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| We've added dates to Hamilton's July/August tour! Some shows have advance tickets available -- see below to buy tickets! All Hamilton's tour dates are at www.hamiltonloomis.com/schedule.htm. HOUSTON: On Sat. Aug. 18, Hamilton and Band will be filming an episode of "TEXAS ROADHOUSE LIVE", and YOU CAN BE A PART OF IT! It's happening at TX Roadhouse Studios, 5950 N Sam Houston Pkwy E (Beltway @ 59 in Humble TX) at 8pm. It's only $20 to get in, and FREE BEER all night...we're not joking! Come cheer on Ham and the Band and you could be on TV!!
JULY 2012
AUGUST 2012
MON 13th Littleton, CO ENGLEWOOD CORRECTIONAL FACILITY Closed to the Public SAT 18th Houston TX "TEXAS ROADHOUSE LIVE" TV FILMING Sam Houston Tollway @ 59 North, Humble TX 8pm FRI 24th Galveston, TX CROW'S CANTINA 9pm 409-766-9995 SAT 25th Houston, TX HOTEL SORELLA MONNALISA ROOM 10pm 713-973-1600 SUN 26th Houston, TX MUCKY DUCK 6pm - 8:30pm 713-528-5999 CLICK HERE FOR TICKETS Please forward this email to any of your friends/family in these cities!! |
Friday, July 27, 2012
HAMILTON LOOMIS -- UPDATED July/August 2012 Schedule
Step It Up And Go - Moses Rascoe
Moses Rascoe got his first guitar in North Carolina at the age of 13 and turned professional in Pennsylvania some 50-odd years later. In between, he traveled the roads as a day laborer and truck driver, playing guitar only for "a dollar or a drink," as he told Jack Roberts in Living Blues. But he'd picked up plenty of songs over the years, from old Brownie McGhee Piedmont blues to Jimmy Reed's '50s jukebox hits, and when he retired from trucking at the age of 65, he gave his music a shot. The local folk-music community took notice, as did blues and folk festivals from Chicago to Europe. Rascoe recorded his first album live at Godfrey Daniels, a Pennsylvania coffeehouse, in 1987.
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My Guy - Mary Wells
Mary Esther Wells (May 13, 1943 – July 26, 1992) was an American singer who helped to define the emerging sound of Motown in the early 1960s. Along with The Miracles, The Temptations, The Supremes, and the Four Tops, Wells was said to have been part of the charge in black music onto radio stations and record shelves of mainstream America, "bridging the color lines in music at the time."
With a string of hit singles composed mainly by Smokey Robinson, including "Two Lovers" (1962), the Grammy-nominated "You Beat Me to the Punch" (1962) and her signature hit, "My Guy" (1964), she became recognized as "The Queen of Motown" until her departure from the company in 1964, at the height of her popularity. She was one of Motown's first singing superstars.
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Last Time Blues - Papa Charlie McCoy
Charles "Papa Charlie" McCoy (May 26, 1909 – July 26, 1950) was an African American delta blues musician and songwriter.
Born in Jackson, Mississippi, McCoy was best known by the nickname 'Papa Charlie'. He became one of the major blues accompanists of his time. A guitarist and mandolin player, he played in the Mississippi area with his band, The Mississippi Hot Footers.
McCoy recorded several sides with Bo Carter as the 'Mississippi Mud Steppers'. Among the tracks recorded with Carter were two variations of Cow Cow Davenport's "Cow Cow Blues" . The first, an instrumental, was released as "The Jackson Stomp". The second, with lyrics and vocals by McCoy, as "The Lonesome Train, That Took My Girl From Town". They also wrote and recorded "The Vicksburg Stomp" which was resurrected and recorded by Mike Compton, of O Brother, Where Art Thou? fame.
His nimble, sensitive guitar work enriched recordings from performers including Tommy Johnson and Ishman Bracey. He recorded regularly in the late 1920s, often alongside Walter Vincson. He dated blues singer and guitar player Geeshie Wiley around 1928. He also sat in with the Mississippi Sheiks, Rubin Lacy, Son Spand and the many other Delta bluesmen who passed through the Jackson area in the years that followed. He also backed his then sister-in-law, Memphis Minnie in the mid 1930s.
As a slide guitarist, McCoy recorded as under the name of Tampa Kid, and released "Keep On Trying".
McCoy also joined and performed with his brother (Kansas Joe McCoy) for many years, and they released records under the title of "The McCoy Brothers".
