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
” 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
1963 Sonny Boy Williamson and Memphis Slim in Paris 2006 Father of Blues Harmonica Golden Stars / Goldies Sounds of Music Pres. Sonny Boy Williamson Mag Sonny Boy Williamson The Blues of Sonny Boy Williamson Storyville
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 .
” Eric Patrick Clapton was born in Ripley, Surrey, England, the son of 16-year-old Patricia Molly Clapton (b. 7 January 1929 d. March 1999) and Edward Walter Fryer (21 March1920 – 15 May 1985), a 25-year-old soldier from Montreal, Quebec. Fryer shipped off to war prior to Clapton’s birth and then returned to Canada. Clapton grew up with his grandmother, Rose, and her second husband, Jack Clapp, who was stepfather to Patricia Clapton and her brother Adrian, believing they were his parents and that his mother was actually his older sister. The similarity in surnames gave rise to the erroneous belief that Clapton’s real surname is Clapp (Reginald Cecil Clapton was the name of Rose’s first husband, Eric Clapton’s maternal grandfather). Years later, his mother married another Canadian soldier and moved to Germany, leaving young Eric with his grandparents in Surrey.
Clapton received an acoustic Hoyer guitar, made in Germany, for his thirteenth birthday, but the inexpensive steel-stringed instrument was difficult to play and he briefly lost interest. Two years later Clapton picked it up again and started playing consistently. Clapton was influenced by the blues from an early age, and practised long hours to learn the chords of blues music by playing along to the records.He preserved his practice sessions using his portable Grundig reel-to-reel tape recorder, listening to them over and over until he felt he’d got it right.
After leaving Hollyfield School, in Surbiton, in 1961, Clapton studied at the Kingston College of Art but was dismissed at the end of the academic year because his focus remained on music rather than art. His guitar playing was so advanced that by the age of 16 he was getting noticed. Around this time Clapton began busking around Kingston, Richmond, and the West End.In 1962, Clapton started performing as a duo with fellow blues enthusiast David Brock in pubs around Surrey. When he was seventeen years old Clapton joined his first band, an early British R&B group, “The Roosters”, whose other guitarist was Tom McGuinness. He stayed with this band from January through August 1963.In October of that year, Clapton did a seven-gig stint with Casey Jones & The Engineers. “
” By the time Eric Clapton launched his solo career with the release of his self-titled debut album in mid-1970, he was long established as one of the world’s major rock stars due to his group affiliations — the Yardbirds, John Mayall’s Bluesbreakers, Cream, and Blind Faith — which had demonstrated his claim to being the best rock guitarist of his generation. That it took Clapton so long to go out on his own, however, was evidence of a degree of reticence unusual for one of his stature. And his debut album, though it spawned the Top 40 hit “After Midnight,” was typical of his self-effacing approach: it was, in effect, an album by the group he had lately been featured in, Delaney & Bonnie & Friends.
Not surprisingly, before his solo debut had even been released, Clapton had retreated from his solo stance, assembling from the D&B&F ranks the personnel for a group, Derek & the Dominos, with whom he played for most of 1970 and recorded the landmark album Layla and Other Assorted Love Songs. Clapton was largely inactive in 1971 and 1972, due to heroin addiction, but he performed a comeback concert at the Rainbow Theatre in London on January 13, 1973, resulting in the album Eric Clapton’s Rainbow Concert (September 1973). But Clapton did not launch a sustained solo career until July 1974, when he released 461 Ocean Boulevard, which topped the charts and spawned the number one single “I Shot the Sheriff.” “
” A January 1973 comeback concert at London’s Rainbow Theatre re-introduced him to public performing, but his solo career really commenced in earnest a year later with 461 Ocean Boulevard. Recorded in Miami, it was influenced by the mellower likes of J.J. Cale and Bob Marley. Striking a chord with the public, 461 Ocean Boulevard topped the album charts in 1974. Meanwhile, Clapton’s cover of “I Shot the Sheriff,” originally by Bob Marley and the Wailers, helped introduced reggae to a mass audience. Working with a steady band that included guitarist George Terry, Clapton pursued a mellow, song-oriented course that accentuated his husky, laid-back vocals. His Seventies output, including such albums as There’s One in Every Crowd (1975) and No Reason to Cry (1976) has been largely underrated and is ripe for rediscovery. Clapton again struck commercial paydirt in 1977 with Slowhand, a strong set that included Clapton’s definitive version of J.J. Cale’s “Cocaine” and the #3 hit “Lay Down Sally.”
Clapton remained a prolific artist throughout the Eighties, releasing a live double album that reached #2 (Just One Night), cutting two albums (Behind the Sun and August) with Phil Collins as producer, and launching his own label, Duck Records, in 1983, with one of his stronger studio efforts, Money and Cigarettes. In January 1987, he undertook the first of what would become an annual series of multi-night stands at London’s Royal Albert Hall. In 1992, his career received a major boost from his appearance on MTV’s Unplugged series. Returning to his roots on the heels of that acoustic folk-blues set, Clapton next cut a long-promised blues album, From the Cradle (1994). Throughout the Nineties, he continued to amass hits–no mean feat, given the shifting musical climate–including “Tears in Heaven,” a memorable elegy for his late son Conor; “Change the World,” a beatbox-driven collaboration with R&B artist/producer Babyface that won a Grammy for Record of the Year; and “My Father’s Eyes,” a ballad from his 1998 album Pilgrim.”
Most recently, Eric Clapton has organized a benefit concert in honor of Hubert Sumlin, the great bluesman, to take place at the Apollo Theater in New York on February 24, 2012. He will be joined by Jeff Beck, Keb Mo, Levon Helm, and Derek Trucks among others. Clapton is known to sponsor an array of charitable events and concerts. He has also established a rehabilitation clinic in Monserrat to help those with substance abuse problems.
‘ Clapton’ was released on September 27, 2010 by Reprise.
A live album titled Play The Blues Live At Lincoln Center performed with Wynton Marsalis was released on September 13, 2011 by Reprise.
