Tuesday, October 16, 2007
Bobby Rush
Born as Emmit Ellis, Jr. on Novermber 10 n1940 in Homer, Louisiana, Bobby Rush has become a blues legend with a signature sound he calls "Folk Funk". While initially a Chicago blues singer he eventually broke through with his funkified, soul/blues with risqué subject matter. In 1971 he scored a #34 R & B hit with "Chicken Heads" and soon followed that up with regional hits on Jewel Records like "It's Alright", "Bow-Legged Woman, Knock Kneed Man" & "She's A Good'un". Bobby began crafting a unique style that incorporated blues, funk and folk. From Jewel, he went to Warner Brothers then to Philadelphia International Records. By 1982, Rush had signed with LaJam Records out of Jackson, Mississippi, where he released five albums, one of which was the phenomenally successful hit Sue, and became a major attraction in the South. But it was in 1995 that Bobby found a home at Malaco's Waldoxy label. At Waldoxy, he released One Monkey Don't Stop No Show which was nominated for two W. C. Handy Awards. The Living Blues Critics' Poll named him the year's Best Live Performer in 1995. In 1996 and 1997, he captured the Real Blues Magazine Award as The Best Soul/R & B Live Performer. After leaving Waldoxy 2003 was a pivotal year for Rush as he was prominently featured in Richard Pearce's documentary film "The Road To Memphis," broadcast on PBS as part of Martin Scorsese's film series "The Blues" and also saw the launch of his Deep Rush record label. He's released three excellent albums to date on the label. His live shows are a riot with his vaudevillian instincts, horny showmanship, and knack for writing tunes that brim with playful down-home wit.
Victor Wooten
Victor Wooten redefines the word musician. Regaled as the most influential bassist since Jaco Pastorius, Victor is known for his solo recordings and tours, and as a member of the Grammy-winning supergroup, Béla Fleck & The Flecktones. He is an innovator on the bass guitar, as well as a talented composer, arranger, producer, vocalist and multi-instrumentalist. But those gifts only begin to tell the tale of this Tennessee titan.
Victor is the loving husband and devoted father of four; the youngest sibling of the amazing Wooten brothers (Regi, Roy, Rudy and Joseph), and the bassist in their famed family band; the student in the martial art of Wing Chun and the nature survival skill of Tracking; the teacher of dozens of bass players at his acclaimed annual Bass & Nature camp; and the master magician.
Victor Lemonte Wooten got to music early, growing up in a military family in which his older brothers all played and sang. By the time he was 3, Victor was being taught bass by his oldest brother Regi, and at age 5 he was performing professionally with the Wooten Brothers Band. He recalls, “My parents and brothers were the foundation. They prepared me for anything by teaching me to keep my mind open and learn to adapt.” Working their way east from Sacramento, the band played countless clubs and eventually opened concerts for Curtis Mayfield and War.
Victor was influenced by bass mentors, Stanley Clarke, Larry Graham and Bootsy Collins, while learning about the music business at a wildly accelerated pace. By the early ’80s, with the family settled in Newport News, Virginia, the brothers became mainstays at Busch Gardens theme park in nearby Williamsburg, making numerous connections with musicians in Nashville and New York.
In 1988 Victor moved to Nashville, where he worked with singer Jonell Mosser and met New Grass Revival banjo ace Béla Fleck. A year later, Fleck enlisted Vic, his brother Roy (a.k.a. Future Man) and harmonica-playing keyboardist Howard Levy to perform with him, and the Flecktones were born. After three highly successful albums, Levy departed in 1993, and the band’s new trio format enabled Victor to develop and display a staggering array of fingerboard skills that turned him into a bass hero of Pastorian-proportions and helped earn the band a Grammy.
With the Flecktones in full flight, Victor set his sights on a solo career, first forming Bass Extremes with fellow low-end lord Steve Bailey (leading to an instructional book/CD and two CDs, to date), and finally releasing his critically-acclaimed solo debut, A Show of Hands, in 1996. Soon after, Vic took his solo show on the road with drummer J.D. Blair. Momentum and accolades built with successive tours and the release of What Did He Say? in 1997, the Grammy-nominated Yin-Yang in 1999 and the double CD, Live In America in 2001.
Wooten won two Nashville Music Awards for Bassist Of The Year and is the only three-time winner of Bass Player magazine’s Bass Player Of The Year. With the honors came sideman calls, leading to recordings and performances with artists like Branford Marsalis, Mike Stern, Bruce Hornsby, Chick Corea, Dave Matthews, Prince, Gov’t Mule, Susan Tedeschi, Vital Tech Tones (with Scott Henderson and Steve Smith), the Jaco Pastorius Word Of Mouth Big Band, and the soundtrack of the Disney film Country Bears.
Fresh off sold-out tours with the Flecktones and Bass Extremes (with Bailey, Watson and Oteil Burbridge) in 2004, Victor is re-focusing on his solo side in 2005 thanks to a remarkable new CD, his Vanguard Records debut, Soul Circus. A three-ring affair, the disc boasts such guests as the Wooten brothers, Bootsy Collins, Arrested Development rapper/vocalist Speech, Howard Levy, Dennis Chambers, Saundra Williams, J.D. Blair, Derico Watson, Flecktone Jeff Coffin, and a who’s-who of bassists, including Bailey, Burbridge, Will Lee, Rhonda Smith, Christian McBride, T.M. Stevens, Bill Dickens and Gary Grainger.
On Soul Circus, Victor performs his usual high-wire act on a bevy of basses, but the real ringmaster here is his collection of songs: The poignant “Prayer” and Prince-charged flipside “Natives” provide a thought-provoking look at our native Americans. The epic “Bass Tribute” pays homage to great thumpers past and present. “On and On” is an instant soul classic. “Cell Phone” makes a chuckle-filled, cutting-edge connection. “Higher Law” stands as a stadium-ready, rock-funk protest anthem in the best Sly Stone tradition. “Back to India” currys up simmering musical flavors. And the hip hop/jazz title track marks the sonic coming-out of the long-rumored eight-armed character seen on the CD’s cover and in the liner notes: Yes, Virginia (and the rest of the world), there is a funktopus!
Victor is the loving husband and devoted father of four; the youngest sibling of the amazing Wooten brothers (Regi, Roy, Rudy and Joseph), and the bassist in their famed family band; the student in the martial art of Wing Chun and the nature survival skill of Tracking; the teacher of dozens of bass players at his acclaimed annual Bass & Nature camp; and the master magician.