He eventually migrated to Chicago where he organized two bands, "Papa Charlie's Boys" and with his older brother Kansas Joe McCoy, the Harlem Hamfats, that performed and recorded during the second half of the 1930s. However, service with the United States Army during World War II cut short McCoy’s career.
In poor health, McCoy never returned to music after the war, and he died in Chicago, Illinois in 1950 from paralytic brain disease, only a few months after his brother had died. They are both buried in the Restvale Cemetery in Alsip, Illinois.
McCoy's composition, "Too Long" was recorded several times by both black and white artists
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Baby You Got It & I'm The One Who Knows - Brenton Wood
Brenton Wood (born Alfred Jesse Smith, July 26, 1941, Shreveport, Louisiana) is an American singer and songwriter, best known for his two 1967 hit singles: "The Oogum Boogum Song" and "Gimme Little Sign".
When Wood was a child, his family moved west to San Pedro in Los Angeles, California. He attended San Pedro High School for part of his freshman year before moving to Compton, where Brenton became a member of the Compton High School track team and received several awards for his athletic achievements.
Following his high school graduation, Wood enrolled in East Los Angeles College. Soon after, he took the stage name Brenton Wood, possibly inspired by the wealthy Los Angeles enclave of Brentwood (some sources state that the name is in honor of his "home county"). During this period, his musical interests began to manifest themselves. He was inspired by Jesse Belvin and Sam Cooke, and he began cultivating his songwriting skills, also becoming a competent pianist.
Early singles for Brent Records and Wand Records failed to chart. After signing with Double Shot Records, Wood had a hit with "The Oogum Boogum Song" in the spring of 1967. It reached #19 on the US Billboard R&B chart and #34 on the Billboard Hot 100 listing. In Southern California, "The Oogum Boogum Song" hit the top 10 on both KHJ (AM) in Los Angeles and on KGB-FM in San Diego. His biggest hit came in September of the same year, as "Gimme Little Sign" hit #9 on the pop chart and #19 on the R&B charts. It sold over one million copies, and was awarded a gold disc. In addition, it peaked at #8 in the UK Singles Chart. In the song, "Gimme Little Sign" is not sung, instead the chorus repeats "Give Me Some Kind of Sign". In late 1967, Brenton charted a third single, "Baby You Got It", reaching #34 on the Hot 100.
Wood continued to perform, even recording a duet with Shirley Goodman. He reached the charts again in 1977, when "Come Softly to Me" registered in the lower reaches of the listings. Following its release, Wood became part of the oldies soul circuit. In 2001, he returned with an album of new material, This Love Is for Real. Among his later appearances was a 2006 appearance on the Los Angeles public access program Thee Mr. Duran Show, where Wood and his band performed several of his hit singles.
Wood does not own the rights to any of his songs. They are all owned by the Los Angeles disc jockey, Art Laboe.
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Thursday, July 26, 2012
Hot Tuna comes to Phoenix!
Well, Mesa to be exact. Last night Jorma, Jack and Barry weathered the heat and performed for an intimate crowd of in tune followers at the Mesa Arts Center. For those of you who are unfamiliar with the Mesa Arts Center it is certainly one of the finest facilities of it's type anywhere. I have seen many shows here including Buddy Guy and Jeff Beck as well as Hot Tuna on numerous occasions. The interior aesthetic of the Virginia G. Piper Repertory Theater is matched only by it's incredible acoustic quality which brings us to the show.
