Tag Archive: Music


Siegel – Schwall Band – “The Blues Is Alright”

 

 

 

 

Uploaded on May 30, 2009

” SAMBO ARTHUR IRBY takes lead vocals on this one.CORKY SIEGEL- Harmonica/Piano/Vocals. JIM SCHWALL – Guitar/Vocals, The “Legendary” SAM LAY – Drums/Vocals, ROLLO RADFORD – Bass/Vocals, SAMBO ARTHUR IRBY- Percussion’s, Drums, Vocals”

 

 

 

 

 

 

 

 

 

 

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Happy Birthday Fats Waller

 

 

 

 

 

 

 

Biography

” Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers — and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream. Waller also pioneered the use of the pipe organ and Hammond organ in jazz — he called the pipe organ the “God box” — adapting his irresistible sense of swing to the pedals and a staccato right hand while making imaginative changes of the registration. As a composer and improviser, his melodic invention rarely flagged, and he contributed fistfuls of joyous yet paradoxically winsome songs like “Honeysuckle Rose,” “Ain’t Misbehavin,'” “Keepin’ Out of Mischief Now,” “Blue Turning Grey Over You” and the extraordinary “Jitterbug Waltz” to the jazz repertoire.

  During his lifetime and afterwards, though, Fats Waller was best known to the world for his outsized comic personality and sly vocals, where he would send up trashy tunes that Victor Records made him record with his nifty combo, Fats Waller & His Rhythm. Yet on virtually any of his records, whether the song is an evergreen standard or the most trite bit of doggerel that a Tin Pan Alley hack could serve up, you will hear a winning combination of good knockabout humor, foot-tapping rhythm and fantastic piano playing. Today, almost all of Fats Waller‘s studio recordings can be found on RCA’s on-again-off-again series The Complete Fats Waller, which commenced on LPs in 1975 and was still in progress during the 1990s.” Continue reading

Discography

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Newport Folk Festival

 

 

 

 

Uploaded on Aug 29, 2010

” Some rare footage of two great Mississippi blues men, the fiery slide of Fred McDowell and the sweet and mellow John Hurt with his beautiful finger picking style, only glimpses that leave you wanting a whole lot more. Plus some of the young white guys who were making great music at the time, John Koerner and the Paul Butterfield band with Paul on harp and Mike Bloomfield on guitar.”

 

 

 

 

 

 

 

 

 

 

 

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Happy Birthday Jimmy Thackery

 

 

 

 

 

 

 

Biography

” Singer, songwriter, and guitar virtuoso Jimmy Thackery carved an enviable niche for himself in the world of electric blues. Known for his gritty, blue-collar approach and marathon live shows, Thackery was for many years part of the Nighthawks, one of the hardest-working blues bar bands in North America. By the late ’80s, he was touring and recording under his own name, and finding widespread acceptance on the festival circuit. His hard-edged, tough-as-nails approach to guitar playing and his trio’s driving rhythm section holds appeal for fans of both the straight-ahead blues of Muddy Waters and the roots rock of Bruce Springsteen and Joe Grushecky. Like the Nighthawks and Grushecky‘s Houserockers, much of the material Thackery performs can safely be called blues or blues-rock. Hardcore blues like “It’s My Own Fault” and popular blues-rock chestnuts like “Red House” from Jimi Hendrix are fair game for Thackery & His Drivers, which included Michael Patrick on bass and Mark Stutso on drums and vocals.

  Born in Pittsburgh, Thackery was raised in Washington, D.C. In high school, he played in a band with Bonnie Raitt‘s brother, David, who exposed him to the music of Buddy Guy; Thackery saw both Guy and Jimi Hendrix perform in Washington, D.C. Thackery joined the Nighthawks in 1974, after being introduced to harmonica man Mark Wenner by fellow guitarist Bobby Radcliff, who was then based in D.C. Thackery recorded more than 20 albums with the Nighthawks and toured the U.S., Canada, Europe, and Japan. He left the band in 1987 and struck out on his own, needing a break from the Nighthawks‘ 300-nights-a-year tour schedule. ” Continue reading

Discography

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Happy Birthday Big Joe Turner

 

 

 

 

 

 

 

 

Biography

” The premier blues shouter of the postwar era, Big Joe Turner‘s roar could rattle the very foundation of any gin joint he sang within — and that’s without a microphone. Turner was a resilient figure in the history of blues — he effortlessly spanned boogie-woogie, jump blues, even the first wave of rock & roll, enjoying great success in each genre.

  Turner, whose powerful physique certainly matched his vocal might, was a product of the swinging, wide-open Kansas City scene. Even in his teens, the big-boned Turner looked entirely mature enough to gain entry to various K.C. nighteries. He ended up simultaneously tending bar and singing the blues before hooking up with boogie piano master Pete Johnson during the early ’30s. Theirs was a partnership that would endure for 13 years.

  The pair initially traveled to New York at John Hammond‘s behest in 1936. On December 23, 1938, they appeared on the fabled Spirituals to Swing concert at Carnegie Hall on a bill with Big Bill Broonzy,Sonny Terry, the Golden Gate Quartet, and Count Basie. Turner and Johnson performed “Low Down Dog” and “It’s All Right, Baby” on the historic show, kicking off a boogie-woogie craze that landed them a long-running slot at the Cafe Society (along with piano giants Meade Lux Lewis and Albert Ammons).

