of the U.K. rock scene, the nascent British blues scene soon followed, and a number of Waters‘ U.K. acolytes became international stars, such as Eric Clapton,John MayallAlexis Korner, and a modestly successful London act who named themselves after Muddy‘s 1950 hit “Rollin’ Stone.”

 

 

 

 

 

 

 

 

” While Waters was still leading a fine band that delivered live (and included the likes of Pinetop Perkins on piano and James Cotton on harmonica), Chess Records was moving more toward the rock, soul, and R&B marketplace, and seemed eager to market him to white rock fans, a notion that reached its nadir in 1968 with Electric Mud, in which Waters was paired up with a psychedelic rock band (featuring guitarists Pete Cosey and Phil Upchurch) for rambling and aimless jams on Waters‘ blues classics. 1969’s Fathers and Sons was a more inspired variation on this theme, with Waters playing alongside reverential white blues rockers such as Mike Bloomfield and Paul Butterfield; 1971’s The London Muddy Waters Sessions was less impressive, featuring fine guitar work from Rory Gallagher but uninspired contributions from Steve WinwoodRick Grech, and Georgie Fame.”

 

 

 

 

 

” Curiously, while Chess Records helped Waters make some of the finest blues records of the ’50s and ‘60s, it was the label’s demise that led to his creative rebirth. In 1969, the Chess Brothers sold the label to General Recorded Tape, and the label went through a long, slow commercial decline, finally folding in 1975. (Waters would become one of several Chess artists who sued the label for unpaid royalties in its later years.) Johnny Winter, a longtime Waters fan, heard the blues legend was without a record deal, and was instrumental in getting Waters signed to Blue Sky Records, a CBS-distributed label that had become his recording home.”

 

 

 

 

 

 

 

 

 ” Winter produced the sessions for Waters‘ first Blue Sky release, and sat in with a band comprised of members of Waters‘ road band (including Bob Margolin and Willie “Big Eyes” Smith) along with James Cotton on harp and Pinetop Perkins on piano. 1977’s Hard Again was a triumph, sounding as raw and forceful as Waters‘ classic Chess sides, with a couple extra decades of experience informing his performances, and it was rightly hailed as one of the finest albums Waters ever made while sparking new interest in his music. (It also earned him a Grammy award for Best Traditional or Ethnic Folk Recording.) “

 

 

 

 

 

 

 

 

 

Rock Hall Of Fame

 

” Waters also capitalized on the folk-music craze of the late Fifties and early Sixties with a series of albums that found him assaying acoustic blues on such albums as Muddy Waters Sings Big Bill (a tribute to rural bluesman Big Bill Broonzy, released in 1960), Muddy Waters, Folk Singer (1964) and The Real Folk Blues (1966). Less successful were attempts to contemporize his sound with such ill-advised efforts as “Muddy Waters Twist” (a 1962 single) and Electric Mud (an album of psychedelic blues from 1968). More satisfying by far were a couple of albums – Fathers and Sons (1969) and The London Muddy Waters Sessions (1972) – that found Waters accompanied by such vanguard rock musicians as Mike Bloomfield and Eric Clapton. His thirty-year tenure with Chess Records ended in 1975 with the release of The Muddy Waters Woodstock Album. From here, he moved to the Blue Sky label (a Columbia subsidiary). “

 

 

 

 

 

 

 

 

” Waters’ audience grew exponentially following his electrifying performance in The Last Waltz, a film documentary (produced by Martin Scorsese) of The Band’s farewell concert. Staged at San Francisco’s Winterland ballroom, the Thanksgiving 1976 event was a star-studded affair. Water’s scalding rendition of “Mannish Boy” – on which he was accompanied by The Band and Paul Butterfield on harmonica – was an unforgettable highlight. Subsequent to that, he kept the momentum going with a series of uncompromising albums for Blue Sky that were produced by longtime fan Johnny Winter. These included Hard Again (1977), I’m Ready (1978), Muddy Mississippi Waters Live (1979) and King Bee (1981). All were critical and popular successes. “

 

 

 

 

 

” In addition to his musical legacy, Waters helped cultivate a great respect for the blues as one of its most commanding and articulate figureheads. Drummer Levon Helm of The Band, who worked with him on The Muddy Waters Woodstock Album and at The Last Waltz, had this to say about him in a Goldmine magazine interview: “Muddy taught us to take things in context, to be respectful, and to be serious about our music, as he was. He showed us music is a sacred thing.” 