Hot Tuna played a 26 (to my count) songset which was broken by one short intermission. HT (Jorma Kaukonen on his signature Martin tobacco burst acoustic and vocals; Barry Mitterhoff on mandolin, ukelele, tenor guitar and octave mandolin; and Jack Casady on his signature Epiphone hollow body electric bass put together a very cohesive and interesting show. The concert began with True Religion which set the pace for what was to come all night... Hot Tuna, Rev. Gary Davis, rag style blues (with a touch of bluegrass and jazz). Early in the concert they played Hesitation Blues, one of my personal favorites in very traditional regalia but with a sweet "Hillbilly Jazz" (bluegrass and jazz mixed) break in the middle. Mitterhoff played a particularly cool solo on this track. On another RG Davis track, Let's Get Together, Jack took the first of many bass solos of the evening. Come Back Baby and Let's Talk It Over were both particularly strong. Jorma's guitar work was clean and expressive and he played a particularly nice solo on this track. How Long blues was another really strong performance followed by Let Me Lay It On You and a bluegrass jam to finish the first set. During the break I was checking out the bands gear and ended up in a discussion with the couple sitting just in front of me. I have been recently suffering dry eyes, a pretty common malady of living in the desert, using the computer too much and so on. The lady in front of me offered a vial of a solution that she has been prescribed and wow did it help. I also ran into a good friend Gene and his wife Cindi, fellow Hot Tuna fans. Second set included the Vicksburg Stomp (and they were literally dancing in the aisles), 99 Year Blues, Bar B Que King (featuring a great blues solo by Jorma)and the Doctor Gonna Fix It. This was a particularly great set sans the one overly exuberant fan sitting in the front row (with the close cut hair, wire rimmed glasses and Tommy Bahama shirt...yeah you know who you are) who was clapping along just ahead of the band to the point of total disruption. I mean it's hard enough for a totally acoustic band to run through all of these great tunes and stay tight but to have some egghead with no rhythm clapping louder than the band! I know...at least he enjoyed himself. HT wrapped the set with Good Shepherd, Parchment Farm, Keep Your Lamp Trimmed and Burning (one of my favorites from the early days of Tuna) and encoring with the Water Song. Nobody left the house without their fill of great traditional blues and Hot Tuna mix. Barry, Jack and Jorma played their asses off and Jorma's voice sounds as solid as it did when he first formed Hot Tuna. I don't know if it was the theatre acoustics or Jorma's guitar but it really sounded particularly crisp. The interactions of the band members were priceless and Jack became quite animated during a number of tracks which is always a treat. These guys were having fun and so was the audience. If you haven't seen these guys in a few years, this is a great. Catch it while you can. Great show guys!!
I apologize for the lack of photos and original video but I'm having el;ectronic malfunction today. I'll replace the video and supplimental photos as I can.
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Hold on to your hiney...
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Five Long Years - Mick Jagger/Jeff Beck / Buddy Guy
Sir Michael Philip "Mick" Jagger (born 26 July 1943) is an English musician, singer, songwriter and actor, best known as the lead vocalist and a founder member of The Rolling Stones.
Jagger's career has spanned over fifty years. His performance style has been said to have "opened up definitions of gendered masculinity and so laid the foundations for self-invention and sexual plasticity which are now an integral part of contemporary youth culture". Allmusic has described Jagger as "one of the most popular and influential frontmen in the history of rock & roll". His distinctive voice and performance, along with Keith Richards' guitar style, have been the trademark of The Rolling Stones throughout the career of the band. In 1989, he was inducted into the Rock and Roll Hall of Fame with The Rolling Stones.
Jagger gained much press notoriety for admitted drug use and romantic involvements, and was often portrayed as a counterculture figure. In the late 1960s Jagger began acting in films (starting with Performance and Ned Kelly), to mixed reception. In 1985, Jagger released his first solo album, She's the Boss, and was knighted in 2003. In early 2009, he joined the eclectic supergroup SuperHeavy.
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Dirty Old Man - The Dirty Dozen Brass Band
To describe how the Dirty Dozen Brass Band has arrived at its 35th Anniversary, trumpet player Gregory Davis employs a tried-and true New Orleans-centric analogy: “It ends up being like a pot of gumbo – you drop in a little okra, drop in a little shrimp, you drop in some crabs. Before you know it, you’ve mixed in all these different ingredients and you’ve got a beautiful soup. That was our approach to music early on and it still is today.”
Baritone sax player Roger Lewis -- who, like Davis, has been with the combo since its inception in 1977 -- echoes that sentiment: “It’s a big old musical gumbo, and that probably made the difference, separating us from other brass bands out of New Orleans. It put a different twist on the music. We were not trying to change anything, we were just playing the music we wanted to play and not stay in one particular bag.”
An appetite for musicological adventure, a commitment to honor tradition while not being constrained by it, and a healthy sense of humor have brought the world-traveling Dirty Dozen Brass Band to this remarkable juncture in an already storied career. To celebrate its 35th, the band is releasing Twenty Dozen, the septet’s first studio release in six years. The new album, cut at the Music Shed in New Orleans, reunites the band with producer Scott Billington, who helmed DDBB’s first major-label release, Voodoo, in 1989. It’s a resolutely upbeat effort that seamlessly blends R&B, jazz, funk, Afro-Latino grooves, some Caribbean flavor, and even a Rihanna cover. Twenty Dozen mirrors in flow and feel a vibrant DDBB live set. The disc reaches an exuberant peak with a medley of New Orleans staples, including a particularly high-spirited rendering of “When the Saints Go Marching In.” The final track – or, as Lewis puts it, “the after-party” – is an audience encore favorite, the ribald “Dirty Old Man,” with Lewis doing an outstanding job in the title role. Twenty Dozen, says Lewis, is “classic Dirty Dozen. It’s got something for your mind, body, and soul. We’re gonna get you one way or another.”
