Rory Gallagher Guitar Collection XXXVI

Specs

Make:

Epiphone

Model:

Coronet

Year:

1963

Notes:

Metallic Green, Rosewood Fretboard

PHOTO BY SHU TOMIOKA

Rory Gallagher Guitar Collection XXXV

Specs

Make:

Unknown

Model:

Unknown

PHOTO BY SHU TOMIOKA

Rory Gallagher Guitar Collection XXXIV

Specs

Make:

Danelectro

Model:

Bellzouki 12 - String

Year:

1960

Notes:

12-String, Dual Volume, Dual Tone, Dual Lipstick Pickups, Rosewood Fretboard

PHOTO BY SHU TOMIOKA

Rory Gallagher Guitar Collection XXXIII

Specs

Make:

Danelectro

Model:

C5025 Convertible

Year:

1968

Notes:

Natural, Twin Lipstick Pickups, Volume, Tone, 3-Way Selector, Rosewood Fretboard

PHOTO BY SHU TOMIOKA

Rory Gallagher Guitar Collection XXXII

Specs

Make:

Danelectro

Model:

3021 Short Horn

Year:

1965

Notes:

Black, Rosewood Fretboard, Volume, Tone, 3-Way Selector, Twin Lipstick Pickups

PHOTO BY SHU TOMIOKA

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Rory Gallagher Guitar Collection XXXI

Specs

Make:

Continental

Model:

German Resonator

PHOTO BY SHU TOMIOKA

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Rory Gallagher Guitar Collection XXX

Specs

Make:

Burns Weill

Model:

RP16 Streamline

Year:

1958

Notes:

Manufactured in London

PHOTO BY SHU TOMIOKA

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Blues Medley - Paul Oscher

Paul Oscher, award-winning blues singer, songwriter, recording artist, and multi-instrumentalist, (harmonica, guitar, piano, melodica, and bass harp), first came to national attention as Muddy Waters’ harmonica player, 1967-1972 following in the footsteps of Little Walter, Junior Wells, James Cotton, and Big Walter Horton. Paul Oscher was the first white musician in the world to become a full-time member of a black blues band of this stature.

Paul started playing the blues at the age of twelve when his uncle gave him a marine band harmonica and was taught the rudiments of blues harmonica by Jimmy Johnson, a southern medicine show harp player. By the time Paul was fifteen he had hooked up with guitarist/singer Little Jimmy Mae and was playing professionally in soul revues at black clubs like the Baby Grand, The 521 Cub, Seville Lounge and the Nitecap.

In the mid-l960s Paul met Muddy Waters back stage at the Apollo Theatre and in 1967, when Muddy came to New York without a harp player, Paul sat in with the band. He played two numbers: "Baby Please Don’t Go" and "Blow Winds Blow." Muddy hired him on the spot. Working alongside blues greats like Muddy Waters, Otis Spann, Sammy Lawhorn, Pee Wee Madison and S.P. Leary, Paul learned the deep Blues phrasing and timing characteristic of his music today. Paul lived on the Southside of Chicago in Muddy Waters’ house along with Otis Spann. Spann taught Paul the piano. Paul learned the guitar by looking over the shoulders of Muddy and Sammy Lawhorn.
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On The Road Again - Canned Heat

Canned Heat is a blues-rock/boogie rock band that formed in Los Angeles, California in 1965. The group has been noted for its own interpretations of blues material as well as for efforts to promote the interest in this type of music and its original artists. It was launched by two blues enthusiasts, Alan Wilson and Bob Hite, who took the name from Tommy Johnson's 1928 "Canned Heat Blues", a song about an alcoholic who had desperately turned to drinking Sterno, generically called "canned heat". After appearances at Monterey and Woodstock, at the end of the 1960s the band acquired worldwide fame with a lineup consisting of Bob Hite, vocals, Alan "Blind Owl" Wilson, guitar, harmonica and vocals, Henry Vestine (or Harvey Mandel) on lead guitar, Larry Taylor on bass, and Adolfo "Fito" de la Parra on drums.