  As 1938 came to a close, Turner and Johnson waxed the thundering “Roll ‘Em Pete” for Vocalion. It was a thrilling up-tempo number anchored by Johnson‘s crashing 88s, and Turner would re-record it many times over the decades. Turner and Johnson waxed their seminal blues “Cherry Red” the next year for Vocalion with trumpeter Hot Lips Page and a full combo in support. In 1940, the massive shouter moved over to Decca and cut “Piney Brown Blues” with Johnson rippling the ivories. But not all of Turner‘s Decca sides teamed him with Johnson; Willie “The Lion” Smith accompanied him on the mournful “Careless Love,” while Freddie Slack’s Trio provided backing for “Rocks in My Bed” in 1941.

  Turner ventured out to the West Coast during the war years, building quite a following while ensconced on the L.A. circuit. In 1945, he signed on with National Records and cut some fine small combo platters under Herb Abramson‘s supervision. Turner remained with National through 1947, belting an exuberant “My Gal’s a Jockey” that became his first national R&B smash. Contracts didn’t stop him from waxing an incredibly risqué two-part “Around the Clock” for the aptly named Stag imprint (as Big Vernon!) in 1947. There were also solid sessions for Aladdin that year that included a wild vocal duel with one of Turner‘s principal rivals, Wynonie Harris, on the ribald two-part “Battle of the Blues.” ” Continue reading

Discography

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Happy Birthday Taj Mahal

 

 

 

 

 

Biography

” One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within that realm, Mahal soon broadened his approach, taking a musicologist’s interest in a multitude of folk and roots music from around the world — reggae and other Caribbean folk, jazz, gospel, R&B, zydeco, various West African styles, Latin, even Hawaiian. The African-derived heritage of most of those forms allowed Mahal to explore his own ethnicity from a global perspective and to present the blues as part of a wider musical context. Yet while he dabbled in many different genres, he never strayed too far from his laid-back country blues foundation. Blues purists naturally didn’t have much use for Mahal‘s music, and according to some of his other detractors, his multi-ethnic fusions sometimes came off as indulgent, or overly self-conscious and academic. Still, Mahal‘s concept was vindicated in the ’90s, when a cadre of young bluesmen began to follow his lead — both acoustic revivalists (Keb’ Mo’, Guy Davis) and eclectic bohemians (Corey Harris, Alvin Youngblood Hart).

  Taj Mahal was born Henry St. Clair Fredericks in New York on May 17, 1942. His parents — his father a jazz pianist/composer/arranger of Jamaican descent, his mother a schoolteacher from South Carolina who sang gospel — moved to Springfield, Massachusetts, when he was quite young, and while growing up there, he often listened to music from around the world on his father’s short-wave radio Bo Diddley. While studying agriculture and animal husbandry at the University of Massachusetts, he adopted the musical alias Taj Mahal (an idea that came to him in a dream) and formed Taj Mahal & the Elektras, who played around the area during the early ’60s. After graduating, Mahal moved to Los Angeles in 1964 and, after making his name on the local folk-blues scene, formed the Rising Sons with guitarist Ry Cooder. The group signed to Columbia and released one single, but the label didn’t quite know what to make of their forward-looking blend of Americana, which anticipated a number of roots rock fusions that would take shape in the next few years; as such, the album they recorded sat on the shelves, unreleased until 1992.” Continue reading 

Discography

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Lightnin’ Hopkins – Mr Charlie Your Rollin’ Mill Is Burnin’ Down

 

 

 

 

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Legendary Blues Guitarist B.B. King Dead At 89

 

 

 

 

 

 

 

” Legendary blues guitarist died on Thursday night at the age of 89.

  Daughter Patty King said he died in Las Vegas of as-yet-undisclosed causes, two weeks after being placed in home hospice care while suffering from dehydration, according to CNN.”

 

 

 

 

 

 

” Born Riley B. King on September 16, 1925 on a plantation in Itta Bena, Mississippi, King was widely regarded as one of the greatest and most influential guitarists and blues musicians of all-time. After starting out on street corners in Mississippi as a youngster, he hitchhiked to Memphis in 1947 and got an early break when he performed on radio there the next year.”

 

 

 

 

 

 

” He scored his first hit with 1952’s “Three O’Clock Blues” and soon began to tour extensively, logging an incredible 342 concerts in 1956. He released his first album, Singin’ the Blues, the next year, and during a career that spanned over six decades, he released more than 40 studio albums, in addition to over a dozen live albums.

  With hundreds of songs in his catalog, the man nicknamed the King of the Blues is best known for such signature tracks as: “The Thrill Is Gone,” “Everyday I have the Blues,” “Why I Sing the Blues” and “How Blue Can You Get.” “

 

 

 

 

 

 

 

Read more here and at the many links below :

 

Blues legend B.B. King dies at age 89 in Las Vegas – CNN

‘King of the Blues’ legend BB King dies at 89 – AP

B. B. King, Defining Bluesman for Generations, Dies at 89 – NYT

B.B. King, Blues Legend, Dies at 89 – WSJ

B.B. King Dies At 89 Video – ABC News

Blues Legend B.B. King Dies at 89 – Billboard

King of Blues BB King dies – BBC News

B.B. King has died at 89. – UTSanDiego.com

Blues Legend B.B. King Dies At 89 – BuzzFeed

Blues Legend B.B King Dies in Las Vegas – Sky News

The King is gone: Blues legend B.B. King dies at 89 – Chicago Sun-Times

B.B. King dies at age 89 – CNBC

 

 

 

 

 

 

 

 

More biographies:

 