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The Holmes Brothers
Over the course of their 30-plus year career, The Holmes Brothers (bassist/vocalist Sherman Holmes, guitarist/pianist/vocalist Wendell Holmes, drummer/vocalist and brother-in-spirit Popsy Dixon) have been feeding the souls of their devoted and ever-growing fanbase with a joyous and moving blend of blues, gospel, soul, R&B, rock ‘n’ roll and country. Their amazing three-part harmony singing, mixing Wendell’s gruff and gravelly vocals with Popsy’s soaring falsetto and Sherman’s rich baritone brings the soul and spirit of gospel music into everything they perform. Equally gripping is the rhythmic foundation laid down by Sherman’s bass playing and Popsy’s drumming, perfectly complimenting Wendell’s blues-soaked guitar solos and church-inspired piano playing. The band easily blends Saturday night’s roadhouse rock with the gospel fervor and harmonies of Sunday morning’s church service.
From winning multiple Blues Music Awards to sharing stages and recordings with Bob Dylan, Van Morrison, Bruce Springsteen, Patti Smith, Willie Nelson, Lou Reed, Peter Gabriel, Merle Haggard, Keith Richards, Al Green, Ben Harper, Lucinda Williams, Steve Earle, Levon Helm, Rosanne Cash, Odetta, and The Jungle Brothers. The Holmes Brothers have seemingly done it all. Recently though, The Holmes Brothers confronted a stark reality when brother Wendell was diagnosed with cancer in 2008. Tight-knit on and off the stage, they found strength in their family, friendship and faith to overcome this setback. With Wendell’s victory over the disease, the group emerged fully energized and inspired, to create the deepest, most original, most satisfying album of their career. Feed My Soul, produced by their longtime friend and collaborator Joan Osborne, is an album born from this harrowing experience. The songs deal with friendship, loyalty, family, aging, illness, as well as politics and the current state of the world, while still maintaining the patented Holmes Brothers sense of humor. Mostly though, the album is about triumphing over adversity, overcoming obstacles and, ultimately it is a declaration of the power and faith of a strong and devoted family.
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Wednesday, July 25, 2012
The Right String, Baby, But the Wrong Yo-Yo - Piano Red
William "Willie" Lee Perryman (October 19, 1911 – July 25, 1985), usually known professionally as Piano Red and later in life as Dr. Feelgood, was an American blues musician, the first to hit the pop music charts. He was a self-taught pianist who played in the barrelhouse blues style (a loud percussive type of blues piano suitable for noisy bars or taverns). His performing and recording careers emerged during the period of transition from completely segregated "race music", to "rhythm and blues", which was marketed to white audiences. Some music historians credit Perryman's 1950 recording "Rocking With Red" for the popularization of the term rock and roll in Atlanta. His simple, hard-pounding left hand and his percussive right hand, coupled with his cheerful shout, brought him considerable success over three decades.
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Muck Blues Roots Festival Benefits Better Vision For Children - (Corrected Time)
Announcing The.... "Muck Blues Roots Festival"
First-Ever Orange County Blues Society Concert Event Under The Stars At The Scenic Muckenthaler Cultural Center - Thursday, August 16
***Please Note Corrected Time: 5pm-9 pm***
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(Fullerton, Calif.) - The recently-formed Orange County Blues Society presents its first-ever concert event - "The Muck Blues Roots Festival" - under the stars at the scenic outdoor Muckenthaler Cultural Center, 1201 W. Malvern Ave., Fullerton, Thursday, August 16. 5-9 p.m. Advance tickets available at www.orangecountybluessociety.com or through the Muckenthaler (www.themuck.org). Info: (714) 328-9375 or (714) 738-6595. Portion of proceeds to benefit San Diego-based Better Vision For Children Foundation, a non-profit charity working to prevent and cure partial or total blindness in pre-school children resulting from Amblyopia (Lazy Eye), Autisim, Diabetes or Eye Cancer.