 

 

 

 

 

 

” Waters, who remained active till the end, died of a heart attack in 1983. He was 68 years old. In the years since his death, the one-room cedar shack in which he lived on the Stovall Plantation has been preserved as a memorial to Waters’ humble origins”

 

 

 

 

Discography

 

Muddy Waters At Newport 1960

‎ ◄ (16 versions)

Chess 1960

Muddy Waters Sings “Big Bill”

‎ ◄ (7 versions)

Chess 1960

Folk Singer

‎ ◄ (16 versions)

Pye International 1964

Down On Stovall’s Plantation

‎ ◄ (4 versions)

Testament Records 1966

Muddy, Brass & The Blues

‎ ◄ (6 versions)

Chess 1966

More Real Folk Blues

‎ ◄ (7 versions)

Chess 1967

Bo DiddleyLittle WalterMuddy Waters – Super Blues ‎ ◄ (10 versions)

Checker 1967

Howlin’ WolfMuddy Waters & Bo Diddley – The Super Super Blues Band ‎ ◄ (8 versions)

CheckerChess 1967

Electric Mud

‎ ◄ (16 versions)

Cadet Concept Records 1968

After The Rain

‎ ◄ (6 versions)

Cadet Concept Records 1969

The Real Folk Blues

‎ ◄ (7 versions)

Chess 1969

Muddy Waters / Otis Spann / Michael Bloomfield* / Paul Butterfield / Donald “Duck” Dunn / Sam Lay – Fathers And Sons‎ ◄ (18 versions)

Chess 1969

Bo DiddleyLittle WalterMuddy Waters – Super Blues ‎ (LP, Album)

Bellaphon 1969

“Live” (At Mr. Kelly’s)

‎ ◄ (4 versions)

Chess 1971

“Live” (At Mr. Kelly’s)

‎ (LP)

Chess 1971

Back In The Early Days Volumes 1 And 2

‎ (2xLP)

Syndicate Chapter 1971

Rare Live Recordings Vol. 2

‎ (LP)

Python 1972

The London Muddy Waters Sessions

‎ ◄ (11 versions)

Chess 1973

Mud In Your Ear

‎ ◄ (2 versions)

Muse Records 1973

Can’t Get No Grindin’

‎ ◄ (6 versions)

Chess 1973

Muddy Waters & Howlin’ Wolf – London Revisited ‎ ◄ (2 versions)

Chess 1974

“Unk” In Funk

‎ ◄ (5 versions)

Chess 1974

The Muddy Waters Woodstock Album

‎ ◄ (6 versions)

Chess 1975

Hard Again

‎ ◄ (16 versions)

Blue Sky 1977

I’m Ready

‎ ◄ (13 versions)

Blue Sky 1978

Muddy “Mississippi” Waters Live

‎ ◄ (16 versions)

Blue Sky 1979

Mississippi

‎ (LP, Album)

Cleo 1980

King Bee

‎ ◄ (15 versions)

Blue Sky 1981

Rolling Stone

‎ ◄ (2 versions)

Chess 1982

Hoochie Coochie Man

‎ ◄ (2 versions)

Blue Sky 1983

B.B. King & Big Mama Thornton & Muddy Waters – Live At Newport ‎ ◄ (4 versions)

Blue Moon 1984

I Can’t Be Satisfied

‎ ◄ (2 versions)

Showcase 1985

Live In Paris, 1968

‎ (LP)

France’s Concert 1988

Live In Antibes, 1974

‎ (LP, Album)

France’s Concert 1988

Live

‎ (CD)

Roots (6) 1990

Live

‎ (LP)

Roots (6) 1990

Goin’ Home (Live In Paris 1970)

‎ ◄ (2 versions)

Last Call Records 1992

Chicago Blues

‎ ◄ (4 versions)

Orbis 1994

Otis Spann With Muddy Waters & His Band* – Live The Life ‎ (CD, Album)

Testament Records 1997

Live In Chicago, 1979

‎ (CD, Album)

Altaya 1997

Champion Jack Dupree / Muddy Waters – Me And My Mule ‎ (CD, Album)