B.B. King – Biography

B.B. King – Wikipedia

B. B. King – Notable Biographies

B.B. King – Rock Hall Of Fame

B.B. King – IMBd

B.B. King – AllMusic

B.B. King – Starpulse

B.B. King – Rolling Stone

B.B . King – MTV

BB King – Mojohand

B.B. King – ARTISTdirect

B.B. King – Musicians Guide

B. B. King – Hollywood.com

B.B. King – Achievement.org

 

 

 

 

 

 

 

 

You’re in fine company up there in Blues Heaven … you will be missed … Rest In Peace Mr King

 

 

 

 

 

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Terry ” Harmonica ” Bean – Of Delta Mississippi Blues – With the Blues Band

 

 

 

 

Published on Mar 17, 2012

” Terry ” Harmonica ” Bean in live – Mike Jay Greene (guitare), Fred Jouglas (basse) et Simon “Shuffle” Boyer (batterie). @ l’Espace le Bois aux Dames Samoëns Haute Savoie France le Vendredi 16 Mars 2012 “

 

 

 

 

 

 

 

 

 

 

 

 

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Jeff Beck With Eric Clapton And A Roy Buchanan Song- 2 Of The Most Beautiful Songs In The World

 

 

 

 

Published on Jan 3, 2015

” I like Clapton’s opening comment at 0:12 “If there was a coin we could be like,you know,I could be on one side and he could be on the other”. Jeff Beck should have the words “Talent Scout” in his resume because he knew great talent when he saw it, heard it or performed with them. Les Paul,Cliff Gallup,B.B. King,Bo Diddley,Scotty Moore,Little Richard,Jerry Lee Lewis,Chuck Berry,Matt Murphy Paul Burlison,Buddy Guy,Earl Hooker,James Burton,Steve Cropper,Hank Marvin,Ian Stewart,Hendrix,Clapton,Page,Townsend,Ro­d Stewart,Ron Wood,Billy Gibbons,John McLaughlin,Stevie Wonder,Stanley Clarke,Jan Hammer,Carlos Santana,David Gilmour,Roger Waters,Aynsley Dunbar,Cozy Powell,Jack Bruce,Tim Bogert,Carmine Appice,Buddy Miles,Paul McCartney are just a few of many more to add.
The opening song “Cause We’ve Ended as Lovers” was written by Stevie Wonder and was voted the number 1 most beautiful instrumental of All Time. Jeff dedicated that song to Roy Buchanan on his landmark 1975 LP “Blow by Blow”. Since it was Jeff Beck who turned me onto Roy Buchanan’s music (I have almost every recording by him starting back from 1957) so I felt that I had to add,what I think is, Roy’s most beautiful song as a follow up. This Roy Buchanan song is an instrumental version of “The Messiah Will Come Again” recorded live in Chicago around 1985. Roy was known as “The World’s Greatest Unknown Guitarist” and there is a great book about him titled “American Axe”http://www.amazon.com/Roy-Buchanan-Am…
Buy it if you want to learn more about this great guitarist.
Jeff Beck http://en.wikipedia.org/wiki/Jeff_Beck
Jeff Beck Discography http://en.wikipedia.org/wiki/Jeff_Bec…
Blow by Blow LP http://en.wikipedia.org/wiki/Blow_by_…
Roy Buchanan http://en.wikipedia.org/wiki/Roy_Buch…
Roy Buchanan’s first lp from 1972 http://en.wikipedia.org/wiki/Roy_Buch…)
Back issues of Jeff Beck Bulletins http://www.ainian.com/backbull.html
0:00 Nice intro by Clapton
0:34 Cause We’ve Ended As Lovers
2:54 Eric Clapton lets loose
3:30 Doyle Bramhall II solo
4:02 Jeff Beck’s solo
Nathan East-Bass http://en.wikipedia.org/wiki/Nathan_East
Steve Gadd-Drums http://en.wikipedia.org/wiki/Steve_Gadd
6:13 The Messiah Will Come Again (I love how this song starts off slow then by the end it’s smoking hot. I once listened to this song 13 times in a row and it still gives me the goose bumps when ever I hear those pinched harmonics and Flash Guitar runs.
Here is a link to one of my favorite Roy Buchanan songs called “When A Guitar Plays The Blues” at Carnegie Hall in NYC https://www.youtube.com/watch?v=Ka7yH…
And here is another link of Roy performing “Green Onions” and “Short Fuse” at Carnegie Hall in NYC 1985https://www.youtube.com/watch?v=NNW-5… “

 

 

 

 

 

 

 

 

 

 

 

 

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Happy Birthday Bobby Darin

 

 

 

Biography

” There’s been considerable discussion about whether Bobby Darin should be classified as a rock & roll singer, a Vegas hipster cat, an interpreter of popular standards, or even a folk-rocker. He was all of these and none of these. Throughout his career he made a point of not becoming committed to any one style at the exclusion of others; at the height of his nightclub fame he incorporated a folk set into his act. When it appeared he could have gone on indefinitely as a sort of junior version of Frank Sinatra, he would periodically record pop/rock and folk-rock singles whose principal appeal lay outside of the adult pop market. At one point he started calling himself Bob Darin and recorded songs with vague anti-establishment overtones that could be said to be biting the largely bourgeois hands that fed his highest-paying gigs. It may be most accurate to say that Darin was, above all, a singer who wanted to do a lot of things, rather than make his mark as a particular stylist. That may have cost him some points as far as making it to the very top of certain genres, but also makes his work more versatile than almost any other vocalist of his era.”