Artists scheduled to perform include "The Brooklyn Bluesman," acoustic guitarist-vocalist Calvin B. Streets; "Mistress Of the Blues," bassist-vocalist Randa Lee and Friends; L.A. blues-rock trio, The Hellhounds; and teenage trio blues upstarts, the Chase Walker Band featuring 13-year-old Chase Walker on guitar and vocals.
The Orange County Blues Society was formed this past Spring by musician Papa J, who also created the Real Blues Festival of Orange County. "The Orange County Blues Society was formed in 2012 as a public benefit corporation to keep the Blues alive. Its purpose is the education, presentation and preservation of Blues music as an original American art form for the next generation through teaching, publications, festivals and concerts.... The Blues Society's purpose is to promote, preserve and advance the culture and tradition of blues music as an American Art form, and to help local blues artists get the attention needed to keep the blues alive. The Orange County Blues Society is focused on providing high-quality music and member satisfaction - we will do everything we can to meet your expectations."
www.orangecountybluessociety.com
Rainman Records artist: Alvin Lee - Still On The Road To Freedom - New Recording Review
Alvin Lee... yes the real Alvin Lee, has just come out of the studio and is ready to release a new cd, Still On The Road To Freedom, on August 27, 2012. To say that I am a long time Alvin Lee fan is a tremendous understatement. I was a young kid when I heard Alvin Lee for the first time and it was an eye opening experience. I had never heard such music. The song was I Woke Up This Morning from the SSSH album and it was on an obscure radio station that my older teenaged sister had on in the family car. My musical interests are forever changed. This new recording with 12 new tracks and one remake that is totally unrecognizable from it's original form shows that lee is still exploring uncharted territory. The first track, the title track, Still On The Road To Freedom, follows a lot of previous jazz/blues influenced rock tunes by Lee and there is absolutely no question that Lee can still sing, write and play with the effort of a feather. Great song. He has undeniable form and tone. By the way, I have been asked before what classic guitar amp tone is.. I mean...identify it I point to SSSH. Some things never change. Listen To Your Radio Station is up next with Lee experimenting with beat and soloing, not at all unlike Jeff Beck. I would never compare the two superstars because they are so different, but I am only stating that Lee on this particular song too to a Beck formula and played great guitar riffs over a solid drum riff.... very cool. (Now don't buy this and complain it doesn't sound like Jeff beck...it doesn't...it sounds like Alvin lee!) Midnight Creeper gets a smooth bass/drum rhythm going and Lee plays guitar and sings over this basic drive pattern. This cd has quite a bit less structure than many of his compositions of the past.It gives Lee a much less structured framework in which to work and is quite tasty if you can set aside your TYA expectations. Save My Stuff catches Lee on harp and doing a polished little blues track but maintaining his basic rock structure as in more recent solo efforts. I'm A Lucky Man explores Lees early country (rockabilly if your prefer) roots ... if you really listen you can hear Porter Wagoner as much as Chuck Berry.... that's what is great about real music... it defines definition and blurs lines. Sound Of The Red Rock captures a unique side of Lee which I have seen. It has a bit of a Spanish flare to my ear and a melody that is very strong. Nice and Easy really captures the style of JJ Cale with the laid back voices and biting guitar work. Back In 69 takes a clue from Bo Diddley but anyone hearing it would definitely peg it for Alvin Lee not only because of his recognizable hooks and distinctive voice but his unmistakable guitar playing. This song features riffs that I have never heard from Lee and is the most experimental track on the cd. I really like it. Rock You see's Lee tromping around in funky territory. Lee's voice still sounds as fresh as it did the day that I first heard it. Remarkable. Lee wraps the recording with, as I alluded to before, a remake of one of my favorites, Love Like A Man, but it is really pretty unrecognizable as the same track unless you are really listening. It takes the stance of a heavy bottomed Texas blues with a touch of swing and a rock twist. It's really quite interesting and then to top it off with Lee using not only signature riffs but multiple pinched harmonics like I never heard from Lee. Alvin Lee's creative juices are still flowing strong. This recording is not only going to delight the thousands of fans that I encounter each day but will certainly capture many many more. Oh Yeah...and don't take the cd off too fast...there's a nice acoustic track at the end of the cd.
Alvin...great to have you back!
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Couldn't find the new arrangement on this track...but I can listen to it anyway!
Big Legs - Gene Phillips & his Rhythm Aces
Gene Phillips (born Eugene Floyd Phillips, July 25, 1915, St. Louis, Missouri) was an American jump blues guitarist and singer.