Victor Lemonte Wooten got to music early, growing up in a military family in which his older brothers all played and sang. By the time he was 3, Victor was being taught bass by his oldest brother Regi, and at age 5 he was performing professionally with the Wooten Brothers Band. He recalls, “My parents and brothers were the foundation. They prepared me for anything by teaching me to keep my mind open and learn to adapt.” Working their way east from Sacramento, the band played countless clubs and eventually opened concerts for Curtis Mayfield and War.
Victor was influenced by bass mentors, Stanley Clarke, Larry Graham and Bootsy Collins, while learning about the music business at a wildly accelerated pace. By the early ’80s, with the family settled in Newport News, Virginia, the brothers became mainstays at Busch Gardens theme park in nearby Williamsburg, making numerous connections with musicians in Nashville and New York.
In 1988 Victor moved to Nashville, where he worked with singer Jonell Mosser and met New Grass Revival banjo ace Béla Fleck. A year later, Fleck enlisted Vic, his brother Roy (a.k.a. Future Man) and harmonica-playing keyboardist Howard Levy to perform with him, and the Flecktones were born. After three highly successful albums, Levy departed in 1993, and the band’s new trio format enabled Victor to develop and display a staggering array of fingerboard skills that turned him into a bass hero of Pastorian-proportions and helped earn the band a Grammy.
With the Flecktones in full flight, Victor set his sights on a solo career, first forming Bass Extremes with fellow low-end lord Steve Bailey (leading to an instructional book/CD and two CDs, to date), and finally releasing his critically-acclaimed solo debut, A Show of Hands, in 1996. Soon after, Vic took his solo show on the road with drummer J.D. Blair. Momentum and accolades built with successive tours and the release of What Did He Say? in 1997, the Grammy-nominated Yin-Yang in 1999 and the double CD, Live In America in 2001.
Wooten won two Nashville Music Awards for Bassist Of The Year and is the only three-time winner of Bass Player magazine’s Bass Player Of The Year. With the honors came sideman calls, leading to recordings and performances with artists like Branford Marsalis, Mike Stern, Bruce Hornsby, Chick Corea, Dave Matthews, Prince, Gov’t Mule, Susan Tedeschi, Vital Tech Tones (with Scott Henderson and Steve Smith), the Jaco Pastorius Word Of Mouth Big Band, and the soundtrack of the Disney film Country Bears.
Fresh off sold-out tours with the Flecktones and Bass Extremes (with Bailey, Watson and Oteil Burbridge) in 2004, Victor is re-focusing on his solo side in 2005 thanks to a remarkable new CD, his Vanguard Records debut, Soul Circus. A three-ring affair, the disc boasts such guests as the Wooten brothers, Bootsy Collins, Arrested Development rapper/vocalist Speech, Howard Levy, Dennis Chambers, Saundra Williams, J.D. Blair, Derico Watson, Flecktone Jeff Coffin, and a who’s-who of bassists, including Bailey, Burbridge, Will Lee, Rhonda Smith, Christian McBride, T.M. Stevens, Bill Dickens and Gary Grainger.
On Soul Circus, Victor performs his usual high-wire act on a bevy of basses, but the real ringmaster here is his collection of songs: The poignant “Prayer” and Prince-charged flipside “Natives” provide a thought-provoking look at our native Americans. The epic “Bass Tribute” pays homage to great thumpers past and present. “On and On” is an instant soul classic. “Cell Phone” makes a chuckle-filled, cutting-edge connection. “Higher Law” stands as a stadium-ready, rock-funk protest anthem in the best Sly Stone tradition. “Back to India” currys up simmering musical flavors. And the hip hop/jazz title track marks the sonic coming-out of the long-rumored eight-armed character seen on the CD’s cover and in the liner notes: Yes, Virginia (and the rest of the world), there is a funktopus!
Willie Dixon
Willie DixonJuly 1, 1915 -- January 19, 1992
Sometimes you have to look behind the scenes to find the true facts. Sometimes it takes a scan of the credits to get past the bright, stra-time glare of the marquee lights shinning on the performers in order to discover the unsung heroes who played equally pivotal roles in creating the music. Sometimes even that does not help, particularly in the world of early blues when floating pools of session players often anonymously gave each label's artists an identifiying sonic stamp and the accuracy of songwriting credits were suspect at best.
Few, if any, of those unheralded behind the scenes operatives loom larger in the annals of Blues music than Willie Dixon....and not mearly because of the vast physical dimentions of the man. As the backbone of the Chess operation during its heyday -- a multi-faceted role as songwriter, house bassist on "everbody's everything," studio band leader and de facto arranger/producer on virtually all the labels major blues hits - Willie Dixon's part in shaping the sound of modern Chicago blues can hardly be overestimated.
Willie Dixon's way with words began to be honed not long after he was born in Vicksburg, Mississippi on July 1, 1915. His mother Daisey, habitually tried to turn everything she said into rhymes,and Willie quickly followed suit. His first musical influence came at 7, when he would take off from school to spend the afternoon scampering through the dusty streets of Vicksburg behind a truck pulling a band featuring pianist Little Brother Montgomery.
In 1945 Leonard "Baby Doo" Caston and Willie teamed up to form the Big Three Trio along with guitaristBernardo Dennis (who was replaced by Ollie Crawford a year later). Their hometown gigs were mostly in Chicago's downtown loop district playing for predominantly white audiences, but they also frequently joined in at late night jam sessions with Muddy Waters and the core of Chicago's developing blues community.
One south side gig at the El Casino Club led to Dixon occasionally paticipating in jam sessions around the corner at the El Mocamba, a jumping joint run by a pair of Polish emigres named Leonard and Phil Chess. Dixon noted that the brothers Chess were trying to get a record company off the ground; the brothers Chess noted Dixon was a solid bass player with studio experience any fledgling company could use.
Dixon had picked up that experience working sessions for Lester Melrose, the "go-between man" whom, along with J. Mayo Williams, served as the conduit to such labels as Bluebird and Okeh for Chicago's black blues community. Usually playing on a tin can bass, Dixon backed up artists like Tampa Red, Memphis Minnie, John Lee (Sonny Boy) Williamson, Lil Green and other memebers of Chicago's old blues guard.
Despite the image of Chicago blues as a raw, guitar and harmonica- dominated sound, Dixon's own tracks indicate that, as early as 1951, he was no stranger to light, lilting horns and piano sound he used later to fashion Chess selections by Willie Mabon, Lowell Fulson and Jimmy Whitherspoon.