The music and attitude of Canned Heat afforded them a large following and established the band as one of the popular acts of the hippie era. Canned Heat appeared at most major musical events at the end of the 1960s and they were able to deliver on stage electrifying performances of blues standards and their own material and occasionally to indulge into lengthier 'psychedelic' solos. Two of their songs - "Going Up the Country" and "On the Road Again" - became international hits. "Going Up the Country" was a remake of the Henry Thomas (blues musician) song "Bulldoze Blues" recorded in Louisville, Kentucky in 1927. "On the Road Again" was a cover version/re-working of the 1953 Floyd Jones song of the same name, which is reportedly based on the Tommy Johnson song "Big Road Blues" recorded in 1928.

Since the early 1970s numerous personnel changes have occurred and today, in the fifth decade of the band's existence the band includes Fito de la Parra and Larry Taylor from the "classic" 1960s lineup as well as Harvey Mandel. For much of the 1990s and 2000s de la Parra was the only member from the band's 1960s lineup. He has written a book about the band's career. Larry Taylor, whose presence in the band has not been steady, is the other surviving member from the earliest lineups. Harvey Mandel, Walter Trout and Junior Watson are among the guitarists who gained fame for playing in later editions of the band. British blues pioneer John Mayall has frequently found musicians for his band among former Canned Heat members.
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Little Red Rooster - Rolling Stones

Lewis Brian Hopkins Jones (28 February 1942 – 3 July 1969), known as Brian Jones, was an English musician and a founding member of the Rolling Stones. Original member Bill Wyman stated about Jones: "...he formed the band. He chose the members. He named the band. He chose the music we played. He got us gigs ... Very influential, very important, and then slowly lost it - highly intelligent - and just kind of wasted it and blew it all away."

His main instruments were the guitar and the harmonica, but he played a wide variety of other musical instruments and was a talented multi-instrumentalist. His innovative use of traditional or folk instruments, such as the sitar and marimba, was integral to the changing sound of the band.

He was originally the leader of the group, but Mick Jagger and Keith Richards soon overshadowed him, especially after they became a successful songwriting team. Jones developed a serious drug abuse problem over the years and his role in the band steadily diminished.

He left the Rolling Stones in June 1969 to be replaced by guitarist Mick Taylor. Jones died less than a month later by drowning in the swimming pool at his home on Cotchford Farm in East Sussex.
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My Girlfriend Left Me - Bill Williams

Bill Williams, a 72-year old bluesman from Greenup. The previously unrecorded Williams ranks among the most polished and proficient living traditional bluesmen, and has a large repertoire embracing ragtime, hillbilly, and even pop material. He is also the only known living associate of Blind Blake, his own favorite guitarist. John Henry, a blues "standard" that was widely recorded by country artists of the 1920's, is performed in the key of G.
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How Green Was My Valley - John Fahey

John Fahey (February 28, 1939 – February 22, 2001) was an American fingerstyle guitarist and composer who pioneered the steel-string acoustic guitar as a solo instrument. His style has been greatly influential and has been described as the foundation of American Primitivism, a term borrowed from painting and referring mainly to the self-taught nature of the music and its minimalist style. Fahey borrowed from the folk and blues traditions in American roots music, having compiled many forgotten early recordings in these genres. He would later incorporate classical, Portuguese, Brazilian, and Indian music into his œuvre. Fahey wrote a largely apocryphal autobiography and was known for his coarseness, aloof demeanor, and dry humour. He spent many of his latter years in poverty and poor health, but also enjoyed a minor career resurgence with a turn towards the more explicitly avant-garde. He died in 2001 due to complications from heart surgery. In 2003, he was ranked 35th in the Rolling Stone "The 100 Greatest Guitarists of All Time" list
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3 O'Clock Blues - CJ Vaughn & Highway 58

In 1989 CJ Vaughn was born in Coldwater,
MI. He grew up in the small farm town of
Eaton Rapids, MI, and has lived in
Nashville, TN since 2001. CJ started playing
the guitar just before moving south and,
after arriving in Music City, he started to
soak up the musical mojo that was in the
water.
He has had many wonderful opportunities to
play with some of Nashville’s finest
performers, including such great musicians
as Reese Wynans (SRV & Double Trouble),
Jack Pearson (The Allman Brothers Band),
and Jimmy Hall (Wet Willie), just to name a
few.
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LIGHTNIN' SLIM & WHISPERING SMITH

Lightnin' Slim (March 13, 1913 - July 27, 1974) was an African-American Louisiana blues musician, who recorded for Excello Records and played in a style similar to its other Louisiana artists.
Lightnin' Slim was born Otis V. Hicks in St. Louis, Missouri. moving to Baton Rouge, Louisiana at the age of thirteen. Taught guitar by his older brother Layfield, Slim was playing in bars in Baton Rouge by the late 1940s.