He was influenced by, and a fan of, Louis Jordan, Wynonie Harris, Duke Ellington and Count Basie, Big Joe Turner and Jimmy Rushing.
Career
He joined the St Louis bands of Dewey Jackson and Jimmy Powell and was later taught lap steel guitar by Floyd Smith. He later went on to join Lorenzo Flennoy’s Trio.
In late 1945 he recorded with Lucky Thompson in a band also featuring Marshall Royal and Charles Mingus.
His Rhythm Aces, the band he used on his Modern recordings for the Bihari Brothers, included Jake Porter, trumpet; drummer Al “Cake” Wichard; Maxwell Davis, Marshall Royal, Jack McVea, Bumps Meyers, Willard McDaniel, Lloyd Glenn, Bill Street and Art Edwards.
Some sources claim Phillips died in 1990
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Good-Bye Baby - Robert Lucas
West Coast vocalist, guitarist, and songwriter Robert Lucas forged a path for himself in the blues world after the release of his much-hailed 1990 self-produced debut cassette, Across the River. Based in Long Beach, CA, as a solo artist Lucas recorded for the Audioquest label out of San Clemente. He was also a member of the legendary boogie blues band Canned Heat, singing and playing bottleneck guitar and harmonica with the group off and on starting in 1994.
Lucas was born into a middle-class family in Long Beach and was 14 or 15 when he started getting seriously into blues-rock. He had started to play guitar then, inspired by Jimi Hendrix, but gave up on it, concluding his hands were too small. He started playing harmonica instead, listening to recordings by John Mayall & the Bluesbreakers before going back to source material, including the recordings of Little Walter Jacobs, Sonny Boy Williamson, George "Harmonica" Smith, Snooky Pryor, and James Cotton. Lucas began playing the National Steel guitar at 17 when a co-worker at the Long Beach Arena sold him the instrument. Lucas hooked up with guitarist Bernie Pearl and began taking lessons from him. After joining Pearl's band as a harmonica player, he got to play behind the likes of Big Joe Turner, George Smith, Pee Wee Creighton, Lowell Fulson, Eddie "Cleanhead" Vinson, Percy Mayfield, and other West Coast bluesmen. He carefully honed his singing and playing, with Pearl's band and on his own, for several years before forming Luke & the Locomotives in 1986.
Usin' Man Blues
Lucas' career as a national touring act was launched when his Across the River tape got a rave review in a Los Angeles newspaper. As a result, one of the Audioquest warehouse workers came to see him at a Los Angeles sushi bar. The employee called the company president, who came to hear Lucas that same night. Lucas was a multi-talented harmonica player, guitarist, singer, and songwriter who could do it all: on one recording for Audioquest, Usin' Man Blues, he played solo, and on another, Luke and the Locomotives, he performed with his band. The sound on all of his albums is raw and gritty, with just a few originals on each album. Classic blues fare like Sonny Boy Williamson's "Good Morning Little Schoolgirl" and John Lee Hooker's "Meet Me in the Bottom" were given new life with Lucas' talented hands and vocal chops.
Luke and the Locomotives
Lucas paid homage to traditional blues but also carefully crafted his own singing and slide guitar style. These talents are on ample display on his Audioquest albums, including Luke and the Locomotives, Usin' Man Blues, Built for Comfort, Layaway, and Completely Blue, all released during the '90s, as well as latter-day Canned Heat albums on the Ruf and Fuel 2000 labels. Robert Lucas died of a drug overdose in Long Beach on November 23, 2008.
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Shake 'em Up - Guitar Slim Green
This artist should not be confused with Eddie "Guitar Slim" Jones, the New Orleans artist, or Alec "Guitar Slim" Seward the country blues guitarist from Virginia.
Norman G. Green was born in Bryant, TX. on July 25, 1920. His family moved to Oklahoma when he was in youth where he learned guitar and started playing at local functions. In 1947 he moved to Los Angeles. He made his debut recordings as R. Green & Turner for a label owned by J.R. Fulbright. Even though this was a retread of "Tin Pan Alley" first recorded by Curtis Jones in 1941, Green said that he and ? Turner wrote it and that Robert Geddins stole it from him. (Green & Turner's version was released as "Alla Blues". Green didn't record again for a decade waxing 45's for small labels such as Murray, Dig, Canton, Geenote, Solid Soul & Universal up until 1968. In 1970 he teamed up with Johnny Otis & his son son Shuggie to record a full length album for Kent. He was also known to have recorded with Louis Jackson & Junior Hampton. The Kent recordings would be his last under his name. He died in Los Angeles on September 28, 1975.