Nor does it require an advanced degree in music theory to recognize the rhythmic connection between Dixon's "29 Ways" and Little Walter's "Mellow Down Easy." But is was not until the night he corralled Muddy Waters at a Chicago club, herded Muddy into the men's room between sets to teach him the diamond-hard riff and boastful lyrics of "Hoochie Coochie Man" that Dixon became a songwriting force to be recond with. It was a classic case of the right singer for the right song. Framed by archetypal riff, Muddy's vocals leap out like a shot, adding a tough bravado to Dixon's music, which had begun to move towards the rough and tumble edge that had became synonymous with the sound of Chicago blues. Willie has said " I've been real lucky about writing people songs, but a lot of times if I picked a song, the guy didn't want the song for himself. You had to use backwards psychology --I'd say this is a song for Muddy Waters if I wanted Howlin Wolf to do it because they seemed to have a little thing going on between them".
Between 1957 - 1959 Willie took his multiple skills across town to the West Side and the fledgling Cobra label. There he instantly established Cobra's credibility with Otis Rush's "I Can't Quit You, Baby". His arranging, production and songwriting savvy helped then-unproven artists like Rush, Buddy Guy and Magic Sam make their initial mark in the blues world, but finacial difficulties with cobra brought Dixon back to Chess in 1959.
Sometimes you have to look behind the scenes to find the true facts. Sometimes it takes a scan of the credits to get past the bright, stra-time glare of the marquee lights shinning on the performers in order to discover the unsung heroes who played equally pivotal roles in creating the music. Sometimes even that does not help, particularly in the world of early blues when floating pools of session players often anonymously gave each label's artists an identifiying sonic stamp and the accuracy of songwriting credits were suspect at best.
Few, if any, of those unheralded behind the scenes operatives loom larger in the annals of Blues music than Willie Dixon....and not mearly because of the vast physical dimentions of the man. As the backbone of the Chess operation during its heyday -- a multi-faceted role as songwriter, house bassist on "everbody's everything," studio band leader and de facto arranger/producer on virtually all the labels major blues hits - Willie Dixon's part in shaping the sound of modern Chicago blues can hardly be overestimated.
Willie Dixon's way with words began to be honed not long after he was born in Vicksburg, Mississippi on July 1, 1915. His mother Daisey, habitually tried to turn everything she said into rhymes,and Willie quickly followed suit. His first musical influence came at 7, when he would take off from school to spend the afternoon scampering through the dusty streets of Vicksburg behind a truck pulling a band featuring pianist Little Brother Montgomery.
In 1945 Leonard "Baby Doo" Caston and Willie teamed up to form the Big Three Trio along with guitaristBernardo Dennis (who was replaced by Ollie Crawford a year later). Their hometown gigs were mostly in Chicago's downtown loop district playing for predominantly white audiences, but they also frequently joined in at late night jam sessions with Muddy Waters and the core of Chicago's developing blues community.
One south side gig at the El Casino Club led to Dixon occasionally paticipating in jam sessions around the corner at the El Mocamba, a jumping joint run by a pair of Polish emigres named Leonard and Phil Chess. Dixon noted that the brothers Chess were trying to get a record company off the ground; the brothers Chess noted Dixon was a solid bass player with studio experience any fledgling company could use.
Dixon had picked up that experience working sessions for Lester Melrose, the "go-between man" whom, along with J. Mayo Williams, served as the conduit to such labels as Bluebird and Okeh for Chicago's black blues community. Usually playing on a tin can bass, Dixon backed up artists like Tampa Red, Memphis Minnie, John Lee (Sonny Boy) Williamson, Lil Green and other memebers of Chicago's old blues guard.
Despite the image of Chicago blues as a raw, guitar and harmonica- dominated sound, Dixon's own tracks indicate that, as early as 1951, he was no stranger to light, lilting horns and piano sound he used later to fashion Chess selections by Willie Mabon, Lowell Fulson and Jimmy Whitherspoon.
Nor does it require an advanced degree in music theory to recognize the rhythmic connection between Dixon's "29 Ways" and Little Walter's "Mellow Down Easy." But is was not until the night he corralled Muddy Waters at a Chicago club, herded Muddy into the men's room between sets to teach him the diamond-hard riff and boastful lyrics of "Hoochie Coochie Man" that Dixon became a songwriting force to be recond with. It was a classic case of the right singer for the right song. Framed by archetypal riff, Muddy's vocals leap out like a shot, adding a tough bravado to Dixon's music, which had begun to move towards the rough and tumble edge that had became synonymous with the sound of Chicago blues. Willie has said " I've been real lucky about writing people songs, but a lot of times if I picked a song, the guy didn't want the song for himself. You had to use backwards psychology --I'd say this is a song for Muddy Waters if I wanted Howlin Wolf to do it because they seemed to have a little thing going on between them".
Between 1957 - 1959 Willie took his multiple skills across town to the West Side and the fledgling Cobra label. There he instantly established Cobra's credibility with Otis Rush's "I Can't Quit You, Baby". His arranging, production and songwriting savvy helped then-unproven artists like Rush, Buddy Guy and Magic Sam make their initial mark in the blues world, but finacial difficulties with cobra brought Dixon back to Chess in 1959.
Stevie Ray Vaughan
Stevie Ray Vaughan
Stevie Ray Vaughan was born on October 3 1954 ,in the Oak Cliff Section of Dallas Texas. He was the younger brother of Jimmie Vaughan (born March 20, 1951) and the son of Jim and Martha Vaughan.
In 1963 at the age of 8, Stevie began playing the guitar (under brother Jimmie's influence ), and was playing in local teen combos a few years later. Stevie didn't do well in high school, as He would sit at the back of the classroom and doze off due to his playing music all night. As a result, his grades suffered.
In 1972, Stevie dropped out of high school and moved to Austin Texas to play music full-time. Doyle Bramhall, a songwriting partner of Stevie's and longtime friend, was the first one to tell Stevie that he had potential as a guitar player.
In the early seventies, Stevie played in a band with Doyle called the Nightcrawlers.
During the mid-seventies, Stevie played with a popular Austin band called the Cobras.
In 1976, Stevie formed a blues-R&B band called Triple Threat Revue, starring himself, Lou Ann Barton, W.C. Clark, Fredde Pharoah & Mike Kindred. This band evolved into Triple Threat with Stevie, Lou Ann, Chris Layton and Jackie Newhouse. When Lou Ann left in 1980 to go to the Roomful of Blues, Stevie spoke up and renamed the group to Double Trouble. In January 1981, Tommy Shannon replaced Jackie Newhouse on bass.
On December 20 1979, Stevie married Lenora (Lenny) Baily in between sets of a gig at the Rome Inn in Austin Texas. Sometime later Stevie wrote an awesome instrumental song and titled it "Lenny"
1982 proved to be Stevie's most eventful year. David Bowie saw him at the Montreaux Festival and asked him to play on Bowie's LET'S DANCE album.Also, Jackson Browne gave him studio time at his Studio in Los Angeles. In addition, John Hammond from Epic Records signed Stevie Ray Vaughan & Double Trouble to their label. This was the beginning of Stevie's worldwide touring and international stardom.