He debuted on J. D. "Jay" Miller's Feature Records label in 1954 with "Bad Luck Blues" ("If it wasn't for bad luck, I wouldn't have no luck at all"). Slim then recorded for Excello Records for twelve years, starting in the mid 1950s, often collaborating with his brother-in-law, Slim Harpo and with harmonica player Lazy Lester.

Slim took time off from the blues for a period of time and ended up working in a foundry in Pontiac, Michigan,[citation needed] which resulted in him suffering from constantly having his hands exposed to high temperatures. He was re-discovered by Fred Reif in 1970, in Pontiac, where he was living in a rented room at Slim Harpo's sister's house. Reif soon got him back performing again and a new recording contract with Excello, this time through Bud Howell, the present President of the company. His first gig was a reunion concert at the 1971 University of Chicago Folk Festival with Lazy Lester, whom Reif had brought from Baton Rouge in January 1971.

In the 1970s, Slim performed on tours in Europe, both in the United Kingdom and at the Montreux Jazz Festival in Switzerland where he was often accompanied by Moses "Whispering" Smith on harmonica. He last toured the UK in 1973, with the American Blues Legends package.

In July 1974, Slim died of stomach cancer in Detroit, Michigan, aged 61.

Moses "Whispering" Smith (January 25, 1932 – April 28, 1984) was an American blues harmonicist and singer. He recorded tracks including "A Thousand Miles from Nowhere" and "Texas Flood", and worked with both Lightnin' Slim and Silas Hogan. He was inducted into the Louisiana Blues Hall of Fame.
Smith was born in Union Church, Mississippi.

In the 1960s, Smith's harmonica playing accompanied recordings by swamp blues notables Lightnin' Slim and Silas Hogan, before he was able to record some tracks of his own making. At this time he worked alongside the Crowley, Louisiana based record producer, J. D. "Jay" Miller, and his output was released by Excello Records. His singles included "Mean Woman Blues", "I Tried So Hard", and "Don't Leave Me", plus the instrumental tracks "Live Jive" and "Hound Dog Twist".

Although he was a powerful singer, and a straight but unsophisticated harmonica player, his potential was diminished by appearing at the back end of the swamp blues period. He recorded his final album for Excello in 1970.

Whispering Smith died in April 1984 in Baton Rouge, Louisiana, at the age of 52
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Heavy Rain - Darcy Perry Band

Darcy Perry is one of New Zealand's most loved and respected blues artists. He is also a songwriter, producer and band leader. An entertainer with a deep understanding of the blues, he’s shared the stage with some of the world’s best and it shows, both in his rich guitar tone and electrifying stage presence. Darcy Perry is renowned for his live shows, performing with passion, intensity and a ferocious band. A strong song writer, his compositions and albums have garnered righteous acclaim from critics and roots music fans alike.
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STOOP DOWN BABY LET YOUR DADDY SEE - Chick Willis

Robert "Chick" Willis (born September 24, 1934, Cabiness, Georgia) is an American blues singer. His cousin was Chuck Willis.

Chick Willis served in the military in the early 1950s before working as a chauffeur for Chuck Willis during his heyday. He won a talent show at the Magnolia Ballroom in Atlanta, Georgia and made his first record in 1956, with the Ebb Records' single "You're Mine". Initially, he only sang, but learned guitar while touring with his cousin; Guitar Slim was one of his foremost influences.