Early 2013 saw the release of ‘Old Sock’, an album of 10 cover songs and two new originals, which was met with mixed reviews, some saying that it was lazy and unnecessary (“little commitment to the music here and even less enthusiasm”) whilst others appreciated the mastery he still exhibits over his craft (“winding down a legendary career with his typical class, reverence to the past and master’s touch”).
Eric Clapton is highly regarded as a premier musician, and continues to remain a force in music today.”
Published on Aug 11, 2014
” Sugar Ray and the Bluetones Live @ The 3rd Annual Gloucester Blues Festival 8/9/14 “Things Could Be Worse” from the NEW CD
Great Blues Festival with Sugar Ray and the Bluetones a five piece Chicago style blues band performing internationally at clubs and festivals. Five 2012 Blues Music Awards from the Blues Foundation in Memphis and Ray just received a 2014 Grammy Nomination for “Remembering Little Walter” on Blind Pig Records.
Sugar Ray Norcia-vocals, harmonica
‘Monster’ Mike Welch-guitar, vocals
Michael ‘Mudcat’ Ward-bass
Neil Gouvin-drums “
Happy Birthday To Johnny “Clyde” Copeland , Robert “Jr” Lockwood , Leroy Carr & A Woman Who , While More Of The Jazz World Than That Of The Blues , Was A True Giant Of Music , Ms Sarah Vaughan
First up is Johnny with “Honky Tonkin’ “
” Considering the amount of time he spent steadily rolling from gig to gig, Johnny “Clyde” Copeland‘s rise to prominence in the blues world in the early ’90s wasn’t all that surprising. A contract with the PolyGram/Verve label put his ’90s recordings into the hands of thousands of blues lovers around the world. It’s not that Copeland‘s talent changed all that much since he recorded for Rounder Records in the ’80s; it’s just that major companies began to see the potential of great, hardworking blues musicians like Copeland. Unfortunately, he was forced to slow down in 1995-1996 because of heart-related complications, yet he continued to perform shows until his death in July of 1997.
Johnny Copeland was born March 27, 1937, in Haynesville, Louisiana, about 15 miles south of Magnolia, Arkansas (formerly Texarkana, a hotbed of blues activity in the ’20s and ’30s). The son of sharecroppers, his father died when he was very young, but Copeland was given his father’s guitar. His first gig was with his friend Joe “Guitar” Hughes. Soon after, Hughes “took sick” for a week and the young Copeland discovered he could be a frontman and deliver vocals as well as anyone else around Houston at that time.
His music, by his own reasoning, fell somewhere between the funky R&B of New Orleans and the swing and jump blues of Kansas City. After his family (sans his father) moved to Houston, a teenage Copeland was exposed to musicians from both cities. While he was becoming interested in music, he also pursued boxing, mostly as an avocation, and it is from his days as a boxer that he got his nickname “Clyde.” ” Continue reading
Now Mr Lockwood has his turn at age 91 , mind you , with “Sweet Home Chicago”
” Robert Lockwood, Jr., learned his blues firsthand from an unimpeachable source: the immortal Robert Johnson. Lockwood was capable of conjuring up the bone-chilling Johnson sound whenever he desired, but he was never one to linger in the past for long — which accounts for the jazzy swing he often brought to the licks he played on his 12-string electric guitar.
Born in 1915, Lockwood was one of the last living links to the glorious Johnson legacy. When Lockwood‘s mother became romantically involved with the charismatic rambler in Helena, AR, the quiet teenager suddenly gained a role model and a close friend — so close that Lockwood considered himself Johnson‘s stepson. Robert Jr. learned how to play guitar very quickly with Johnson‘s expert help, assimilating Johnson‘s technique inside and out.
Following Johnson‘s tragic murder in 1938, Lockwood embarked on his own intriguing musical journey. He was among the first bluesmen to score an electric guitar in 1938 and eventually made his way to Chicago, where he cut four seminal tracks for Bluebird. Jazz elements steadily crept into Lockwood‘s dazzling fretwork, although his role as Sonny Boy Williamson‘s musical partner on the fabled KFFA King Biscuit Time radio broadcasts during the early ’40s out of Helena, AR, probably didn’t emphasize that side of his dexterity all that much.
Settling in Chicago in 1950, Lockwood swiftly gained a reputation as a versatile in-demand studio sideman, recording behind harp genius Little Walter, piano masters Sunnyland Slim and Eddie Boyd, and plenty more. Solo recording opportunities were scarce, though Lockwood did cut fine singles in 1951 for Mercury (“I’m Gonna Dig Myself a Hole” and a very early “Dust My Broom”) and in 1955 for JOB (“Sweet Woman from Maine”/”Aw Aw Baby”). “ Continue reading
Next up Leroy Carr Plays “In The Evening”
” The term “urban blues” is usually applied to post-World War II blues band music, but one of the forefathers of the genre in its pre-electric format was pianist Leroy Carr. Teamed with the exemplary guitarist Scrapper Blackwell in Indianapolis, Carr became one of the top blues stars of his day, composing and recording almost 200 sides during his short lifetime, including such classics as “How Long, How Long,” “Prison Bound Blues,” “When the Sun Goes Down,” and “Blues Before Sunrise.” His blues were expressive and evocative, recorded only with piano and guitar, yet as author Sam Charters has noted, Carr was “a city man” whose singing was never as rough or intense as that of the country bluesmen, and as reissue producer Francis Smith put it, “He, perhaps more than any other single artist, was responsible for transforming the rural blues patterns of the ’20s into the more city-oriented blues of the ’30s.”
Born in Nashville, Leroy Carr moved to Indianapolis as a child. While he was still in his teens, he taught himself how to play piano. Carr quit school in his mid-teens, heading out for a life on the road. For the next few years, he would play piano at various parties and dances in the Midwest and South. During this time, he held a number of odd jobs — he joined a circus, he was in the Army for a while, and he was briefly a bootlegger. In addition to his string of jobs, he was married for a short time.” Continue reading
Finally , happy birthday to one of the most beautiful voices to ever grace God’s green earth , Ms Sarah “Sassie” Vaughan while know for her jazz singing ” I Ain’t Got Nothin’ But the Blues”
” Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan‘s legacy as a performer and a recording artist will be very difficult to match in the future.
Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians’ recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine‘s orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.” Continue reading
” Sarah Vaughan, in full Sarah Lois Vaughan, byname Sassy or the Divine One (born March 27, 1924, Newark, N.J., U.S.—died April 3, 1990, Hidden Hills, Calif.), American jazz vocalist and pianist known for her rich voice, with an unusually wide range, and for the inventiveness and virtuosity of her improvisations.
Vaughan was the daughter of amateur musicians. She began studying piano and organ at age seven and sang in the church choir. After winning an amateur contest at Harlem’s famed Apollo Theatre in 1942, she was hired as a singer and second pianist by the Earl Hines Orchestra. A year later she joined the singer Billy Eckstine’s band, where she met Dizzy Gillespie and Charlie Parker. Vaughan’s singing style was influenced by their instruments—“I always wanted to imitate the horns.” Gillespie, Parker, and Vaughan recorded “Lover Man” together in 1945.”
” During the five-year contract with Columbia that marked her rise to stardom (1949-54), she recorded often with studio orchestras and only once in a jazz context (with Miles Davis in 1950). A new contract with Mercury (1954-9) allowed her to pursue a dual career: for Mercury she made commercial discs, including her hit Broken-Hearted Melody (1958), while for EmArcy, Mercury’s jazz subsidiary, she recorded with Clifford Brown, Cannonball Adderley, the sidemen of Count Basie‘s orchestra, and other jazz musicians. She combined these activities under later contracts with Roulette, Mercury, and Columbia (1960-67). In 1971, after a five-year absence from recording, she began once again to make popular albums, occasionally employing a jazz-flavored accompaniment, as on her album with Oscar Peterson, Joe Pass, Ray Brown, and Louie Bellson in 1978. In public performances Vaughan is accompanied by a trio of piano, double bass, and drums, either alone or as the nucleus of a big band or symphony orchestra. Among the distinguished members of her group have been Jimmy Jones (1947-52; 1954-8), Roy Haynes (1953-4), Richard Davis (late 1950s-early 1960s), Roland Hanna (early 1960s), Bob James (1965-8), Jan Hammer(1970-71), Jimmy Cobb(1970-78), Andy Simpkins (from 1979), and Harold Jones (from 1980). From 1978 to 1980 the trio became a quartet under the leadership of Vaughan’s then manager, conductor, and husband, Waymon Reed. In 1987, Vaughan recorded an album of Latin-jazz songs. “
” In 1958, Vaughan was earning a yearly income of $230,000. In July of the following year, she scored her first million-selling hit, “Broken Hearted Melody,” with the Ray Ellis Orchestra. A hit with both black and white audiences, “Broken Hearted Melody,” which was nominated for a Grammy Award, reached number five on the pop R&B charts.
When Vaughan’s contract with Mercury ended in the fall of 1959, she signed with Roulette Records and became, over the next few years, one the label’s biggest stars. Her 1960 sessions for Roulette included “The Divine One,” arranged by Jimmy Jones and a session with Count Basie Band featuring such talents as trumpeters Thad Jones and Joe Newman and saxophonists Frank Foster and Billy Mitchell. Featured in duet numbers with singer Joe Williams, the Basie Band session produced the sides, “If I Were a Bell” and “Teach Me Tonight.” “
” Ranked #50 on VH1’s 100 Greatest Women of Rock N Roll
Inducted into the Big Band and Jazz Hall of Fame in 1982.
Was an Honorary Memeber of Zeta Phi Beta Sorority
Biography in: “The Scribner Encyclopedia of American Lives”. Volume Two, 1986-1990, pages 854-856. New York: Charles Scribner’s Sons, 1999.
She is nominated for the 2008 New Jersey Hall of Fame for her services and contributions to Arts and Entertainment.
She was awarded a Star on the Hollywood Walk of Fame for Recording at 1724 Vine Street in Hollywood, California.
She was interred at Glendale Cemetery (Crestwood Section, Lot 2 Grave 3) in Bloomfield, New Jersey.
She was inducted into the 2012 New Jersey Hall of Fame for her contributions to Arts and Entertainment.
She was a lifelong Democrat and during the Lyndon Johnson Administration was a frequent guest singer at The White House.
She & Clyde B. Atkins adopted a daughter in 1961, whom they named Deborah Lois (now Paris Vaughan).
She was close friends with crooner Billy Eckstine.”
|Other album appearances|
” Her voice, which has four octaves and out-classes that of most operatic sopranos, came in unequal parts, a rich middle section, a little-girl high register, and a sometimes vulgar, echoing bottom range. She uses it like a horn . . . ” wrote Whitney Balliett, in New Yorker Magazine, July, 1977. (Balliett is a writer of America’s unique art form, jazz. His criticism is esteemed by fans and colleagues wherever music is performed.)”
Published on Nov 25, 2012
” Sunday Night, later named Michelob Presents Night Music, is a late-night television show which aired for two seasons between 1988 and 1990 as a showcase for jazz and eclectic musical artists. It was hosted by Jools Holland and David Sanborn, and featured Marcus Miller as musical director. Guests included acts such as Sonny Rollins, Shinehead, Sister Carol, Sonic Youth, Joe Sample, Slim Gaillard, Pere Ubu, Pharoah Sanders, and many others. In addition, vintage clips of jazz legends like Thelonious Monk, Dave Brubeck, and Billie Holiday were also featured. The show also featured a house band of Omar Hakim (drums), Marcus Miller (bass), Philippe Saisse (keys), David Sanborn (sax), Hiram Bullock (guitar), and Jools Holland (piano). The show often allowed its guests ample time to explain the origins of their sound, meaning of songs, etc. It also provided a national audience for lesser known acts (like Arto Lindsay’s band The Ambitious Lovers). Hal Willner was the music coordinator, responsible for the interesting musical mix-and-matching that took place on the show.”