In 1983, TEXAS FLOOD Stevie and Double Trouble's debut album, was released and the band appeared on Austin City Limits for the first time. Meanwhile,the El Mocambo video was recorded in Toronto Canada.
In 1984,COULDN'T STAND THE WEATHER was released.
In 1985, SOUL TO SOUL was released. In addition, Stevie played 5 songs and produced Lonnie Mack's comeback album STRIKE LIKE LIGHTNING.
In 1986, LIVE ALIVE was released. Later that year, Stevie entered rehabilitation to rid himself of his drug problems. He stayed away from people who could supply him with drugs, and rebuilt his relationship with his mother Martha. Stevie remained sober and drug free for the rest of his life.
In 1987, Stevie appeared in a movie called Back to the Beach as himself. In the movie, he played a duet with Dick Dale and they performed the song "Pipeline". Also in 1987, Stevie filed for a divorce from Lenny.
In 1988, Stevie performed an acoustical set on MTV. Later that year, his divorce became final with Lenny.
In 1989, IN STEP was released. Stevie also toured with Jeff Beck, and recorded his 2nd Austin City Limits performance. Both Austin City Limits performances were released some time later on a single video called LIVE FROM AUSTIN TEXAS.
In 1990, Stevie toured with Joe Cocker, and recorded FAMILY STYLE with his brother Jimmie.
On August 27 1990 Stevie Ray Vaughan died in a helicopter crash right after leaving a concert he performed with Robert Cray, Eric Clapton, Buddy Guy and his brother Jimmy held at Alpine Valley, Wisconsin. His music and spirit will live on FOREVER.
Stevie Ray Vaughan was born on October 3 1954 ,in the Oak Cliff Section of Dallas Texas. He was the younger brother of Jimmie Vaughan (born March 20, 1951) and the son of Jim and Martha Vaughan.
In 1963 at the age of 8, Stevie began playing the guitar (under brother Jimmie's influence ), and was playing in local teen combos a few years later. Stevie didn't do well in high school, as He would sit at the back of the classroom and doze off due to his playing music all night. As a result, his grades suffered.
In 1972, Stevie dropped out of high school and moved to Austin Texas to play music full-time. Doyle Bramhall, a songwriting partner of Stevie's and longtime friend, was the first one to tell Stevie that he had potential as a guitar player.
In the early seventies, Stevie played in a band with Doyle called the Nightcrawlers.
During the mid-seventies, Stevie played with a popular Austin band called the Cobras.
In 1976, Stevie formed a blues-R&B band called Triple Threat Revue, starring himself, Lou Ann Barton, W.C. Clark, Fredde Pharoah & Mike Kindred. This band evolved into Triple Threat with Stevie, Lou Ann, Chris Layton and Jackie Newhouse. When Lou Ann left in 1980 to go to the Roomful of Blues, Stevie spoke up and renamed the group to Double Trouble. In January 1981, Tommy Shannon replaced Jackie Newhouse on bass.
On December 20 1979, Stevie married Lenora (Lenny) Baily in between sets of a gig at the Rome Inn in Austin Texas. Sometime later Stevie wrote an awesome instrumental song and titled it "Lenny"
1982 proved to be Stevie's most eventful year. David Bowie saw him at the Montreaux Festival and asked him to play on Bowie's LET'S DANCE album.Also, Jackson Browne gave him studio time at his Studio in Los Angeles. In addition, John Hammond from Epic Records signed Stevie Ray Vaughan & Double Trouble to their label. This was the beginning of Stevie's worldwide touring and international stardom.
In 1983, TEXAS FLOOD Stevie and Double Trouble's debut album, was released and the band appeared on Austin City Limits for the first time. Meanwhile,the El Mocambo video was recorded in Toronto Canada.
In 1984,COULDN'T STAND THE WEATHER was released.
In 1985, SOUL TO SOUL was released. In addition, Stevie played 5 songs and produced Lonnie Mack's comeback album STRIKE LIKE LIGHTNING.
In 1986, LIVE ALIVE was released. Later that year, Stevie entered rehabilitation to rid himself of his drug problems. He stayed away from people who could supply him with drugs, and rebuilt his relationship with his mother Martha. Stevie remained sober and drug free for the rest of his life.
In 1987, Stevie appeared in a movie called Back to the Beach as himself. In the movie, he played a duet with Dick Dale and they performed the song "Pipeline". Also in 1987, Stevie filed for a divorce from Lenny.
In 1988, Stevie performed an acoustical set on MTV. Later that year, his divorce became final with Lenny.
In 1989, IN STEP was released. Stevie also toured with Jeff Beck, and recorded his 2nd Austin City Limits performance. Both Austin City Limits performances were released some time later on a single video called LIVE FROM AUSTIN TEXAS.
In 1990, Stevie toured with Joe Cocker, and recorded FAMILY STYLE with his brother Jimmie.
On August 27 1990 Stevie Ray Vaughan died in a helicopter crash right after leaving a concert he performed with Robert Cray, Eric Clapton, Buddy Guy and his brother Jimmy held at Alpine Valley, Wisconsin. His music and spirit will live on FOREVER.
I Know it Is Not Blues But.........
I know it is not blues but I also like other music and from time to time I will post other music,feel free to let me know what you think. You see I like most music it is just that I do love the Blues.