 

 

 

 

 

 

 

 

” When Darin had his first hits in the late ’50s, he was a teen idol of sorts, albeit a teen idol with much more talent and mature command than the typical singer in that style. The novelty-tinged “Splish Splash” was his breakthrough smash, followed by “Queen of the Hop” and the ballad “Dream Lover.” There was a slight R&B feel to Bobby‘s delivery that may well have influenced R&B-pop/rock singers such as Dion, though it would be an exaggeration to call Darin a blue-eyed soul man. In late 1959, he found a new direction when the swinging “Mack the Knife,” a tune from BrechtWeill‘s Threepenny Opera musical, made number one. The song came from an album of pop standards, heralding his move toward light big band jazz, which was consolidated by the Top Ten success of “Beyond the Sea” in 1960.”

 

 

 

 

 

 

” In the early ’60s, Darin had mostly abandoned rock for the adult pop market, becoming a huge success on the Vegas-nightclub circuit, and moving into the all-around entertainer mode with starring roles in movies (including one as a non-singing jazz musician in John Cassavetes’ Too Young Blues). He also continued to score regular hits with the likes of “You Must Have Been a Beautiful Baby,” “Things,” and “Lazy River.” To keep people guessing, there was also a hit cover of “What’d I Say” and some country tunes (one of which, “You’re the Reason I’m Living,” made it to number three on the pop charts). Around 1963, he put a folk section into his nightclub act that employed guitarist Roger McGuinn, then a couple of years away from fame as the leader of the Byrds.”Continue reading

 

 

 

 

 

 

 

 

Discography

 

Bobby Darin [1958]
1958 Bobby Darin [1958] album review Atlantic  
(2)
 
 
That's All
1959 That’s All album review Atlantic  
(10)
 
 
This Is Darin
1960 This Is Darin album review Atlantic  
(2)
 
 
Darin at the Copa
1960 Darin at the Copa album review Atlantic  
(3)
 
 
For Teenagers Only
1960 For Teenagers Only album review Collectors’ Choice Music  
(8)
 
 
The 25th Day of December
1960 The 25th Day of December album review Atco / Atlantic  
(1)
 
 
Two of a Kind
1961 Two of a Kind album review Atco  
(5)
 
 
Twist with Bobby Darin
1961 Twist with Bobby Darinalbum review Atco  
(3)
 
 
Love Swings
1961 Love Swings album review Atco  
(3)
 
 
Bobby Darin Sings Ray Charles
1962 Bobby Darin Sings Ray Charles album review Atco  
(1)
 
 
Things & Other Things
1962 Things & Other Things album review Collectors’ Choice Music  
(2)
 
  Oh! Look at Me Now 1962 Oh! Look at Me Now album review Capitol  
(2)
 
 
You're the Reason I'm Living
1963 You’re the Reason I’m Living album review Capitol  
(1)
 
 
It's You or No One
1963 It’s You or No One album review Atco  
(1)
 
  18 Yellow Roses 1963 18 Yellow Roses album review Capitol  
(0)
 
  Earthy! 1963 Earthy! album review Capitol  
(0)
 
 
Winners
1964 Winners album review Atco  
(0)
 
  Hello Dolly to Goodbye Charlie 1964 Hello Dolly to Goodbye Charlie album review Capitol  
(0)
 
  The Lively Set [Original Soundtrack] 1964 The Lively Set [Original Soundtrack] Decca  
(0)
 
  Venice Blue 1965 Venice Blue album review Capitol  
(0)
 
 
I Wanna Be Around
1965 I Wanna Be Around Capitol  
(0)
 
  Bobby Darin Sings The Shadow of Your Smile 1966 Bobby Darin Sings The Shadow of Your Smile album review Atlantic  
(0)
 
  In a Broadway Bag (Mame) 1966 In a Broadway Bag (Mame) album review Atlantic  
(1)
 
  If I Were a Carpenter 1966 If I Were a Carpenter album review Atlantic  
(4)
 
  1966 Academy Award Song Kit 1966 1966 Academy Award Song Kit Atlantic  
(0)
 
  Inside Out 1967 Inside Out album review Atlantic  
(1)
 
  Something Special 1967 Something Special Atlantic  
(0)
 
  Dr. Doolittle 1967 Dr. Doolittle album review Atlantic  
(1)
 
  Bobby Darin Born Walden Robert Cassotto 1968 Bobby Darin Born Walden Robert Cassottoalbum review    
(1)
 
  Commitment 1969 Commitment album review Direction  
(1)
 
 
Live! At the Desert Inn
1971 Live! At the Desert Inn album review Concord / Neon Tonic / Universal (Pty) Ltd.  
(17)
 
  Bobby Darin [1972] 1972 Bobby Darin [1972]    
(1)

 

 

 

 

 

 

 

 

 

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Sister Rosetta Tharpe – Documentary 2011

 

 

 

 

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Jimi Hendrix – 12 String Blues

 

 

 

 

Published on Nov 2, 2012

” Mr. Jimi Hendrix with his 12 string acoustic guitar. Filmed in widescreen. A very clear image of Jimi and his guitar work.”

 

 

 

 

 

 

 

 

 

 

 

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The Howlin’ Wolf Story

 

 

 

 

 

 

 

Published on Jul 9, 2014

” The Howlin ‘Wolf Story – The Secret History of Rock & Roll

Documentary about Chester A. Burnett, better known as Howlin’ Wolf
Rare footage of Howlin’ Wolf presented by the Rolling Stones on Shindig performing “How Many More Years?
First presentation of previously unknown or unavailable performance footage,
Drummer Sam Lay’s rare, never-before-seen home movies of stars of the Chicago Blues clubs from the early ’60s,
Newly discovered photos of Howlin’ Wolf and his band,
First filmed interview with Howlin’ Wolf’s family.