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Tuesday, July 24, 2012
I've Got News For You - Edgar Winter's White Trash
Edgar Holland Winter (born December 28, 1946) is an American musician. He is famous for being a multi-instrumentalist. He is a highly skilled keyboardist, saxophonist and percussionist. He often plays an instrument while singing. He was most successful in the 1970s with his band, The Edgar Winter Group, notably with their popular songs "Frankenstein" and "Free Ride". He has albinism.
Winter was born to John Winter II and Edith Winter on December 28, 1946, in Beaumont, Texas. Both he and his brother Johnny have albinism, and both were required to take special education classes in high school. Winter states, "In school I had a lot of friends. I wore a lot of white shirts to, like, blend in I guess. No one really gave me a hard time about being albino or taking special education classes. Then again, I wasn't really popular."
By the time Edgar Winter left his hometown of Beaumont, Texas in the 1960s, he was already a proficient musician. A child prodigy who achieved international success as a youth, Winter has found an audience in a number of major commercial entertainment media, including music, film and television.
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Crawfishin' - Clarence "Bon Ton" Garlow
Clarence Garlow (February 27, 1911 – July 24, 1986) was an American R&B, jump blues, Texas blues and cajun guitarist, singer and songwriter. He is best known for his recording of the song "Bon Ton Roula", which was a hit single on the US Billboard R&B chart in 1950. One commentator noted the track as, "a rhythm and blues laced-zydeco song that helped introduce the Louisiana music form to a national audience
He was born Clarence Joseph Garlow in Welsh, Jefferson Davis Parish, Louisiana, United States, although he relocated to Beaumont, Texas with his family whilst still a child. After learning the rudiments of fiddle playing as a youngster, in his teenage years Garlow learned to play both the guitar and accordion. His guitar playing was influenced by T-Bone Walker. Initially working in several factories, Garlow first recorded for the small record label, Macy's in Houston, Texas, in 1949. His debut release was "She's So Fine" b/w "Blues As You Like It", issued in January 1950.
For the follow-up, Garlow recorded his own song "Bon Ton Roula", as a sixteen-bar blues with "an insistent, swirling rhumba rhythm". "The song featured some of the same kind of broken Cajun-isms as Hank Williams's "Jambalaya". It became a hit in 1950, reaching #7 in the US Billboard R&B chart.The success of the single led to Garlow touring Texas and Louisiana. Feature Records then released another version of his hit titled "New Bon Ton Roula". Lyric Records issued two further singles in 1951, but none charted. The following year, Garlow opened the Bon Ton Drive-In in Beaumont. Relocating to Los Angeles, California, Garlow recorded his third version of "Bon Ton Roula", which was issued by Aladdin Records as "New Bon-Ton Roulay" in April 1953.
Flair Records provided the outlet for "Crawfishin'" b/w "Route 90" in November 1953, where he was billed on the label as "Bon Ton" Garlow.
Garlow returned to Beaumont in late 1954, and toured with Clifton Chenier, billed as the 'Two Crazy Frenchmen'. Garlow also undertook further recordings and had records released by Feature, Folk Star, and Goldband Records over the next few years. None had success outside of his local area, and Garlow was by then working as a DJ for the Beaumont based radio station, KJET, where he remained regularly fronting his "Bon Ton Show" until 1961. By this stage Garlow had ceased performing and recording, although his radio work, both in Beaumont and later in Orange, Texas, continued until the early 1970s. He supplemented his income by working as a mailman. Garlow played infrequently on a local basis in the early 1980s, and appeared at the 1984 San Francisco Blues Festival.
Garlow died in July 1986 in Beaumont, aged 75.
His music has appeared on various compilation albums over the years. Amongst others, Garlow's songs have been covered by Lonnie Brooks ("Bon Ton Roulet" on Lone Star Shootout) Johnny Winter ("Route 90" on Serious Business), Gary Primich ("Route 90" on Mr. Freeze) and Marcia Ball ("Crawfishin'" on Let Me Play With Your Poodle)
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The Thrill Is Gone - The Badrock Bluesband
m Sommer 1992 formierte sich in Österreich (Oberösterreich, Bezirk Ried - siehe nebenstehende Karte) mit Gerald Schuldenzucker, Siegfried Horvath, Franz Kollmann und Berndt Steiner die BADROCK BLUES BAND.