After Chuck's death in 1957, Willis played with Elmore James, recording singles through the 1960s for Atco and other labels. His 1972 release, "Stoop Down Baby", was a jukebox hit but secured no radio airplay, due to its sexually explicit content. He released a steady stream of albums on Ichiban Records in the 1980s and 1990s, and continued to record into the 2000s.
Saturday January 21 2012 Blind Willie's 828 N Highland Ave Northeast Atlanta,GA 30306

Sunday Feb. 12, 2012 Pre Valentine Day Blues, Penalty Box 3570 Hwy 138 Stockbridge, GA 30281 8:pm-12:am

www.penaltyboxsportscafe.com

Saturday February 25th 2012 Blind Willie's 828 N Highland Ave Northeast Atlanta,GA 30306

Saturday April 21, 2012 BLUESFEST CLEMSON, SOUTH CAROLINA

Saturday April 28th 2012 BARNESVILLE B.B.Q AND BLUES FESTIVAL

Saturday June 9th 2012 09: pm. The B B King, Megar Evers Homecoming Jackson,MS



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Room To Move - Stringbean and the Stalkers

Stringbean is the pre-eminent Bluesman of the Jersey Shore. He is one who has always stayed true to his roots. A veteran performer and recording artist, Stringbean is now releasing his fifth CD on the long running blues label, Blues Leaf Records. The band features Sim Cain on drums, Dan Mulvey on stand-up bass and Joe Murphy on guitar. They have been joined by legendary guitarist Hubert Sumlin recently for some memorable shows.

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Tribute or Ripoff - What's The Difference?

As a part of my exploration (and subsequent posting of my finds) a few weeks ago, someone who I have a lot of respect for, a real aficionado and professional in the business commented that someone who I had just written about was just doing a blatant ripoff of another then "more prominent" player. If you listen to the two recordings side by side they are very similar. I mean really similar. First I want to explain that I listen to a lot of music and am looking for something that moves me. I really appreciated her comment but it got me thinking on a different level. Are musicians ripping each other off, are they posing a tribute...are they even aware of the source?

Although this is a specific example where both artists were black and both were born around 1910 and about a couple of hundred miles apart. Neither of them likely owned a radio. Let's face it. A lot has changed since then. But the point is, her comment really got me thinking about the music that I listen to and in this case, I explored it. One guy, the one who is commonly associated with the tune, is a professional musician. The other has very little and contradicting history... most likely a street musician busking for money. He sounded great! This guy deserved his due. But then I started to think. Then I started to put things into perspective. Possibly this "street" guy wrote the song and the more successful performer heard him and ripped him off. Definitely possible. Possibly both recordings are by the same guy...certainly not unheard of that a player would go from place to place and record the same song under different names... possible. Who knows...really!

Doing what I do I see a lot of artists playing material that is not written by them. So what is a cover and what is a tribute... or a ripoff? If I were to ask 100 blues lovers who's song is Got My Mojo Working they would say.... written by Preston Foster and first recorded by Ann Cole in 1956...right? Hell no! Muddy Waters! Well, the 5 of you who knew that congratulations. Mud didn't do it until 1957. Did he rip it off. Likely he got it lawfully but that isn't the point. It's Muddy's song. Who are Ann Cole and Preston Foster anyway. When Elvis did Hound Dog did he rip off Big Mama... probably...did anyone care? No. They never heard of her. Did Led Zep rip off Otis Rush when they did I Can't Quit You? Definitely... and a lot of other artists too. Now here's one...did George Harrison rip off the Chiffon's (She's So Fine) with My Sweet Lord? Probably not intentionally. Did you know that Jeff Beck had Superstition on his BBA album before Stevie Wonder had a hit with it? Well, Stevie Wonder wrote it and gave it to Jeff... then it ended up on his own album months later. But that happened in current times...we have records...and both guys are still living. It's all subject to what you do with it and what your intention is. Jeff did the song as a power blues rock song... Stevie Wonder as a funky hit single. Both great! You can't imagine how many copies of the same songs I hear regurgitated over and over by band after band. Many of these songs are note for note... is that a tribute or a ripoff?