We apologize for our oversight in missing it and wish Jeff Healey a belated (3-24) birthday . Next year we won’t miss it and in the meantime here is a very early performance of his . Enjoy
” Curley Weaver, who was known for much of his life as “the Georgia Guitar Wizard,” is only just beginning to be appreciated as one of the best players ever to pick up a six-string instrument. Although he recorded a fair number of sides on his own during the 1920s and ’30s, Weaver was most commonly heard in performances and recordings in association with his better-known colleagues Blind Willie McTell (with whom he worked from the 1930s until the early ’50s), Barbecue Bob, and Buddy Moss.Weaver was born in Newton County, GA, in Covington, and was raised on a cotton farm. His mother, Savanah Shepard, encouraged him to sing from a very early age and also taught him to play the guitar, beginning when he was ten-years-old. Savanah Shepard was a renowned guitarist in her own right around Newton County, and also taught guitar legends Barbecue Bob and his brother, Charlie Lincoln, to play the instrument when they were children. Her musical interests lay in gospel but, as in the case of Hicks and Lincoln, her son gravitated in the opposite direction, toward the blues. Curley Weaver learned to play slide guitar from two legendary (and, alas, never recorded) local bluesmen, Nehemiah Smith and Blind Buddy Keith. He showed extraordinary aptitude and, at age 19, teamed up with harmonica player Eddie Mapp, and moved to Atlanta. There he hooked up with Barbecue Bob and Charlie Lincoln, who quickly showed their younger friend the ins-and-outs of life, busking on Decatur Street, the heart of Atlanta’s black entertainment district, with its bars, restaurants, clubs, and theaters.
The association between the three guitarists was to prove providential. Barbecue Bob emerged as a local star first and, as a consequence, was also the first to go into the recording studio for the Columbia Records label in 1927 — his first releases sold well, and he, in turn, arranged for his brother and Curley Weaver to make their debuts in the studio the following year. Weaver paid his first visit to the recording studio in Atlanta on October 26, 1928, laying down two tracks, “Sweet Petunia” and “No No Blues.”Weaver‘s debut led to more recording work, both as a solo act and in the company of Eddie Mapp, as well as Barbecue Bob. It was also through the recording studio, appearing as the Georgia Cotton Pickers in association with Barbecue Bob, that Weaver first made the acquaintance of Buddy Moss, a 16-year-old harmonica player who learned guitar from Weaver and Bob and later emerged as a major star on the instrument himself. The two were to work together throughout the decade. ” Continue reading
1987 Georgia Guitar Wizard (1928-1935) 1990 Complete Recorded Works (1949-1950) Document 1990 Complete Studio Recordings Document 2000 Complete Recorded Works: 1933-1935 Document The Postwar Recordings of Blind Willie McTell Document
Published on Oct 14, 2013
” Eric Clapton & Dr. John – VH1 Duets “
” Louisiana Red (born Iverson Minter) was a flamboyant guitarist, harmonica player, and vocalist. He lost his parents early in life through multiple tragedies; his mother died of pneumonia a week after his birth, and his father was lynched by the Klu Klux Klan when he was five.
Red began recording for Chess in 1949, then joined the Army. After his discharge, he played with John Lee Hooker in Detroit for almost two years in the late ’50s, and continued through the ’60s and ’70s with recording sessions for Chess, Checker, Atlas, Glover, Roulette, L&R, and Tomato, among others.
Louisiana Red moved to Hanover, Germany in 1981, and maintained a busy recording and performing schedule through the subsequent decades into the new millennium, his 21st century releases including 2001’s Driftin’ on Earwig, 2002’s A Different Shade of Red on Severn, 2004’s Bad Case of the Blues on Mojo Tone, 2005’s No Turn on Red on Hightone and Hot Sauce on Red Lightnin’, and 2008’s Back to the Black Bayou (recorded in Norway with producer/guitarist Little Victor) on Ruf. He died in Germany in 2012 when his thyroid imbalance brought on a stroke.” Continue reading
1963 The Lowdown Back Porch Blues Collectables 1963 Seventh Son Carnival Recording Co. 1972 Louisiana Red Sings the Blues Wounded Bird 1975 Sweet Blood Call Fat Possum 1976 Dead Stray Dog Fat Possum 1978 Red Funk & Blue Black Panthers 1983 Blues from the Heart JSP 1984 Blues Man JSP 1994 Live at 55 Blues Beacon 1994 Always Played the Blues JSP 1994 Blues for Ida B JSP 1995 Sittin’ Here Wonderin’ Earwig 1995 Sugar Hips CMA 1996 Nobody Knows Uptown Video 1997 Walked All Night Long Blues Alliance 1997 Louisiana Guitar Red Uptown Video 1998 Over My Head Chrisly Records 1998 I Hear the Train Coming Chrisly Records 1999 Millennium Blues Earwig 2000 Live at the Blues Bouquet Ocala Records 2000 Live in Montreux Labor Records 2001 Sings Deep Blues ZYX Music 2001 Driftin’ Earwig 2002 A Different Shade of Red: The Woodstock Sessions Severn Records 2005 No Turn on Red HMG 2005 Hot Sauce Red Lightnin’ (UK) 2009 Back to the Black Bayou Ruf Records 2011 Memphis Mojo Ruf Records Rip Off Blues Chrisly Records Brothers in Blues Chrisly Records You Got to Move Blue Max / Vizztone
Uploaded on Jan 15, 2007
” “Blues Masters” 1966″
” The city of Austin is often the only part of Texas that makes sense to solid-blue progressives. It’s a connection that is embodied by the South by Southwest festival currently underway, the annual event to which lovers of music and human inventiveness like to flock.