R. J. Dog The Blues Man
R. J. Dog The Blues Man
Bonnie Raitt
Bonnie Raitt
Singer/guitarist Bonnie Raitt's music incorporates blues, R&B, pop, and folk. Though her albums always had sold respectably (averaging several hundred thousand copies) and she had been a headliner since the mid-'70s, it was not until 1989's Nick of Time that she achieved the great commercial success critics had been predicting since she debuted in 1971.The daughter of Broadway singer John Raitt (star of The Pajama Game and Carousel), Bonnie Raitt started playing guitar at age 12 and was immediately attracted to the blues. In 1967 she left her L.A. home to enter Radcliffe, but she dropped out after two years and began playing the local folk and blues clubs. Dick Waterman, longtime blues aficionado and manager, signed her, and soon she was performing with Howlin’ Wolf, Sippie Wallace, Mississippi Fred McDowell, and other blues legends. Her reputation in Boston and Philadelphia led to a record contract with Warner Bros.Raitt’s early albums were critically acclaimed for her singing and guitar playing (she is one of the few women who play bottleneck) as well as her choice of material, which often included blues as well as pop and folk songs. Most of Raitt’s repertoire consists of covers, and she has gone out of her way to credit her sources, often touring with them as opening acts. Her sixth album, Sweet Forgiveness (#25, 1977), went gold and yielded a hit cover version of Del Shannon’s “Runaway” (#57, 1977). The Glow (featuring her first original tunes since three on Give It Up) (#30, 1979) was produced by Peter Asher, but it did not sell as well as its predecessor.A Quaker, Raitt has played literally hundreds of benefits over the course of her career. She was a founder of M.U.S.E. (Musicians United for Safe Energy), which in September 1979 held a massive concert at Madison Square Garden, with other stars like Jackson Browne, James Taylor, and the Doobie Brothers. It was later commemorated on a three-LP set. In 1982 she released her eighth LP, Green Light (#38, 1982), a harder-rocking effort aided by her backup band, the Bump Band, which included veteran keyboardist Ian MacLagan (of the Faces and the Stones; Raitt’s longtime bassist and tuba-player, Freebo, remained a constant sideman through her various backup bands). They toured with Raitt in mid-1982, greeted by the usual critical acclaim. Her work also appeared on the platinum 1980 Urban Cowboy soundtrack, with the country song “Don’t It Make You Wanna Dance.”When Nine Lives (#115, 1986) flopped, Raitt lost her deal with Warner Bros. Prince reportedly produced an album’s worth of tracks with her, but they were never released. Instead, Raitt reemerged in 1989 on Capitol with her Don Was–produced breakthrough album Nick of Time, which smoothed out her rough bluesy edges yet avoided crass commercialism. It topped the charts, sold 4 million copies, and won an Album of the Year Grammy (one of four awards won by a thunderstruck Raitt at the 1990 gala; one was for her duet with Delbert McClinton, “Good Man, Good Woman”). The pattern held with Luck of the Draw (#2, 1991), another Was production, which included the hit singles “Something to Talk About” (#5, 1991) and “I Can’t Make You Love Me” (#18, 1991). It sold over 4 million copies and netted three more Grammys, for Album of the Year, Best Female Rock Vocal, and Best Pop Vocal Performance. Raitt earned another in 1990, for Best Traditional Blues Recording, for “In the Mood,” a duet with John Lee Hooker on his album The Healer. Her former label Warner Bros. capitalized on Raitt’s high profile by releasing The Bonnie Raitt Collectio (#61, 1990), which included live duets with Sippie Wallace and John Prine.In April 1991 Raitt married actor Michael O’Keefe (they divorced in 1999). Raitt also cofounded the Rhythm & Blues Foundation, dedicated to raising awareness and money for influential musical pioneers left impoverished in their old age by unfair record deals and lack of health insurance. Raitt once again found success working with producer Don Was, as 1994’s Longing in Their Hearts topped the chart and went platinum shortly after its release; it sold over 2 million copies. It included “Love Sneakin’ Up on You” (#19, 1994) and “You” (#92, 1994). Around this time, Raitt had a hit with “You Got It” (#33, 1995) from the film Boys on the Side, and a minor hit with “Rock Steady”(#73, 1995), a duet with Bryan Adams. Road Tested (#44, 1995) is a live album. In 1995 Raitt became the first woman guitarist to have a guitar named for her. All royalties from the sale of Fender’s Bonnie Raitt Signature Series Stratocaster go to programs to teach inner-city girls to play guitar.Her next effort, Fundamental (#17, 1998), produced by Mitchell Froom and Tchad Blake, was a less polished collection that some viewed as a return to the fine roots- and blues-based work of her earlier, hitless days. Raitt called 1982’s Green Light the album’s “true predecessor.” Inducted into the Rock and Roll Hall of Fame in 2000, Raitt continues to perform for and speak out on a wide range of issues, including nuclear power, reproductive freedom, and the environment.
Singer/guitarist Bonnie Raitt's music incorporates blues, R&B, pop, and folk. Though her albums always had sold respectably (averaging several hundred thousand copies) and she had been a headliner since the mid-'70s, it was not until 1989's Nick of Time that she achieved the great commercial success critics had been predicting since she debuted in 1971.The daughter of Broadway singer John Raitt (star of The Pajama Game and Carousel), Bonnie Raitt started playing guitar at age 12 and was immediately attracted to the blues. In 1967 she left her L.A. home to enter Radcliffe, but she dropped out after two years and began playing the local folk and blues clubs. Dick Waterman, longtime blues aficionado and manager, signed her, and soon she was performing with Howlin’ Wolf, Sippie Wallace, Mississippi Fred McDowell, and other blues legends. Her reputation in Boston and Philadelphia led to a record contract with Warner Bros.Raitt’s early albums were critically acclaimed for her singing and guitar playing (she is one of the few women who play bottleneck) as well as her choice of material, which often included blues as well as pop and folk songs. Most of Raitt’s repertoire consists of covers, and she has gone out of her way to credit her sources, often touring with them as opening acts. Her sixth album, Sweet Forgiveness (#25, 1977), went gold and yielded a hit cover version of Del Shannon’s “Runaway” (#57, 1977). The Glow (featuring her first original tunes since three on Give It Up) (#30, 1979) was produced by Peter Asher, but it did not sell as well as its predecessor.A Quaker, Raitt has played literally hundreds of benefits over the course of her career. She was a founder of M.U.S.E. (Musicians United for Safe Energy), which in September 1979 held a massive concert at Madison Square Garden, with other stars like Jackson Browne, James Taylor, and the Doobie Brothers. It was later commemorated on a three-LP set. In 1982 she released her eighth LP, Green Light (#38, 1982), a harder-rocking effort aided by her backup band, the Bump Band, which included veteran keyboardist Ian MacLagan (of the Faces and the Stones; Raitt’s longtime bassist and tuba-player, Freebo, remained a constant sideman through her various backup bands). They toured with Raitt in mid-1982, greeted by the usual critical acclaim. Her work also appeared on the platinum 1980 Urban Cowboy soundtrack, with the country song “Don’t It Make You Wanna Dance.”When Nine Lives (#115, 1986) flopped, Raitt lost her deal with Warner Bros. Prince reportedly produced an album’s worth of tracks with her, but they were never released. Instead, Raitt reemerged in 1989 on Capitol with her Don Was–produced breakthrough album Nick of Time, which smoothed out her rough bluesy edges yet avoided crass commercialism. It topped the charts, sold 4 million copies, and won an Album of the Year Grammy (one of four awards won by a thunderstruck Raitt at the 1990 gala; one was for her duet with Delbert McClinton, “Good Man, Good Woman”). The pattern held with Luck of the Draw (#2, 1991), another Was production, which included the hit singles “Something to Talk About” (#5, 1991) and “I Can’t Make You Love Me” (#18, 1991). It sold over 4 million copies and netted three more Grammys, for Album of the Year, Best Female Rock Vocal, and Best Pop Vocal Performance. Raitt earned another in 1990, for Best Traditional Blues Recording, for “In the Mood,” a duet with John Lee Hooker on his album The Healer. Her former label Warner Bros. capitalized on Raitt’s high profile by releasing The Bonnie Raitt Collectio (#61, 1990), which included live duets with Sippie Wallace and John Prine.In April 1991 Raitt married actor Michael O’Keefe (they divorced in 1999). Raitt also cofounded the Rhythm & Blues Foundation, dedicated to raising awareness and money for influential musical pioneers left impoverished in their old age by unfair record deals and lack of health insurance. Raitt once again found success working with producer Don Was, as 1994’s Longing in Their Hearts topped the chart and went platinum shortly after its release; it sold over 2 million copies. It included “Love Sneakin’ Up on You” (#19, 1994) and “You” (#92, 1994). Around this time, Raitt had a hit with “You Got It” (#33, 1995) from the film Boys on the Side, and a minor hit with “Rock Steady”(#73, 1995), a duet with Bryan Adams. Road Tested (#44, 1995) is a live album. In 1995 Raitt became the first woman guitarist to have a guitar named for her. All royalties from the sale of Fender’s Bonnie Raitt Signature Series Stratocaster go to programs to teach inner-city girls to play guitar.Her next effort, Fundamental (#17, 1998), produced by Mitchell Froom and Tchad Blake, was a less polished collection that some viewed as a return to the fine roots- and blues-based work of her earlier, hitless days. Raitt called 1982’s Green Light the album’s “true predecessor.” Inducted into the Rock and Roll Hall of Fame in 2000, Raitt continues to perform for and speak out on a wide range of issues, including nuclear power, reproductive freedom, and the environment.