A number of months ago I posted an artist named Albert Castiglia playing Loan Me A Dime. Everyone knows this was by the great Fenton Robinson in 1967 but most associate it with Boz Scaggs and Duane Allman from 1969. Boz' vocals are very similar to Robinson's but Duane's guitar work is stylistically different in every way. I think there was some issue with attribution at the time. Back to Castiglia, tribute or ripoff? It is an artist 20 years later playing a great song.... so I say none of the above. Were royalties paid...likely. Did he copy it note for note? No! Did he make it his own? Yes!
When I hear a song that really falls in the fray... lets say a signature Roy Buchanan song or Jeff Beck song where the guitar solo is essentially the melody it really makes it difficult. If an artist can reinterpret the song that's cool... but if they are going to play it note for note...it better be really good! Eric Clapton never got any flack (that I know of) for playing I Shot The Sheriff but then he was really introducing the larger audience to a little known music form called Reggae (and Bob Marley likely got paid royalties). Ripoff... I say no. I'd rather hear that than a lame attempt to play Robert Johnson or some other primitive artist and trying to mimic unsuccessfully. Buddy Guy does tributes to a number of artists in every show. Buddy is a great entertainer and everything that he does becomes his own. And that's what led Zep did too... (but they forgot the credits).

So when is it a cover...when you're doing it on a local level and playing it note for note to make a few bucks entertaining your friends. When is it a ripoff... when you play it and say you wrote it and try to hide the tells. We have loved some rip off artists...thankfully most of the original artists are being compensated when possible for these actions. So that just leaves the tribute. That is a bit more gray.

I guess a tribute is when a known artist plays another artists music and declares proper authorship... then plays it note for note. If he makes it his own...it's really more than a tribute... it's a total reinterpretation. In any case, not everyone is a great song writer and I won't mention artist to make an example. Many of our rock legends really weren't great song writers but were great interpreters. Rock Music came about as a result of these interpretations and the body of modern blues music that I hear on a professional level is also interpretation. It is extremely cool when I hear something that is totally new! Whatever the situation... it is art and art is all about interpretation. It's taking a basic concept and making something new with it. My quest to find the best music on the planet continues to show that there are still a lot of artists out there with new ideas. That's what keeps me searching...
Here's a great example for comparison... a traditional rendition of Wayfairing Stranger... ("The Wayfaring Stranger" aka "Poor Wayfaring Stranger" or "I Am a Poor Wayfaring Stranger"), Roud 3339, is a well-known American spiritual/folk song likely originating in the early 19th century about a plaintive soul on the journey through life. It became one of Burl Ives's signature songs, included on his 1944 album The Wayfaring Stranger. Ives used it as the title of his early 1940s CBS radio show and his 1948 autobiography. He became known as "The Wayfaring Stranger.")
To me, it is one of Roy Buchanan's signature songs.... different generations!

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and Roy Buchanan's interpretation...Wayfairing Pilgrim.



...and then again Jack White (White Stripes, Raconteurs etc) playing the traditional again.

RIP Iverson Minter AKA Louisiana Red March 23rd, 1932- to February 25, 2012. - Bob Corritore

It is with a heavy heart that we report the passing of one of the greatest and most beloved traditional blues artists. Louisiana Red died this afternoon at a hospital in Germany (Note Europe is 9 hours ahead) after a few days in a coma brought on by thyroid imbalance. He was 79. Louisiana Red was a powerful downhome blues artist who could channel his teachers (among them Muddy Waters, Elmore James, Robert Nighthawk, Lightnin' Hopkins and John Lee Hooker) into his own heartfelt musical conversation, delivered with such moving passion and honesty that it would leave his audiences indelibly touched. He was fine singer with a distinctive voice, and an amazing guitarist who could play all of the traditional blues styles and excelled as one of the world's greatest slide guitarists. He could create moods and textures, both musically and spiritually, and had the ability of falling so deep into his own songs that he would go to tears, making his audience cry with him. That was the gift of this great artist.