It is thus with regret and a sense of intra-tribal disloyalty that I come not to praise the festival but to — well, probably not bury it, because SXSW is a cultural juggernaut and I am not. But I come to call on my fellow lovers of music and human inventiveness, and most especially my fellow liberals, to stop with all the praise. Because the for-profit, privately held entity that is South by Southwest annually turns a handsome profit from nearly immeasurable amounts of unpaid labor.
In this, SXSW — which started as an itty-bitty thing before becoming a corporate behemoth —is hardly alone. The American cultural scene and labor market writ large are chock-a-block with people profiting from unpaid labor. It’s just that, traditionally, progressives are supposed to oppose that sort of thing. Not pay anywhere from $650 to $1,745 to attend.
South by Southwest happily touts the financial benefits it brings to Austin (“in 2013, SXSW was responsible for injecting more than $218.2 million into the Austin economy”), but is rather more shy about revealing its own profit margin (“as a privately held company we do not make our financial statements public”).
However, between ticket sales, merch ($75 “interactive sunglasses,” anyone?), and colossal corporate sponsorships, it seems safe to assume that the margin isn’t slim — and all that bank is made on the backs of thousands of artists and volunteers who are in every meaningful sense unpaid. Volunteers get festival passes; artists get to choose between a tiny honorarium, or festival passes. Neither goes very far at the grocery store.”
Happy Birthday To Bluesmen Son House , Otis Spann & Bo Carter
” Son House‘s place, not only in the history of Delta blues, but in the overall history of the music, is a very high one indeed. He was a major innovator of the Delta style, along with his playing partners Charley Patton and Willie Brown. Few listening experiences in the blues are as intense as hearing one of Son House‘s original 1930s recordings for the Paramount label. Entombed in a hailstorm of surface noise and scratches, one can still be awestruck by the emotional fervor House puts into his singing and slide playing. Little wonder then that the man became more than just an influence on some white English kid with a big amp; he was the main source of inspiration to both Muddy Waters and Robert Johnson, and it doesn’t get much more pivotal than that. Even after his rediscovery in the mid-’60s,House was such a potent musical force that what would have been a normally genteel performance by any other bluesmen in a “folk” setting turned into a night in the nastiest juke joint you could imagine, scaring the daylights out of young white enthusiasts expecting something far more prosaic and comfortable. Not out of Son House, no sir. When the man hit the downbeat on his National steel-bodied guitar and you saw his eyes disappear into the back of his head, you knew you were going to hear some blues. And when he wasn’t shouting the blues, he was singing spirituals, a cappella. Right up to the end, no bluesman was torn between the sacred and the profane more than Son House.
He was born Eddie James House, Jr., on March 21, 1902, in Riverton, MS. By the age of 15, he was preaching the gospel in various Baptist churches as the family seemingly wandered from one plantation to the next. He didn’t even bother picking up a guitar until he turned 25; to quote House, “I didn’t like no guitar when I first heard it; oh gee, I couldn’t stand a guy playin’ a guitar. I didn’t like none of it.” But if his ambivalence to the instrument was obvious, even more obvious was the simple fact that Son hated plantation labor even more and had developed a taste for corn whiskey. After drunkenly launching into a blues at a house frolic in Lyon, MS, one night and picking up some coin for doing it, the die seemed to be cast; Son House may have been a preacher, but he was part of the blues world now.
If the romantic notion that the blues life is said to be a life full of trouble is true, then Son found a barrel of it one night at another house frolic in Lyon. He shot a man dead that night and was immediately sentenced to imprisonment at Parchman Farm. He ended up only serving two years of his sentence, with his parents both lobbying hard for his release, claiming self defense. Upon his release — after a Clarksdale judge told him never to set foot in town again — he started a new life in the Delta as a full-time man of the blues.” Continue reading
1964 Blues from the Mississippi Delta Smithsonian Folkways Recordings 1965 The Legendary Son House: Father of the Folk Blues Edsel 1995 Oberlin College Concert Sony Music Distribution 1995 Delta Blues and Spirituals Capitol Blues Collection / EMI Music Distribution 2000 Live at Gaslight Cafe, 1965 Document 2003 New York Central Live! Acrobat House, Son Folklyric Sympathy Blues Burn Field Recordings, Vol. 17 Document Son House and the Other Great Delta Blues Singers Monk Raw Delta Blues Not Now Music Clarksdale Moan (1930-1942) The Devil’s Tunes Son House in Seattle 1968 Arcola Records Country Farm Blues Brownsville The Delta Blues of Son House Grammercy Records
” An integral member of the nonpareil Muddy Waters band of the 1950s and ’60s, pianist Otis Spanntook his sweet time in launching a full-fledged solo career. But his own discography is a satisfying one nonetheless, offering ample proof as to why so many aficionados considered him then and now Chicago’s leading post-war blues pianist. Spann played on most of Waters‘ classic Chess waxings between 1953 and 1969, his rippling 88s providing the drive on Waters‘ seminal 1960 live version of “Got My Mojo Working” (cut at the prestigious Newport Jazz Festival, where Spann dazzled the assembled throng with some sensational storming boogies).
The Mississippi native began playing piano by age eight, influenced by local ivories stalwart Friday Ford. At 14, he was playing in bands around Jackson, finding more inspiration in the 78s of Big Maceo, who took the young pianist under his wing once Spann migrated to Chicago in 1946 or 1947.