TKO Collectors 1999

Country Blues

‎ (LP)

Past Perfect Silver Line 2000

The Lost Tapes

‎ (LP, 180)

Blind Pig Records 2008

Live / Fillmore Auditorium – San Francisco 11/04-06/1966

‎ ◄ (2 versions)

Chess 2009

Stepping Stone

‎ (CD, Mud + 2xCD, Rol + 3xCD, I’m + 4xCD, The + 5xDV)

Proper Records Ltd. 2009

Blow Blues Blow

‎ (CD, Album, Dig)

Music Avenue 2010

The Rough Guide To Blues Legends: Muddy Waters: Country Blues

‎ (LP, Ltd, RM, 180)

World Music Network 2011

Muddy Waters & Rolling Stones, The – Checkerboard Lounge, Live Chicago 1981 ‎ ◄ (5 versions)

Eagle Vision 2012

Down On Stovall’s Plantation

‎ (LP)

Doxy 2013

Hard Again

‎ (LP, Album)

Epic Unknown

 

 

 

 

 

 

 

 

Concert Videos

I Hear The Blues-Memphis Slim, Muddy Waters, Sonny Boy Williamson, Lonnie Johnson-Granada TV

Blues and Gospel Train – 1964 – Muddy Waters, Rosetta Tharpe, Sonny & Brownie, Cousin Joe Pleasants

Muddy Waters – Live At The Chicago Fest 1981

Messin’ With The Blues [live ’74]

Johnny Winter & Muddy Waters Soundstage 1974

Muddy Waters Blues Summit in Chicago

Muddy.Waters.Live.68.-.78

 

 

 

Interviews

Muddy Waters Interview

 

 

Links , Fan Pages Etc…

Muddy Waters – Listen to Free Music by Muddy Waters on …

Muddy Waters Biography – Facts, Birthday, Life Story – …

iTunes – Music – Muddy Waters – Apple

Muddy Waters | Bio, Pictures, Videos | Rolling Stone

Muddy Waters – Profile of Chicago Blues Legend Muddy Waters

Free Music Online – Internet Radio – Jango

Muddy Waters – New World Encyclopedia

Trail of the Hellhound: Muddy Waters

Muddy Waters – wolfgangsvault.com

Muddy Waters, a Mississippi musician – Mississippi writers …

Muddy Waters | Facebook

Muddy Waters Historical Exhibit & Blues Tribute Website

Muddy Waters – NNDB: Tracking the entire world

Muddy Waters : NPR

Muddy Waters – Always Victorian

Muddy Waters – All About Jazz

LivinBlues- Muddy Waters

Muddy Waters Biography | Bluescentric – Blues t-shirts | delta …

Muddy Waters | Legacy Recordings

 

 

 

Obituaries

Muddy Waters, Blues Performer, Dies – The New York Times …

Meet McKinley Morganfield – Hattiesburg American | Hattiesburg …

Legends & Legacies | Notable Obituaries and Deaths in the News …

Rhythm and Blues 60s Oldies Man: News Obituaries

Muddy Waters Changed Music Forever With His Trip Up the Blues …

Blues Foundation Honors Muddy Waters With Blues Trail Marker …

 

 

 

 

 

 

 

 

Rest In Peace Muddy Waters 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Axel Zwingenberger – Jump And Jive – High Class Boogie Woogie

 

 

 

 

Published on Apr 9, 2012

” Sollte ich mit diesem Material Rechte verletzen, werde ich das Video sofort wieder entfernen. Ich verfolge mit diesem Video keinerlei kommerzielle Zwecke. “

 

 

 

 

 

 

 

 

 

 

 

“Sweet Home Chicago” (Buddy Guy, Eric Clapton, Johnny Winter, Robert Cray, Hubert Sumlin…)

 

 

 

 

Uploaded on Feb 4, 2011

” “Sweet Home Chicago” is a popular blues standard in the twelve bar form. It was first recorded and is credited to have been written by Robert Johnson. Over the years the song has become one of the most popular anthems for the city of Chicago despite ambiguity in Johnson’s original lyrics. “

 

 

 

 

 

 

 

 

 

 

 

 

Piedmont Blues: North Carolina Style – 2013 Documentary

 

 

 

 

—-

Bessie Smith – I Need A Little Sugar In My Bowl

 