Gary Moore
Gary Moore Biography Gary Moore is acknowledged as one of the finest musicians that the British Isles has ever produced. In a career that dates back to the 1960s, there are few musical genres that he has not turned his adroit musical hand to, and he has graced the line-ups ever several notable rock bands, Thin Lizzy, Colosseum II and Skid Row to name but three. Gary was born in Belfast, Northern Ireland, on April 4th 1952. Like many others, he was turned on to rock and roll first through hearing Elvis Presley, and then via The Beatles. Seeing the likes of Jimi Hendrix and John Mayall's Bluesbreakers in his hometown in the mid-60s opened up to him the rich world of The Blues. Hearing the art of the Blues guitar performed by such lauded exponents as Peter Green fired Moore's nascent talent, and it wasn't long before he was being hailed as a teen musical prodigy. Indeed, it was Green himself who helped foster Moore's career, a debt that was repaid handsomely when Gary cut his warm and heartfelt tribute to his mentor, the 'Blues For Greeny' album, released in 1995. Gary's first band of note, the power trio Skid Row, secured a record deal with the CBS label in 1970. By this time, Gary had moved to Dublin, and befriended Philip Lynott, who filled the vocal role with Skid Row until shortly before the CBS deal was signed. Gary cut three albums with the band, and toured the USA supporting The Allman Brothers Band, and Mountain amongst others, before leaving Skid Row to embark on a solo career. This proved short-lived, as Gary was soon to reunite with Philip Lynott as replacement for Eric Bell in the Thin Lizzy line-up. Although he was in the band for a relatively brief tenure, he would rejoin their ranks following the departure of Brian Robertson in 1977, and again, finally, for the 'Black Rose' tour in 1978. In 1979, Gary's solo career began in earnest with the evocative hit single.
'Parisienne Walkways', which pitched Gary's tasteful, blues-soaked lead guitar with a moody Philip Lynott guest vocal. The single reached the UK Top Ten in April of that year, and the subsequent album, 'Back On The Streets' was similarly well received. The late 1970s and early 80s were characterised by Gary's restless search for the best musical settings for his talents; a reunion with Philip Lynott produced the powerful 'Out In The Fields' hit single (1985). He then explored his Celtic roots on the album 'Wild Frontier' (1987), but it was with the 1990 album, 'Still Got The Blues', that Gary arrived at a rich musical vein within which his creativity could flow freely. This and its successor, 'After Hours' saw cameo appearances from the likes of such Blues guitar greats as Albert King, BB King, and Albert Collins, and it is a testament to Gary's own remarkable talents that he more than held his own amongst such august company. In 1994, Gary worked alongside Ginger Baker and Jack Bruce in the band BBM, cutting one accomplished album, before resuming his solo career.
The, 'Back To The Blues' (2001) album saw this consummately talented musician revisit The Blues with renewed vigor and determination, after the more experimental 'Dark Days In Paradise' (1997) and 'A Different Beat' (1999) albums. A ten-track collection that mixes excellent Moore originals with gritty and intense covers of standards. But, in the tradition of keeping his fans and critics guessing, 2002 saw Gary Moore crashing back onto the music scene with what had to be his heaviest collection of songs since the late 1980’s, once again forcing people to reassess any opinions and preconceptions they may have of him. That time round though, Moore had decided to share the limelight, joining forces with ex-Skunk Anansie bassist Cass Lewis and Primal Scream drummer Darrin Mooney to form‘Scars’, a true power trio in every respect. The ‘Scars’ album was completed in early 2002 and that line-up, then went on to record the ‘Live at the Monsters of Rock’ (2003) live CD and DVD, which featured the band's set as performed on two separate nights on the UK Tour in May 2003. That live set encompassed a diverse range of material, from across Gary's playing career. 2004 saw possibly the rawest album yet from Gary Moore, ‘Power of the Blues’. The 10-track set, recorded mostly live in the studio, ranged from the hard rock/blues of the title track, via the upbeat swing of "Can't find my baby", to the haunting "Torn Inside". Taking time out in August 2005, for a brief reunion with some of his old Thin Lizzy pals, for a one off concert in Dublin. The evening was filmed for a 2006 DVD release. "Gary Moore and Friends,One Night in Dublin, A Tribute to Phil Lynott" (Eagle Vision EREDV559). Gary's last studio album "Old New Ballads Blues" (Eagle Records, EAGCD314) 2006, featured a blend of stunning originals mixed with some inspiring blues covers.
With his latest studio album 'Close As You Get', Gary continues in a direction not too dissimilar from Old, New, Ballads, Blues. Mixing original tunes with some interesting Blues covers that Gary has rediscovered, whilst researching for his recent Planet Rock “ Blues Power”, radio show. 'Close As You Get' showcases Moore’s exceptional talent as a guitarist and is destined to be one of the finest blues and guitar albums released during 2007.