Spann gigged on his own and with guitarist Morris Pejoe before hooking up with Waters in 1952. His first Chess date behind the Chicago icon the next year produced “Blow Wind Blow.” Subsequent Waters classics sporting Spann‘s ivories include “Hoochie Coochie Man,” “I’m Ready,” and “Just Make Love to Me.” Continue reading
1960 Otis Spann Is the Blues Candid 1963 Portrait in Blues Storyville 1963 Piano Blues Storyville 1964 The Blues of Otis Spann Decca 1967 The Blues Is Where It’s At Beat Goes On 1967 Nobody Knows My Trouble 1968 The Bottom of the Blues Beat Goes On 1968 Raw Blues London 1969 The Blues Never Die! Original Blues Classics / Prestige Elite 1969 Cracked Spanner Head Decca 1969 The Biggest Thing Since Colossus Sony Music Distribution 1969 Super Black Blues RCA Victor / BMG 1970 Sweet Giant of the Blues Ace 1970 Cryin’ Time Vanguard 1970 Otis Spann Everest 1970 The Everlasting Blues Spivey 1972 Walking the Blues Candid 1973 Heart Heavy with Trouble 1974 Blues Rocks Bluestime 1974 Cry Before I Go BluesWay 1983 Nobody Knows Chicago Like I Do Charly Records 1984 Rarest JSP 1991 This Is the Blues Huub 2000 Last Call: Live at Boston Tea Party, April 2, 1970 Mr. Cat Music / Mr Cat 2001 Last Call [Universe] Universe 2010 Conversations in Blue Circumstantial Half Ain’t Been Told Black Cat Records
” Bo Carter (Armenter “Bo” Chatmon) had an unequaled capacity for creating sexual metaphors in his songs, specializing in such ribald imagery as “Banana in Your Fruit Basket,” “Pin in Your Cushion,” and “Your Biscuits Are Big Enough for Me.” One of the most popular bluesmen of the ’30s, he recorded enough material for several reissue albums, and he was quite an original guitar picker, or else three of those albums wouldn’t have been released by Yazoo. (Carter employed a number of different keys and tunings on his records, most of which were solo vocal and guitar performances.) Carter‘s facility extended beyond the risqué business to more serious blues themes, and he was also the first to record the standard “Corrine Corrina” (1928). Bo and his brothers Lonnie and Sam Chatmon also recorded as members of the Mississippi Sheiks with singer/guitarist Walter Vinson. ” Continue reading
Bo Carter & the Mississippi Sheiks E1 Entertainment / JSP Banana in Your Fruit Basket/Red Hot Blues 1931 City Hall Reality
” Pianist and singer/songwriter Marcia Ball is a living example of how East Texas blues meets southwest Louisiana swamp rock. Ball was born March 20, 1949, in Orange, Texas, but grew up across the border in Vinton, Louisiana. That town is squarely in the heart of “the Texas triangle,” an area that includes portions of both states and that has produced some of the country’s greatest blues talents: Janis Joplin, Johnny and Edgar Winter, Queen Ida Guillory, Lonnie Brooks, Zachary Richard, Clifton Chenier, and Kenny Neal, to name a few. Ball‘s earliest awareness of blues came over the radio, where she heard people like Irma Thomas, Professor Longhair, and Etta James, all of whom she now credits as influences. She began playing piano at age five, learning from her grandmother and aunt and also taking formal lessons from a teacher.
Ball entered Louisiana State University in the late ’60s as an English major; in college, she played in the psychedelic rock & roll band Gum. In 1970, Ball and her first husband were headed West in their car to San Francisco, but the car needed repairs in Austin, where they had stopped off to visit one of their former bandmates. After experiencing some of the music, sights, and food in Austin, the two decided to stay there. Ball has been based in Austin ever since.
Her piano style, which mixes equal parts boogie-woogie with zydeco and Louisiana swamp rock, is best exemplified on her series of excellent recordings for the Rounder label. They include Soulful Dress (1983), Hot Tamale Baby (1985),Gatorhythms (1989), and Blue House (1994). Also worthy of checking out is her collaboration with Angela Strehli and Lou Ann Barton on the Antone’s label, Dreams Come True(1990). Ball, like her peer Strehli, is an educated business woman fully aware of all the realities of the record business.Ball never records until she feels she’s got a batch of top-notch, quality songs. Most of the songs on her albums are her own creations, so songwriting is a big part of her job description. ” … Continued
1978 Circuit Queen Capitol 1980 Freda & the Firedogs Live Big Wheel Records 1984 Soulful Dress Rounder Select / Rounder 1985 Hot Tamale Baby Rounder Select / Rounder 1989 Gatorhythms Rounder 1990 Dreams Come True Antone’s 1994 Blue House Rounder Select / Rounder 1997 Let Me Play with Your Poodle Rounder 1998 Sing It! Rounder Select / Rounder 2001 Presumed Innocent Alligator Records 2003 So Many Rivers Alligator Records 2005 Live! Down the Road Alligator Records 2008 Peace, Love & BBQ Alligator Records 2011 Roadside Attractions Alligator Records 2014 The Tattooed Lady and the Alligator Man Alligator
And now it is Mr Vaughan‘s turn with a live performance at the Malibu Inn from May of 2013 … Enjoy
” As a founding member of the Fabulous Thunderbirds, Jimmie Vaughan was one of the leading Austin, Texas guitarists of the late ’70s and ’80s, responsible for opening the national market up for gritty roadhouse blues and R&B. Influenced by guitarists like Freddie King, B.B. King, and Albert King,Vaughan developed a tough, lean sound that became one of the most recognizable sounds of ’70s and ’80s blues and blues-rock. For most of his career, Vaughan co-led the Fabulous Thunderbirds with vocalist Kim Wilson. It wasn’t until 1994 that he launched a full-fledged solo career.
Born and raised in Dallas, Texas, Jimmie Vaughan began playing guitar as a child. Initially, Vaughan was influenced by both blues and rock & roll. While he was in his teens, he played in a number of garage rock bands, none of which attained any success. At the age of 19, he left Dallas and moved to Austin. For his first few years in Austin, Vaughan played in a variety of blues bar bands. In 1972, he formed his own group, the Storm, which supported many touring blues musicians.
In 1974, Vaughan met a vocalist and harmonica player named Kim Wilson. Within a year, the pair had formed the Fabulous Thunderbirds along with bassist Keith Furguson and drummer Mike Buck. For four years, the T-Birds played local Texas clubs, gaining a strong fan base. By the end of the decade, the group had signed a major label contract with Chrysalis Records and seemed bound for national stardom. However, none of their albums became hits and they were dropped by Chrysalis at the end of 1982.