Copyright Disclaimer Under Section 107 of the Copyright Act 1976,
allowance is made for “fair use” for purposes such as criticism,
comment, news reporting, teaching, scholarship,and research.
Fair use is a use permitted by copyright statute that might otherwise be infringing.
Non-profit, educational or personal use tips the balance in favor of fair use.”

 

 

 

 

 

 

 

 

 

 

 

 

Happy Birthday Bob ” Steady Rollin’ ” Margolin

 

 

 

 

 

 

 

Biography

” With each new album, guitarist, singer, and songwriter “Steady Rollin'” Bob Margolin continues to expand the boundaries of modern blues. Margolin, a sideman for Muddy Waters from 1973 to 1980, was born on May 9, 1949, and raised in Brookline, MA, became enamored with the recordings of Chuck Berry while still in high school and began playing out a few years later while attending Boston University in the early ’70s. Working with a variety of Boston-area blues bands and one he called the Boston Blues Band, he elected to pursue music full-time. In 1973, he joined Waters on the road and in the studio for seven years, playing festivals and clubs around the U.S., Canada, and Europe with the legendary bluesman, who died in 1983. Highlights of his career with Waters‘ band included the taping for The Last Waltz on Thanksgiving Day 1976, and performing at the White House for Jimmy Carter in August 1978.” Continue Reading

Discography

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Happy Birthday Robert Johnson & Joe Bonamassa

 

 

Mr Johnson:

 

 

 

 

 

 

Biography

 

” If the blues has a truly mythic figure, one whose story hangs over the music the way a Charlie Parker does over jazz or a Hank Williams does over country, it’s Robert Johnson, certainly the most celebrated figure in the history of the blues. Of course, his legend is immensely fortified by the fact that Johnson also left behind a small legacy of recordings that are considered the emotional apex of the music itself. These recordings have not only entered the realm of blues standards (“Love in Vain,” “Crossroads,” “Sweet Home Chicago,” “Stop Breaking Down”), but were adapted by rock & roll artists as diverse as the Rolling Stones, Steve Miller, Led Zeppelin, and Eric Clapton. While there are historical naysayers who would be more comfortable downplaying his skills and achievements (most of whom have never made a convincing case as where the source of his apocalyptic visions emanates from), Robert Johnson remains a potent force to be reckoned with. As a singer, a composer, and as a guitarist of considerable skills, he produced some of the genre’s best music and the ultimate blues legend to deal with. Doomed, haunted, driven by demons, a tormented genius dead at an early age, all of these add up to making him a character of mythology who — if he hadn’t actually existed — would have to be created by some biographer’s overactive romantic imagination.

  The legend of his life — which by now, even folks who don’t know anything about the blues can cite to you chapter and verse — goes something like this: Robert Johnson was a young black man living on a plantation in rural Mississippi. Branded with a burning desire to become great blues musician, he was instructed to take his guitar to a crossroad near Dockery’s plantation at midnight. There he was met by a large black man (the Devil) who took the guitar from Johnson, tuned it, and handed it back to him. Within less than a year’s time, in exchange for his everlasting soul, Robert Johnson became the king of the Delta blues singers, able to play, sing, and create the greatest blues anyone had ever heard.” Continue reading

Discography

Move Videos

 

 

 

 

Joe Bonamassa:

 

 

 

 

 

 

 

Biography

” Guitar mastermind Joe Bonamassa, a young player with the childhood dream of playing music similar to legends like Stevie Ray Vaughan, Eric Clapton, and Jimi Hendrix, was 22 when he inked a deal with Epic. Hailing from Utica, New York, Bonamassa could play the blues before he could drive a car. He first heard Stevie Ray Vaughan at age four and was instantly taken by Vaughan‘s high-powered playing. At age eight, he opened for B.B. King, and at age 12, he was playing regularly around upstate New York. It was soon thereafter that Bonamassa hooked up with the band Bloodline, which featured other musicians’ sons: Waylon Krieger (Robby Krieger‘s son), Erin Davis (Miles Davis‘ drummer kid), and Berry Oakley, Jr. (son of the Allman Brothers bassist). Bloodline released a self-titled album, but Bonamassa wanted to move on. In summer 2000 he guested for Roger McGuinn on Jethro Tull‘s summer tour, later releasing his debut solo album, A New Day Yesterday. Produced by longtime fan Tom Dowd, the album marked a move toward a more organic and rock-sounding direction. He put together a power trio with drummer Kenny Kramme and bassist Eric Czar and hit the road to support the album.” Continue Reading

Discography

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Big Bill Broonzy 1957

 

 

 

 

Uploaded on Jan 21, 2010

” The great country blues singer and guitarist Big Bill Broonzy performs “Worried Man Blues,” “Hey, Hey” and “How You Want It Done.” From the DVD “A Musical Journey: The Films of Pete, Toshi and Dan Seeger.” More info at http://www.guitarvideos.com/products/… “

 

 

 

 

 

 

 

 

 

 

 

The Blues Brothers – Full Concert – 12.31.78 – Winterland

 

 

Published on Nov 4, 2014

” The Blues Brothers – Full Concert
Recorded Live: 12/31/1978 – Winterland (San Francisco, CA)

More The Blues Brothers at Music Vault: http://www.musicvault.com
Subscribe to Music Vault: http://goo.gl/DUzpUF