‘Close as you get’
Track Listing: 1. If The Devil Made Whisky 2. Trouble At Home 3. Thirty Days 4. Hard Times 5. Have You Heard 6. Eyesight To The Blind 7. Evenin' 8. Nowhere Fast 9. Checkin' Up On My Baby10. I Had A Dream11. Sundown
'Parisienne Walkways', which pitched Gary's tasteful, blues-soaked lead guitar with a moody Philip Lynott guest vocal. The single reached the UK Top Ten in April of that year, and the subsequent album, 'Back On The Streets' was similarly well received. The late 1970s and early 80s were characterised by Gary's restless search for the best musical settings for his talents; a reunion with Philip Lynott produced the powerful 'Out In The Fields' hit single (1985). He then explored his Celtic roots on the album 'Wild Frontier' (1987), but it was with the 1990 album, 'Still Got The Blues', that Gary arrived at a rich musical vein within which his creativity could flow freely. This and its successor, 'After Hours' saw cameo appearances from the likes of such Blues guitar greats as Albert King, BB King, and Albert Collins, and it is a testament to Gary's own remarkable talents that he more than held his own amongst such august company. In 1994, Gary worked alongside Ginger Baker and Jack Bruce in the band BBM, cutting one accomplished album, before resuming his solo career.
The, 'Back To The Blues' (2001) album saw this consummately talented musician revisit The Blues with renewed vigor and determination, after the more experimental 'Dark Days In Paradise' (1997) and 'A Different Beat' (1999) albums. A ten-track collection that mixes excellent Moore originals with gritty and intense covers of standards. But, in the tradition of keeping his fans and critics guessing, 2002 saw Gary Moore crashing back onto the music scene with what had to be his heaviest collection of songs since the late 1980’s, once again forcing people to reassess any opinions and preconceptions they may have of him. That time round though, Moore had decided to share the limelight, joining forces with ex-Skunk Anansie bassist Cass Lewis and Primal Scream drummer Darrin Mooney to form‘Scars’, a true power trio in every respect. The ‘Scars’ album was completed in early 2002 and that line-up, then went on to record the ‘Live at the Monsters of Rock’ (2003) live CD and DVD, which featured the band's set as performed on two separate nights on the UK Tour in May 2003. That live set encompassed a diverse range of material, from across Gary's playing career. 2004 saw possibly the rawest album yet from Gary Moore, ‘Power of the Blues’. The 10-track set, recorded mostly live in the studio, ranged from the hard rock/blues of the title track, via the upbeat swing of "Can't find my baby", to the haunting "Torn Inside". Taking time out in August 2005, for a brief reunion with some of his old Thin Lizzy pals, for a one off concert in Dublin. The evening was filmed for a 2006 DVD release. "Gary Moore and Friends,One Night in Dublin, A Tribute to Phil Lynott" (Eagle Vision EREDV559). Gary's last studio album "Old New Ballads Blues" (Eagle Records, EAGCD314) 2006, featured a blend of stunning originals mixed with some inspiring blues covers.
With his latest studio album 'Close As You Get', Gary continues in a direction not too dissimilar from Old, New, Ballads, Blues. Mixing original tunes with some interesting Blues covers that Gary has rediscovered, whilst researching for his recent Planet Rock “ Blues Power”, radio show. 'Close As You Get' showcases Moore’s exceptional talent as a guitarist and is destined to be one of the finest blues and guitar albums released during 2007.
‘Close as you get’
Track Listing: 1. If The Devil Made Whisky 2. Trouble At Home 3. Thirty Days 4. Hard Times 5. Have You Heard 6. Eyesight To The Blind 7. Evenin' 8. Nowhere Fast 9. Checkin' Up On My Baby10. I Had A Dream11. Sundown
B. B. King
B. B. King
Riley B. King - The "King" of the Blues: Riley "Blues Boy" King came out from behind the wheel of a tractor on a Mississippi cotton plantation, headed off to Memphis, and found work as a disc jockey. "Blues Boy" was shortened to "B.B.", and the rest is Blues history.
Born: September 16, 1925
Birthplace: Indianola, Mississippi
listing of B.B.'s recordings.
Lucille: Sun Records recorded B.B. in 1951. His first national hit was "Three O'Clock Blues". He has gone on to record 70+ records. But his relentless touring schedule has been what has really brought his music to the people.
Among his hits: The Thrill Is Gone, Let The Good Time Roll, How Blue Can You Get, It Costs To Be The Boss, Sweet Little Angel, and When Love Comes To Town.
4 - Honorary Doctorates
7 - W.C. Handy Blues Awards
4 - NAACP Image Awards
9 - Grammy Awards
27 - Downbeat Awards
One of B. B.'s biggest paths to success was juke boxes in bars a clubs around the country and especially in the South. While most radio stations refused to play his songs, it was rare to find a jukebox where his music wasn't the most popular.
B.B.'s guitar is named Lucille. Named after a woman who enraged a man so much he set fire to the club B.B. was playing. He rescued the beloved guitar from the fire and he still has it today. You probably won't hear the original Lucille at a concert, B. B. usually plays a copy, The original stays in his hotel room.
To most of the world, B.B. King is the Blues greatest ambassador. His music has cut across cultural, political, and generational lines as he has kept up a relentless schedule of touring and recording. To see how hard this man works just go look at his schedule If you have never seen B.B. live, this is the time. Our national treasure will most certainly be in your area in the next year, head out and see the greatest.
Riley B. King - The "King" of the Blues: Riley "Blues Boy" King came out from behind the wheel of a tractor on a Mississippi cotton plantation, headed off to Memphis, and found work as a disc jockey. "Blues Boy" was shortened to "B.B.", and the rest is Blues history.
Born: September 16, 1925
Birthplace: Indianola, Mississippi
listing of B.B.'s recordings.
Lucille: Sun Records recorded B.B. in 1951. His first national hit was "Three O'Clock Blues". He has gone on to record 70+ records. But his relentless touring schedule has been what has really brought his music to the people.
Among his hits: The Thrill Is Gone, Let The Good Time Roll, How Blue Can You Get, It Costs To Be The Boss, Sweet Little Angel, and When Love Comes To Town.
4 - Honorary Doctorates
7 - W.C. Handy Blues Awards
4 - NAACP Image Awards
9 - Grammy Awards
27 - Downbeat Awards
One of B. B.'s biggest paths to success was juke boxes in bars a clubs around the country and especially in the South. While most radio stations refused to play his songs, it was rare to find a jukebox where his music wasn't the most popular.
B.B.'s guitar is named Lucille. Named after a woman who enraged a man so much he set fire to the club B.B. was playing. He rescued the beloved guitar from the fire and he still has it today. You probably won't hear the original Lucille at a concert, B. B. usually plays a copy, The original stays in his hotel room.
To most of the world, B.B. King is the Blues greatest ambassador. His music has cut across cultural, political, and generational lines as he has kept up a relentless schedule of touring and recording. To see how hard this man works just go look at his schedule If you have never seen B.B. live, this is the time. Our national treasure will most certainly be in your area in the next year, head out and see the greatest.