At the same time the T-Birds were left without a recording contract, Jimmie‘s younger brother, Stevie Ray Vaughan, came storming upon the national scene with his debut album,Texas Flood.” …. Continued
1994 Strange Pleasure Epic 1996 A Tribute to Stevie Ray Vaughan Epic 1998 Out There Epic 2001 Do You Get the Blues? Artemis Records 2010 Plays Blues, Ballads & Favorites Shout! Factory 2011 Plays More Blues, Ballads & Favorites Shout! Factory
Happy birthday to two great Texas blues musicians who have made our lives brighter with their fabulous talents . Here’s wishing you both a wonderful day .
Uploaded on Aug 8, 2006
” Clapton – Knopfler – Same Old Blues “
Uploaded on Jun 2, 2006
” Live 04/16/83 in Hamburg/Germany;
Clarence “Gatemouth” Brown-git/voc,
Homer Brown- tenorsax,
Robert Shipley-drums “
The first half of our St Patrick’s Day Double Dose Of Irish Blues Comes From Gary Moore …
Uploaded on Feb 6, 2011
” Gary Moore & Friends (pretty much Thin Lizzy tbf) perform ‘Don’t Believe a Word’ on television program ‘The Old Grey Whistle Test’. This is my favourite performances of one of my favourite songs, probably top five. Performance also includes Gary Moore infamously flipping off the camera.
R.I.P. Gary Moore.
R.I.P. Phil Lynott
R.I.P. Cozy Powell “
And the second Irish master of the Blues , none other than Rory Gallagher …
Uploaded on May 2, 2006
” Played in France in 1980. It’s the same concert as “off the handle” is played :D
Published on Aug 4, 2013
” Closing jam of Tinsley Ellis’ set with guest Jimmy Thackery. What an experience “
” Sam Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins‘ nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour.
Hopkins‘ brothers John Henry and Joel were also talented bluesmen, but it was Sam who became a star. In 1920, he met the legendary Blind Lemon Jefferson at a social function, and even got a chance to play with him. Later, Hopkins served as Jefferson‘s guide. In his teens, Hopkins began working with another pre-war great, singer Texas Alexander, who was his cousin. A mid-’30s stretch in Houston’s County Prison Farm for the young guitarist interrupted their partnership for a time, but when he was freed, Hopkins hooked back up with the older bluesman.
The pair was dishing out their lowdown brand of blues in Houston’s Third Ward in 1946 when talent scout Lola Anne Cullum came across them. She had already engineered a pact with Los Angeles-based Aladdin Records for another of her charges, pianist Amos Milburn, and Cullum saw the same sort of opportunity within Hopkins‘ dusty country blues. Alexander wasn’t part of the deal; instead, Cullum paired Hopkins with pianist Wilson “Thunder” Smith, sensibly re-christened the guitarist “Lightnin’,” and presto! Hopkins was very soon an Aladdin recording artist.”
Year Album Label AllMusic Rating User Ratings 1951 Blues Train Mainstream 1959 Lightnin’ Hopkins [Smithsonian/Folkways] Smithsonian Folkways Recordings 1960 Strikes Again Collectables 1960 Country Blues Tradition/Rykodisc / Tradition 1960 The Last of the Great Blues Singers Time Music 1960 Lightnin’ and the Blues P-Vine Records 1960 Autobiography in Blues Tradition/Rykodisc / Tradition 1961 The Rooster Crowed in England 1961 Walkin’ This Road by Myself Concord / Fantasy 1961 Lightnin’ Original Blues Classics / Prestige Elite 1961 Sings the Blues [Crown] P-Vine Records 1961 Last Night Blues Original Blues Classics 1962 Lightnin’ Sam Hopkins & Spider Kilpatrick Arhoolie 1962 Lightnin’ Hopkins and the Blues Imperial Records (Japan) 1962 Fast Life Woman Verve 1962 Mojo Hand Collectables 1962 Blues/Folk Time Music 1962 How Many More Years I Got Fantasy 1962 Lightnin’ Hopkins on Stage 1962 Blues/Folk, Vol. 2 Time Music 1962 Lightnin’ Strikes Back Collectables 1962 At Main Point Prestige 1963 Lightnin’ and Co. Bluesville Records 1963 Blues in My Bottle Original Blues Classics 1963 Smokes Like Lightnin’ Original Blues Classics 1963 Sonny Terry & Lightnin’ Hopkins Bluesville Records 1963 Goin’ Away Original Blues Classics 1963 And the Blues Imperial Records (Japan) 1964 Hopkins Brothers: Lightnin’, Joel, & John Henry Arhoolie 1964 Swarthmore Concert Original Blues Classics 1964 Down Home Blues Bluesville Records 1964 First Meeting World Records 1964 Live at the Bird Lounge Cleopatra 1965 My Life in the Blues Prestige 1965 Lightnin’ Hopkins with His Brothers & Barbara Dane Arhoolie 1965 The Roots of Lightnin’ Hopkins 1965 Lightnin’, Sonny & Brownie Society 1965 Hootin’ the Blues Original Blues Classics / Prestige Elite 1965 Blue Lightnin’ Jewel / Jewel 1966 Sometimes I Believe She Loves Me Arhoolie 1966 Soul Blues Original Blues Classics / Prestige Elite 1966 Lightnin’ Hopkins [Saga] Saga Records 1967 Something Blue 1968 Gotta Move Your Baby Prestige 1968 Free Form Patterns Belwether / Bellaire 1969 The Texas Blues Man Saar 1969 The Great Electric Show and Dance Jewel 1969 Lonesome Life Collectables 1969 California Mudslide (And Earthquake) Ace 196? Blue Bird Blues Fontana Distribution 196? Lightnin’ Hopkins [Horizon] Horizon 196? Lightnin’ Hopkins & John Lee Hooker Storyville 196? Lightnin’ Hopkins [Guest Star] Guest Star 196? Burnin’ in LA Fontana Distribution 1970 In New York Candid 1970 Lightnin’, Vol. 1 Poppy Records 1971 Blues Is My Business Edsel 1971 Dirty Blues Mainstream 1971 The Blues [Mainstream] Mainstream 1971 Lets Work Awhile Blue Horizon 1972 Lonesome Lightnin’ Carnival Recording Co. 1972 Sounder [Original Soundtrack] CBS Records 1972 King of Dowling Street Pathe 1972 Lightnin’ Hopkins [Trip] TRIP 1974 Blues Giant Olympic 1975 In Berkeley Arhoolie 1975 Low Down Dirty Blues Mainstream 1976 All Them Blues DJM Records 197? Earth Blues United Artists Records 1983 Strums the Blues EMI Music Distribution 1984 Electric Lightnin’ P-Vine Records 1986 Bad Boogie Diving Duck Just Pickin’ Jukebox Entertainment