Setlist:
0:00:00 – Can’t Turn You Loose (Intro)
0:01:49 – Hey Bartender
0:04:44 – Messin’ With The Kid
0:08:06 – (I Got Everything I Need) Almost
0:11:27 – Rubber Biscuit
0:14:55 – Shotgun Blues
0:20:40 – Groove Me
0:24:26 – I Don’t Know
0:29:57 – Soul Man
0:33:04 – B Movie Box Car Blues
0:38:44 – Flip, Flop & Fly
0:42:41 – Jailhouse Rock

Personnel:
Joliet Jake Blues (John Belushi) – vocals
Elwood Blues (Dan Akroyd) – harmonica, vocals
Steve Cropper – guitar
Matt Murphy – guitar
Donald Dunn – bass
Tom Malone – trombone, trumpet, saxophone
Lou Marini – saxophone
Tom Scott – saxophone
Alan Rubin – trumpet
Paul Shaffer – keyboards
Murphy Dunne – piano
Steve Jordan – drums
Willie Hall – drums “

 

 

 

 

 

 

 

 

 

 

 

 

 

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Happy Birthday “Blind” Willie McTell

 

 

 

 

 

Biography

 

” Willie Samuel McTell was one of the blues’ greatest guitarists, and also one of the finest singers ever to work in blues. A major figure with a local following in Atlanta from the 1920s onward, he recorded dozens of sides throughout the ’30s under a multitude of names — all the better to juggle “exclusive” relationships with many different record labels at once — including Blind Willie, Blind Sammie, Hot Shot Willie, and Georgia Bill, as a backup musician to Ruth Mary Willis. And those may not have been all of his pseudonyms — we don’t even know what he chose to call himself, although “Blind Willie” was his preferred choice among friends. Much of what we do know about him was learned only years after his death, from family members and acquaintances. His family name was, so far as we know, McTier or McTear, and the origins of the “McTell” name are unclear. What is clear is that he was born into a family filled with musicians — his mother and his father both played guitar, as did one of his uncles, and he was also related to Georgia Tom Dorsey, who later became the Rev. Thomas Dorsey.

  McTell was born in Thomson, Georgia, near Augusta, and raised near Statesboro. He was probably born blind, although early in his life he could perceive light in one eye. His blindness never became a major impediment, however, and it was said that his sense of hearing and touch were extraordinary. His first instruments were the harmonica and the accordion, but as soon as he was big enough he took up the guitar and showed immediate aptitude on the new instrument. He played a standard six-string acoustic until the mid-’20s, and never entirely abandoned the instrument, but from the beginning of his recording career, he used a 12-string acoustic in the studio almost exclusively. McTell‘s technique on the 12-string instrument was unique. Unlike virtually every other bluesman who used one, he relied not on its resonances as a rhythm instrument, but, instead, displayed a nimble, elegant slide and finger-picking style that made it sound like more than one guitar at any given moment. He studied at a number of schools for the blind, in Georgia, New York, and Michigan, during the early ’20s, and probably picked up some formal musical knowledge. He worked medicine shows, carnivals, and other outdoor venues, and was a popular attraction, owing to his sheer dexterity and a nasal singing voice that could sound either pleasant or mournful, and incorporated some of the characteristics normally associated with white hillbilly singers.” Continue reading

 

 

 

Discography

More videos

 

 

 

 

 

 

 

 

 

 

 

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Lightnin’ Slim & Whispering Smith – Live 1972

 

 

 

 

Uploaded on Dec 7, 2011

” From the American Folk Blues Festival 1972, live in Paris… “

 

 

 

 

 

 

 

 

 

 

 

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Yardbirds – Jeff Beck – Jimmy Page -Train Kept A Rollin’

 

 

 

 

Uploaded on Feb 25, 2011

” Great Yardbirds clip with Page and a pissed off Beck! This beats the piss outta Duckface! “

 

 

 

 

 

 

 

 

American Folk Blues Festival 1962 – 1969 Vol 3

 

 

 

 

Published on Aug 1, 2013

” Tracks: Hound Dog (Big Mama Thornton), Gulfport Boogie (Roosevelt Sykes), Out of Sight (Buddy Guy), Feel So Good (Dr. Isaiah Ross), Flip, Flop & Fly (Joe Turner), All Night Long (Skip James), Crow Jane (Skip James), Got Sick & Tired (Bukka White), Death Letter Blues (Son House), Wild About You (Hound Dog Taylor), Wang Dang Doodle (Koko Taylor), Stranger Blues, Burnt Child (Afraid of Fire), Move Across the River (Sonny Terry & Brownie McGhee), The Blues Ain’t Nothin’ But a Woman (Helen Humes) “

 

 

 

 

 

 

 

 

 

 

 

 

 

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Happy Birthday Little Walter

 

 

 

 

 

 

 

Be sure to read our birthday tribute to Mr Jacobs here 

 

 

 

 

 

 

 

 

 

 

 

Happy Birthday Little Walter

 

 

little-walter

 

 

 

Wiki Bio

 

” Jacobs was born in Marksville, Louisiana and raised in Rapides Parish, Louisiana, where he first learned to play the harmonica. After quitting school by the age of 12, Jacobs left rural Louisiana and travelled around working odd jobs and busking on the streets of New Orleans, Memphis, Helena, Arkansas and St. Louis. He honed his musical skills on harmonica and guitar performing with much older bluesmen such as Sonny Boy Williamson IISunnyland SlimHoneyboy Edwards and others.”