Albert King
BIOGRAPHY
Albert King (born Albert Nelson). April 25th, 1923 - December 21st, 1992. Birthplace: Indianola, Mississippi.Bluesman Albert King was one of the premier electric guitar stylists of the post-World War II period. By playing left-handed and holding his guitar upside-down (with the strings set for a right-handed player), and by concentrating on tone and intensity more than flash, King fashioned over his long career, a sound that was both distinctive and highly influential. He was a master of the single-string solo and could bend strings to produce a particularly tormented blues sound that set his style apart from his contemporaries. A number of prominent artists,from Eric Clapton and Jimi Hendrix to Mike Bloomfield and Stevie Ray Vaughan, borrowed heavily from King's guitar style.King was also the first major blues guitarist to cross over into modem soul;his mid- and late 1960s recordings for the Stax label, cut with the same great session musicians who played on the recordings of Otis Redding, Sam & Dave,Eddie Floyd, and others, appealed to his established black audience while broadening his appeal with rock fans. Along with B.B. King (no relation, though at times Albert suggested otherwise) and Muddy Waters, King helped nurture a white interest in blues when the music needed it most to survive.King was born in Mississippi and taught himself how to play on a homemade guitar. Inspired by Blind Lemon Jefferson, King quit singing in a family gospel group and took up the blues. He worked around Osceola, Arkansas, with a group called the In the Groove Boys before migrating north and ending up in Gary,Indiana, in the early 1950s. For a while, King played drums behind bluesman Jimmy Reed. In 1953, King convinced Parrot label owner Al Benson to record him as a blues singer and guitarist. That year King cut "Bad Luck Blues" and "Be On Your Merry Way" for Parrot. Because King received little in the way of financial remuneration for the record, he left Parrot and eventually moved to St. Louis, where he recorded for the Bobbin and the King labels. In 1959 he had a minor hit on Bobbin with "I'm a Lonely Man." King's biggest release, "Don't Throw Your Love on Me So Strong," made it to number 14 on the R&B charts in 1961.King didn't become a major blues figure until after he signed with Stax Records in 1966. Working with producer-drummer Al Jackson, Jr., guitarist Steve Cropper, keyboards ace Booker T. Jones, and bass player Donald "Duck"Dunn-aka Booker T. and the MG's, King created a blues sound that was laced with Memphis soul strains. Although the blues were dominant on songs such as"Laundromat Blues" and the classic "Born Under A Bad Sign", the tunes had Memphis soul underpinnings that gave King his crossover appeal. Not only was he the first blues artist to play the legendary San Francisco rock venue the Fillmore West, but he was also on the debut bill, sharing the stage opening night in1968 with Jimi Hendrix and John Mayall. King went on to become a regular at the Fillmore; his album Live Wire/Blues Power was recorded there in 1968.King was also one of the first bluesman to record with a symphony orchestra: in1969 he performed with the St. Louis Symphony, triumphantly bringing together the blues and classical music, if only for a fleeting moment.During the 1970s King toured extensively, often playing to rock and soul crowds. He left Stax in 1974 to record for independent labels like Tomato and Fantasy. King was inducted into the Blues Foundation's Hall of Fame in 1983.He continued touring throughout the 1980s and early 1990s, playing festivals and concerts, often with B.B. King.
He died of a heart attack in 1992, just prior to starting a major European tour.
Albert King (born Albert Nelson). April 25th, 1923 - December 21st, 1992. Birthplace: Indianola, Mississippi.Bluesman Albert King was one of the premier electric guitar stylists of the post-World War II period. By playing left-handed and holding his guitar upside-down (with the strings set for a right-handed player), and by concentrating on tone and intensity more than flash, King fashioned over his long career, a sound that was both distinctive and highly influential. He was a master of the single-string solo and could bend strings to produce a particularly tormented blues sound that set his style apart from his contemporaries. A number of prominent artists,from Eric Clapton and Jimi Hendrix to Mike Bloomfield and Stevie Ray Vaughan, borrowed heavily from King's guitar style.King was also the first major blues guitarist to cross over into modem soul;his mid- and late 1960s recordings for the Stax label, cut with the same great session musicians who played on the recordings of Otis Redding, Sam & Dave,Eddie Floyd, and others, appealed to his established black audience while broadening his appeal with rock fans. Along with B.B. King (no relation, though at times Albert suggested otherwise) and Muddy Waters, King helped nurture a white interest in blues when the music needed it most to survive.King was born in Mississippi and taught himself how to play on a homemade guitar. Inspired by Blind Lemon Jefferson, King quit singing in a family gospel group and took up the blues. He worked around Osceola, Arkansas, with a group called the In the Groove Boys before migrating north and ending up in Gary,Indiana, in the early 1950s. For a while, King played drums behind bluesman Jimmy Reed. In 1953, King convinced Parrot label owner Al Benson to record him as a blues singer and guitarist. That year King cut "Bad Luck Blues" and "Be On Your Merry Way" for Parrot. Because King received little in the way of financial remuneration for the record, he left Parrot and eventually moved to St. Louis, where he recorded for the Bobbin and the King labels. In 1959 he had a minor hit on Bobbin with "I'm a Lonely Man." King's biggest release, "Don't Throw Your Love on Me So Strong," made it to number 14 on the R&B charts in 1961.King didn't become a major blues figure until after he signed with Stax Records in 1966. Working with producer-drummer Al Jackson, Jr., guitarist Steve Cropper, keyboards ace Booker T. Jones, and bass player Donald "Duck"Dunn-aka Booker T. and the MG's, King created a blues sound that was laced with Memphis soul strains. Although the blues were dominant on songs such as"Laundromat Blues" and the classic "Born Under A Bad Sign", the tunes had Memphis soul underpinnings that gave King his crossover appeal. Not only was he the first blues artist to play the legendary San Francisco rock venue the Fillmore West, but he was also on the debut bill, sharing the stage opening night in1968 with Jimi Hendrix and John Mayall. King went on to become a regular at the Fillmore; his album Live Wire/Blues Power was recorded there in 1968.King was also one of the first bluesman to record with a symphony orchestra: in1969 he performed with the St. Louis Symphony, triumphantly bringing together the blues and classical music, if only for a fleeting moment.During the 1970s King toured extensively, often playing to rock and soul crowds. He left Stax in 1974 to record for independent labels like Tomato and Fantasy. King was inducted into the Blues Foundation's Hall of Fame in 1983.He continued touring throughout the 1980s and early 1990s, playing festivals and concerts, often with B.B. King.
He died of a heart attack in 1992, just prior to starting a major European tour.
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