Published on May 26, 2014
” Stevie Ray Vaughan and Double Trouble performing live at the Montreux Jazz Festival in 1985
1. Scuttle Buttin’ 1:41
2. Say What! 4:03
3. Ain’t Gone N’ Give Up On Love 8:45
4. Pride and Joy 15:09
5. Mary Had A Little Lamb 20:18
6. Cold Shot – (with Johnny Copeland) 24:26
7. Tin Pan Alley (aka Roughest Place In Town) – (with Johnny Copeland) 30:00
8. Look at little Sister – (with Johnny Copeland) 43:21
9. Voodoo Child (Slight Return) 52:07
10. Texas Flood 1:03:07
11. Life Without You 1:12:07
12. Gone Home 1:20:24
13. Couldn’t Stand The Weather 1:26:05 “
” B. 12 March 1896, Jonesboro, Georgia, USA, d. 29 January 1976, Oakland, California, USA. A veteran of tent shows, Fuller fashioned himself a unique one-man band of six-string bass (played with his right foot), a combination of kazoo, harmonica and microphone fixed to a harness around his neck, a hi-hat cymbal (played with the left foot) and a 12-string guitar. Fuller was also known for preceding many of his songs with a spoken intro. He came to fame in the late 50s as a result of appearances on US television, where he followed Ramblin’ Jack Elliot’s lionization via his recording of ‘San Francisco Bay Blues’. In the 50s he made three albums of original and traditional material and by the mid-60s became a darling of the ‘coffee-house circuit’ after Bob Dylan cited him as one of his influences. Similar success followed in the UK resulting from Donovan’s performance of ‘San Francisco Bay Blues’ on UK Independent Television’s Ready, Steady, Go! music show in 1965. Although Fuller’s output was meagre, his influence has been considerable. Eric Clapton provoked renewed interest with an excellent version of ‘San Francisco Bay Blues’ on his MTV Unplugged album in 1992. Original Blues Classics have reissued his albums on CD with the original covers. Although often repetitive his originality is irresistible.”
Jazz, Folk Songs, Spirituals & Blues 4 versions Good Time Jazz 1958 The Lone Cat 3 versions Good Time Jazz 1961 San Francisco Bay Blues 2 versions Prestige Folklore 1963 San Francisco Bay Blues 10 versions Good Time Jazz 1963 Jesse Fuller’s Favorites 6 versions Prestige, Prestige 1965 Move On Down The Line (LP) Topic Records 12T134 1965 A Session With Jesse Fuller (LP, Album) Fontana TL 5313 1966 Frisco Bound 2 versions Arhoolie Records 1967 Jazz, Folk Songs, Spirituals & Blues (LP, Album, RE) Good Time Jazz S10031 Unknown
Singles & EPs
San Francisco Bay Blues 2 versions Good Time Jazz 1965 Runnin’ Wild (7″, Single) Good Time Jazz GV.2427 1967 Going Back To My Old Used To Be (7″) Fontana TF 821 1968
Brother Lowdown (2xLP, Comp, Gat) Fantasy 24707 1972 Railroad Worksong (CD, Album, Comp) Lake Records LACD24 Unknown
Elizabeth Cotten And Jesse Fuller – Masters Of The Country Blues 2 versions
Published on Feb 27, 2014
” Canned Heat & Harvey Mandel
live musikfestival Wohlen, CH “
” In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards. Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-’60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite. Enticed to go solo by Blue Cheer producer Abe Kesh, Harvey cut a couple of nearly wholly instrumental albums for Phillips in the late ’60s that were underground FM radio favorites, establishing him as one of the most versatile young American guitar lions. He gained his most recognition, though, not as a solo artist, but as a lead guitarist for Canned Heat in 1969 and 1970, replacing Henry Vestine and appearing with the band at Woodstock. Shortly afterward, he signed up for a stint in John Mayall‘s band, just after the British bluesman had relocated to California. Mandel unwisely decided to use a vocalist for his third and least successful Philips album. After his term with Mayall (on USA Union and Back to the Roots) had run its course, he resumed his solo career, and also formed Pure Food & Drug Act with violinist Don “Sugarcane” Harris (from the ’50s R&B duo Don & Dewey), which made several albums. In the mid-’70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones‘ 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai. “
Year Album Label AllMusic Rating User Ratings 1968 Cristo Redentor Caroline Distribution 1969 Righteous Cleopatra 1970 Games Guitars Play Philips 1971 Electronic Progress 1971 Baby Batter Beat Goes On 1972 The Snake Beat Goes On 1972 Get Off in Chicago 1973 Shangrenade Repertoire 1974 Feel the Sound of Harvey Mandel Repertoire 1994 Twist City Western Front Entertainment 1995 Nothin’ But the Blues: Blues from Chicago Laserlight / Delta Distribution 1995 Snakes & Stripes Clarity Recordings 1996 Psychedelic Guitar Circus Rykodisc 1997 Planetary Warrior Viceroy / Lightyear 2000 Emerald Triangle Orchard 2000 Lick This Electric Snake Productions 2003 West Coast Killaz Electric Snake Productions 2003 Cristo Redentor…Plus Selected Sessions Raven 2009 Harvey Mandel and the Snake Crew: Live Harvey Mandel and the Snake Crew CD Baby