 

 

 

Uploaded on Feb 16, 2009

” Good song lyrics:

Tired of bein’ lonely, tired of bein’ blue,
I wished I had some good man, to tell my troubles to
Seem like the whole world’s wrong, since my man’s been gone
I need a little sugar in my bowl,
I need a little hot dog, on my roll
I can stand a bit of lovin’, oh so bad,
I feel so funny, I feel so sad
I need a little steam-heat, on my floor,
Maybe I can fix things up, so they’ll go
What’s the matter, hard papa, come on and save you mama’s soul
‘Cause I need a little sugar, in my bowl, doggone it,
I need a little sugar in my bowl
I need a little sugar, in my bowl,
I need a little hot dog, between my rolls
You gettin’ different, I’ve been told,
move your finger, drop something in my bowl
I need a little steam-heat on my floor,
Maybe I can fix things up, so they’ll go
(spoken: Get off your knees, I can’t see what you’re drivin’ at!
It’s dark down there!
Looks like a snake! C’mon here and drop somethin’ here in my bowl,
stop your foolin’, and drop somethin’, in my bowl) “

 

 

 

 

 

 

 

 

 

 

 

Happy Birthday To John Lee “Sonny Boy” Williamson & Eric Clapton

 

 

 

John Lee (Sonny Boy) Williamson – Better Cut That Out – 1948

 

 

 

Biography

 

” Easily the most important harmonica player of the prewar era, John Lee Williamson almost single-handedly made the humble mouth organ a worthy lead instrument for blues bands — leading the way for the amazing innovations of Little Walter and a platoon of others to follow. If not for his tragic murder in 1948 while on his way home from a Chicago gin mill, Williamson would doubtless have been right there alongside them, exploring new and exciting directions.

  It can safely be noted that Williamson made the most of his limited time on the planet. Already a harp virtuoso in his teens, the first Sonny Boy (Rice Miller would adopt the same moniker down in the Delta) learned from Hammie Nixon and Noah Lewis and rambled with Sleepy John Estes and Yank Rachell before settling in Chicago in 1934.

  Williamson‘s extreme versatility and consistent ingenuity won him a Bluebird recording contract in 1937. Under the direction of the ubiquitous Lester Melrose, Sonny Boy Williamson recorded prolifically for Victor both as a leader and behind others in the vast Melrose stable (including Robert Lee McCoy and Big Joe Williams, who in turn played on some of Williamson‘s sides).

  Williamson commenced his sensational recording career with a resounding bang. His first vocal offering on Bluebird was the seminal “Good Morning School Girl,” covered countless times across the decades. That same auspicious date also produced “Sugar Mama Blues” and “Blue Bird Blues,” both of them every bit as classic in their own right.

The next year brought more gems, including “Decoration Blues” and “Whiskey Headed Woman Blues.” The output of 1939 included “T.B. Blues” and “Tell Me Baby,” while Williamson cut “My Little Machine” and “Jivin’ the Blues” in 1940. Jimmy Rogers apparently took note of Williamson‘s “Sloppy Drunk Blues,” cut with pianist Blind John Davis and bassist Ransom Knowling in 1941; Rogers adapted the tune in storming fashion for Chess in 1954. The mother lode of 1941 also included “Ground Hog Blues” and “My Black Name,” while the popular “Stop Breaking Down” (1945) found the harpist backed by guitarist Tampa Red and pianist ” Big Maceo.”Continue reading

 

 

Discography

 

 

Sonny Boy Williamson and Memphis Slim in Paris 1963 Sonny Boy Williamson and Memphis Slim in Paris    
(1)
 
 
Father of Blues Harmonica
2006 Father of Blues Harmonica Golden Stars / Goldies  
(0)
 
  Sounds of Music Pres. Sonny Boy Williamson   Sounds of Music Pres. Sonny Boy Williamson Mag  
(0)
 
  Sonny Boy Williamson   Sonny Boy Williamson    
(0)
 
  The Blues of Sonny Boy Williamson   The Blues of Sonny Boy Williamson Storyville  
(0)

 

 

More videos

 

 

 

    Here is a small taste of Eric Clapton , while we direct the interested reader to a unique birthday tribute to Mr Clapton that can be found here .

 

 

 

 

Happy Birthday Sonny Boy & Eric

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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