 

 

 

 

 

 

 

 

” Arriving in Chicago in 1945, he occasionally found work as a guitarist but garnered more attention for his already highly developed harmonica work. According to fellow Chicago bluesman Floyd Jones, Little Walter’s first recording was an unreleased demo recorded soon after he arrived in Chicago on which Walter played guitar backing Jones. Jacobs reportedly grew frustrated with having his harmonica drowned out by electric guitarists, and adopted a simple, but previously little-used method: He cupped a small microphone in his hands along with his harmonica, and plugged the microphone into a public address system or guitar amplifier. He could thus compete with any guitarist’s volume. However, unlike other contemporary blues harp players such as Sonny Boy Williamson I and Snooky Pryor, who like many other harmonica players had also begun using the newly available amplifier technology around the same time solely for added volume, Little Walter purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica, or any other instrument.  Madison Deniro wrote a small biographical piece on Little Walter stating that “He was the first musician of any kind to purposely use electronic distortion.” 

 

 

 

 

 

Rock  Hall Of Fame

 

”  Little Walter made his way north to Chicago via stops in New Orleans and Monroe, Louisiana; St. Helena, Arkansas; Memphis, Tennessee; and St. Louis, Missouri, arriving in the Windy City in 1947. That same year, he made his first recordings for the local Ora Nelle label. Little Walter and Muddy Waters first appeared on a session together when both backed Jimmy Rogers in 1949. Waters backed Little Walter on a session for Parkway Records in January 1950. That August, Little Walter first backed Muddy for the Chess label, and in October, they recorded the Waters classic “Louisiana Blues.”

 

 

 

 

 

 

 

 

” Nearly a year after Little Walter’s initial appearance on a Muddy Waters session for Chess, he used an amplified harmonica for the first time on a groundbreaking July 1951 session that yielded “She Moves Me.” Waters was among the earliest to recognize that blues possessed a formidable power when electrified, and with Jimmy Rogers on electric guitar and Little Walter on amplified harp, he had the hottest blues band in Chicago. Little Walter split from Waters’ band after an instrumental showcase of his that was popular with crowds – “Your Cat Will Play,” retitled “Juke” when he recorded it – became a huge solo hit. A classic juke-joint instrumental, “Juke” topped the R&B chart for eight weeks in the fall of 1952.”

 

 

 

 

 

 

 

 

” In addition to harmonica, Little Walter played guitar, sang and wrote songs. He recruited a backing band from the Chicago club scene (whom he rechristened the Jukes, after his big song), and they recorded and toured throughout the Fifties. On his own, Little Walter charted 14 Top Ten R&B hits for the Chess label’s Checker subsidiary. One of these, “My Babe” – written by Willie Dixon and featuring the melody from the spiritual “This Train” – went to Number One. Other sizable hits from Little Walter included “Sad Hours,” “Mean Old World,” “Blues With a Feeling,” “You’re So Fine,” “Oh, Baby” and ‘Last Night.” At Leonard Chess’s behest, Little Walter continued recording with Muddy Waters, too, adding his unmistakable harmonica to such classics as “I’m Your Hoochie Coochie Man” and “Trouble No More.” “

 

 

 

 

Allmusic Bio

 

” By 1950, Walter was firmly entrenched as Waters‘ studio harpist at Chess as well (long after Walter had split the Muddy Waters band, Leonard Chess insisted on his participation on waxings — why split up an unbeatable combination?). That’s how Walter came to record his breakthrough 1952 R&B chart-topper “Juke” — the romping instrumental was laid down at the tail-end of a Waters session. Suddenly, Walter was a star on his own, combining his stunning talents with those of the Aces (guitarists Louis and David Myers and drummer Fred Below) and advancing the concept of blues harmonica another few light years with every session he made for Checker Records.”

 

 

 

 

 

 

 

 

” From 1952 to 1958, Walter notched 14 Top Ten R&B hits, including “Sad Hours,” “Mean Old World,” “Tell Me Mama,” “Off the Wall,” “Blues with a Feeling,” “You’re So Fine,” a threatening “You Better Watch Yourself,” the mournful “Last Night,” and a rocking “My Babe” that was Willie Dixon‘s secularized treatment of the traditional gospel lament “This Train.” Throughout his Checker tenure,Walter alternated spine-chilling instrumentals with gritty vocals (he’s always been underrated in that department; he wasn’t Muddy Waters or the Wolf, but who was?).”

 

 

 

 

 

 

 

 

” Walter utilized the chromatic harp in ways never before envisioned (check out his 1956 free-form instrumental “Teenage Beat,” with Robert Jr. Lockwood and Luther Tucker manning the guitars, for proof positive). 1959’s determined “Everything Gonna Be Alright” was Walter‘s last trip to the hit lists; Chicago blues had faded to a commercial non-entity by then unless your name was Jimmy Reed.

Tragically, the ’60s saw the harp genius slide steadily into an alcohol-hastened state of unreliability, his once-handsome face becoming a road map of scars. In 1964, he toured Great Britain with the Rolling Stones, who clearly had their priorities in order, but his once-prodigious skills were faltering badly. That sad fact was never more obvious than on 1967’s disastrous summit meeting of WatersBo Diddley, and  Walter for Chess as the Super Blues Band; there was nothing super whatsoever about Walter‘s lame remakes of “My Babe” and “You Don’t Love Me.”

 

 

 

 

 

 

 

 

” Walter‘s eternally vicious temper led to his violent undoing in 1968. He was involved in a street fight (apparently on the losing end, judging from the outcome) and died from the incident’s after-effects at age 37. His influence remains inescapable to this day — it’s unlikely that a blues harpist exists on the face of this earth who doesn’t worship Little Walter.”