Wikipedia lists Louisiana Red as being born in Bessemer, Alabama but his own reports have fluctuated from various Southern towns and cities. Red lost his mother at birth and his father was killed in a Ku Klux Klan lynching when Red was just 5 years old. He lived in an orphanage in New Orleans for a few a his childhood years until his grandmother took him to Pittsburgh to live. A few years later she bought him his first guitar, a $12 Kay. Red would play along with records and the radio and begged some guitar lessons from his first mentor, Crit Walters. It was early in life that Red made the decision to become a blues musician. In the late 1940s Red would follow his passion to Detroit where he would become friends with Eddie Burns and John Lee Hooker. He would make his first recordings in Detroit for producer Joe Von Battle under the moniker of Rocky Fuller, a pair of these recordings were leased to Chess records. He would accompany John Lee Hooker on a session for Modern Records and you can hear Red shouting "Lord Have Mercy" in the middle of JLH's "Down Child". Red would also land a 1953 recording session in Chicago for Chess in which he is accompanied by Little Walter on the brilliant "Funeral Hearse At My Door" which remained in the vaults unreleased for decades. Red's next stop would be New York where he would record for producer Bobby Robinson and for Atlas Records. But it was Louisiana Red's 1962 Roulette label recordings that garnered him national recognition as a bluesman. His single "Red's Dream" with its humorous political commentary became a major hit and was followed by the Roulette album The Lowdown Back Porch Blues. This was followed by the 1965 release of Louisiana Red Sings The Blues on Atco. In the mid 70s he became the cornerstone of the Blue Labor label cutting two excellent solo acoustic albums; Sweet Blood Call and Dead Stray Dog and also appearing on that label as a featured sideman on albums by Johnny Shines, Roosevelt Sykes, Brownie McGhee, and Peg Leg Sam. He was romantically involved with folk legend Odetta for a small period of time in the 1970s. European promoters and booking agents took an interest, and Red found a new audience with his annual overseas tours. Labels such as L+R from Germany and JSP from England began recording Red, the latter debuting their catalog with Red, Funk and Blue, a duet album with Sugar Blue. Red appeared as himself in the movie Come Back featuring Eric Burdon of Animals fame. Red lived in Chicago for awhile in the early 1980s where he worked at the Delta Fish Market. He would then move to Phoenix in late 1981 where he lived and played with Bob Corritore for about a year.

Red left Phoenix for a European tour in late 1982, and it was then and there that he met his true love, Dora, who he married and spent the rest of his life with. Dora gave Red an uncompromised love and the constant companionship and protective looking-out-for that Red needed. Dora also provided the family situation that Red yearned for in his life as Red took great pride in his love and adoption of Dora's sons. The positive impact and dedication that Dora provided Red was simply amazing. Red would live in Hanover Germany for the rest of his life with Dora and each year in January, the two would vacation in Ghana, Africa, Dora's country of origin. He found work so plentiful in Europe that for a period of time he rarely would come to the USA. In 1995 Earwig Records would release Sittin' Here Wondering. which had been recorded by Bob Corritore in 1982 and sat on the shelf for over a decade. This CD created a relationship between Red and Earwig label chief Michael Frank who would record 2 more records by Red and book annual US tours. Releases followed on High Tone and Severn as well as a documentary DVD released only in Europe. In 2009 Little Victor struck gold with his production of Red's Back To The Black Bayou CD released first on the Bluestown Label and then picked up by Ruf Records. Victor had idolized and studied under Red for years and lovingly coaxed this brilliant album from his mentor. Back To The Black Bayou swept Europe and the US with awards and nominations. Simultaneously, Red's collaboration with pianist David Maxwell produced You Got To Move, and in 2010 Red would go to the Blues Music Awards with 5 nominations and receive 2 wins! Little Victor also produced Red's final critically acclaimed CD Memphis Mojo.

It is sad to say goodbye to the loving persona of this great bluesman who's music warmed our hearts Louisiana Red's vulnerability became his strength and he filled his heart with an unstoppable passion for music and acceptance. His legacy is great and his friendships are many. He can now rest in peace after a lifetime of giving us everything he had through his amazing blues. God bless you Red.

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Louisiana Red has passed. This is confirmed.

It is a sad day to hear that Louisiana Red has passed. On the 21 of February it was reported elsewhere that he had died but upon further investigation it was found that he was hospitalized of an undisclosed illness. It is now confirmed. My thoughts are with his friends, family and fans worldwide.

Michael Messer (Michael Messer Music) 9AM 25/Feb/2012:
"I am very sorry to be bringer of such sad news that my dear friend, Louisiana Red, died this morning. He had a stroke on Monday and had been in a coma, so thankfully he did not have to suffer.

My thoughts go out to his wife, Dora, their family, and of course to so many friends and fans of this great man.

I will post some photos and maybe some music later tonight, meanwhile I am going to take my dog, Molly, who was also a dear friend of Red's, for a walk in the woods."


Bman
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