Anfangs zu viert in klassischer Band-Besetzung mit zwei Gitarren, Bass und Schlagzeug wurden vorwiegend Blues- und Rocksongs gespielt. Den ersten Live Auftritt gab's im April 1993 beim "Rock Shock Let".
Diese ursprüngliche Besetzung ist bis heute weitgehend unverändert.
Die Band wurde 1998 durch den Bluesharp-Spieler Hans Siegetsleitner erweitert. Einige Harp-Klassiker wie 'Whammer Jammer' und 'Hoochie Coochie Man' sind auf unserer CD Playin' the Blues zu hören.
Seit 1998 kümmert sich unser Tontechniker Johannes Seidl um einen perfekten Sound, und auch um das Management.
Bei zahlreichen Auftritten waren wir über mehrere Jahre in dieser Besetzung zu hören.
Ende 1999 wurde unsere Debütalbum Playin' the Blues aufgenommen. MP3 Dateien und nähere Informationen dazu unter MUSIK.
Mitte 2001 wurde die Besetzung nochmals erweitert. Kathi Wagner mit ihrer kraftvollen Stimme kam an Bord. Songs wie 'Bring Me Some Water' und 'Piece Of My Heart' wurden mit ihr möglich.
Anfang 2001 gab unser bisheriger Schlagzeuger Berndt Steiner bekannt, aus beruflichen Gründen aus der Band auszusteigen. Aber es blieb keine Zeit für eine Pause oder so, weil wir einige Gigs spielen mussten. So half uns Thomas Krkosch, ein sehr guter Drummer einer lokalen Band, für fast ein Jahr am Schlagzeug aus.
Mit dem Jahr 2002 übernahm unser Langzeit-Freund Manfred Allinger diesen Platz für die nächsten Jahre.
Mit 2006 wurde die Besetzung wieder geändert. Drummer Harald Perzl stieg für die nächsten drei Jahre ein.
Im Jahr 2009 verließen Hans Siegetsleitner, Kathi Wagner und Herald Perzl die Band.
Mitte 2009 stieg unser jetziger Klavierspieler Toni Herrmann aus Passau/Deutschland in die Band ein. Unser Programm wurde überarbeitet, aber wir spielen weiter Blues, Rock und Rock'n'Roll.
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Looking For Somebody - Ivan Marcio
Ivan Marcio fell in love with the harmonica when he was 13 and a year later, in 1991, while listening to Elmore James, he fell in love with the blues, which became the unseparable companion of this harmonica player from São Paulo, Brazil. In 1994 he founded, along with friends from São Paulo´s ABC, a band called Bluseiros de Sarja. From 1998 to 2003, he was a member of Zoonose – a hard blues band – winning, in 1999, the Festival de Música da Praia Grande, SP. From 1998 to 2001 he played for Dr Blues, a traditional band from the ABC which, in 1998, released what was the first album in his career. Besides various collaborations with national and international artists and bands, Ivan Márcio became a member of Mr Mojo in 2002, releasing the band´s second album. In 1999, he started to work with the Prados (from Prado Brothers and Swing It! Blues) which was, in 2000, renamed to Prado Blues Band and became, in 2004, the revelation band in the Brazilian blues scenario and pioneer in the jump blues style: “Prado Blues Band is the master´s degree in Brazilian blues”, said Nuno Mindelis for Diário do Grande ABC. The band released their second album in 2005 and the third one came in July, 2006. The band is a national reference to guest musicians, festivals and great events. Ivan Márcio is a self-learner musician. He´s very interested in the music of Sonny Boy Williamson II, Little Walter Jacobs, Flávio Guimarães, Charlie Musselwhite and some vocal groups from the 50´s. His first concert happened when he was 14 and since then he´s never stopped, having played in venues such as Bourboun Street Music, CIA Paulista de Blues, Sanja Jazz Bar, Ton Ton Jazz Club, Delta Blues Bar, Mr Blues Bar, Stones Blues Bar, Barfly and many SESCs round Brazil. He endorses Bends Harmonicas and Tequila Amplifiers, by Loester, and helps them in the search for quality and performance. Graduated in pedagogy, he takes part in many workshops round Brazil and teaches harmonica for the Projeto Juventude Cidadã in São Bernardo do Campo, with 100 students completing the course every year, which won him praise by Billy Branch in the last Festival Internacional de Blues de Santo André.
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