 

 

 

 

 

 

 

 

 

Musicianguide Bio

 

 

” Though Little Walter’s studio performances of the late 1950s continued to produce first-rate material, his rough lifestyle began to take its toll. By the 1960s he bore facial scars from drunken altercations. As Muddy Waters told Paul Oliver during the 1960s in Conversation With the Blues, “He’s real tough, Little Walter, and he’s had it hard. Got a slug in his leg right now!” Walter’s street-hardened behavior resulted in his death, at his home, on February 15, 1968, from a blood clot sustained during a street fight. He was 37.”

 

 

 

 

 

 

 

” Upon his death, Little Walter left a recording career unparalleled in the history of postwar Chicago Blues. His musicianship has influenced nearly every modern blues harmonica player. In the liner notes to Confessin’ the Blues, Pete Welding wrote: “Honor Little Walter, who gave us so much and, who like most bluesmen, received so little.” But as a man who lived through his instrument, Walter knew no other source of reward than the mastery of his art and the freedom to create music of original expression.”

 

 

 

 

 

Discography

 

Albums

Little Waler

‎ (LP)

Marble Arch Records 1964  

Bo DiddleyLittle WalterMuddy Waters – Super Blues ‎ ◄ (13 versions)

Checker 1967  

The Best Of Little Walter Vol. 2

‎ (2xVinyl)

Chess 1985  

Little Walter & Otis Rush – Live In Chicago ‎ ◄ (3 versions)

Cleo Records 1986  

Hate To See You Go

‎ (CD, Album)

Chess 1990  

Singles & EPs

It’s Too Late Brother / Take Me Back

‎ (7″)

Checker 1956  

Teenage Beat / Just A Feeling

‎ (7″)

Checker 1956  

Everything Gonna Be Alright / Back Track

‎ (7″)

Checker 1959  

My Babe

‎ (7″)

Checker 1960  

Ah’w Baby / I Had My Fun

‎ (7″, Single, Promo)

Checker 1960  

Crazy For My Baby / Crazy Legs

‎ (7″)

Checker 1961  

I Don’t Play / As Long As I Have You

‎ (7″)

Checker 1961  

Up The Line

‎ (7″)

Checker 1963  

My Babe / Thunderball

‎ (7″)

Checker 2013  

Crazy Mixed Up World / My Baby Is Sweater

‎ ◄ (2 versions)

Checker Unknown  

Little Walter / Pigmeat Markham – My Babe / Here Comes The Judge ‎ (7″, RP)

Collectables Unknown  

Dale Hawkins / Little Walter – La Do Dada / Juke ‎ (7″, RP)

Collectables Unknown  

Compilations

The Best Of Little Walter

‎ ◄ (6 versions)

Chess 1957  

Chess Masters

‎ (2xLP, Comp)

Chess 1964  

Hate To See You Go

‎ ◄ (3 versions)

Chess 1969  

Quarter To Twelve

‎ (LP, Comp)

Red Lightnin’ 1969  

Thunderbird

‎ (LP, Comp)

Syndicate ChapterSyndicate Chapter 1971  

Muddy Waters – Little Walter – Howlin’ Wolf – We Three Kings ‎ (LP, Comp)

Syndicate Chapter 1971  

Boss Blues Harmonica

‎ ◄ (5 versions)

Chess 1972  

Chess Blues Master Series

‎ ◄ (3 versions)

Chess 1976  

Bo DiddleyLittle WalterMuddy WatersHowlin’ Wolf – Super Blues Session ‎ (2xLP, Comp, RE)

Bellaphon 1976  

Confessin’ The Blues

‎ ◄ (5 versions)

Chess 1977  

The Best Of Little Walter

‎ (Cass, Comp, RE, Dol)

ChessMCA Records 1986  

The Little Walter Collection – 20 Blues Greats

‎ (LP, Comp)

Deja Vu 1987  

The Best Of Little Walter Volume Two

‎ (LP, Comp)

Chess 1989  

My Babe 20 Blues Classics

‎ (CD, Comp)

Blue City (2) 1989  

The Electric Harmonica Genius

‎ (LP, Comp)

Blues Encore 1990  

Blues With A Feeling

‎ (LP, Comp)

Roots (6) 1990  

Blues With A Feeling

‎ (CD, Comp)

Blues Encore 1990  

The World Of Little Walter / Juke

‎ (CD, Comp)

Trace (2) 1992  

Boss Blues Harmonica

‎ ◄ (3 versions)

Orbis 1995  

Boss Blues Harmonica

‎ (CD, Comp)

DeAgostini (Netherlands) B.V. 1995  

Blues With A Feelin’

‎ (2xCD, Comp, RM)

Chess 1997  

His Best

‎ (CD, RM, Comp)

Chess 1997  

Blowing With A Feeling

‎ (CD, Comp, RM)

Saga 2005  

Little Walter

‎ (CD, Comp)

 

 

 

 

 

 

 

LINKS

Little Walter Latest Albums | MTV

Essential | Little Walter Album | Yahoo! Music

Chess Blues Masters Series by Little Walter | MTV

Little Walter | Artistopia Music

 

 

VIDEOS

Little Walter’s induction into the R&R Hall of Fame

Little Walter R&R Hall of Fame film

Blue Midnight: The Film Biography of Little Walter

 

MUSIC

iTunes – Music – Little Walter

Little Walter – Little_walter Vinyl Records, CDs and LPs

Free Music Online – Internet Radio – Jango

Little Walter on Spotify

Amazon.com: Little Walter

 

 

 

 

 

 

 

 

 

 

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