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11 episodes with Hubert Sumlin
6 episodes with Hubert Sumlin
11 episodes with Hubert Sumlin
6 episodes with Hubert Sumlin
3 episodes with Hubert Sumlin
3 episodes with Hubert Sumlin
2 episodes with Hubert Sumlin
3 episodes with Hubert Sumlin
2 episodes with Hubert Sumlin
In this episode I along with cameos from Keith Richards and Stevie Ray himself are taking a deep dive into Hubert Sumlin, his playing, guitars of choice and influence over the blues and rock world. Support the showTo become a MEMBER and get access to over 2 Years of guitar lessons for just $5/Month head to https://www.buzzsprout.com/950998/subscribe
Making a Scene Presents Gerry Casey's Interview with Sean ChambersFlorida born Sean Chambers began his career in the Blues back in 1998 when he toured with the legendary Hubert Sumlin as his guitarist and band leader until 2003. During Sean's tenure with Mr. Sumlin, Britain's own Guitarist magazine named Chambers as “One of the top 50 blues guitarists of the last century.” In 2009, Chambers went into the studio to record his critically-acclaimed album “Ten Til Midnight.” http://www.makingascene.org
SEAN CHAMBERSrecorded his 9th album“LIVE FROM DARYL'S HOUSE CLUB”Featuring The Savoy Brown Rhythm Sectionon MAY 2ND 2024.The release is scheduled forFEBRUARY 28TH, 2025The album consists mostly ofChambers' past material as well asa few SAVOY BROWN songs.Florida born Sean Chambers began his career in the Blues back in 1998when he toured with the legendary Hubert Sumlin as his guitarist andband leader until 2003. During Sean's tenure with Mr. Sumlin, Britain'sown Guitarist magazine named Chambers as “One of the top 50 bluesguitarists of the last century.”Sean Chambers and the members from Savoy Brown all became friendsafter playing a festival together in 2019. In 2023, shortly after theunfortunate passing of Savoy Brown's founder & leader, Kim Simmonds,renowned guitarist and songwriter Sean Chambers teamed up with theSavoy Brown Rhythm Section consisting of Pat De Salvo on Bass, andGarnet Grimm on drums. Being that Savoy Brown and Chambers areon the same record label together, Quarto Valley Records, this changemade sense and felt right to all three musicians. Kim Simmonds was infull support and gave the three his blessings shortly before his passingon December 13th, 2022.These three accomplished musicians have come together to createwhat is undeniably one of the most entertaining, and powerful musicaltrio's on the scene today!Sean Chambers, along with Pat De Salvo & Garnet Grimm continue totour together throughout the U.S., Canada and Europe. For more go to his website! https://www.seanchambers.com
Jimmy Vivino Live on Game Changers With Vicki Abelson It had been six long, 4 1/2 COVID years since last I sat down with my old friend, multi-instrumentalist, producer, composer, and long-time musical director for Conan O'Brien, Jimmy Vivino. It was like coming home. Almost the same age, we have many shared (unbeknownst to us at the time) memories of concerts at The Filmore East, Watkins Glen, the glory daze of the NY club scene, and a bounty of mutual friends. Talk about being in one's comfort zone. Jimmy talked growing up in New Jersey, his carpenter trumpet-playing father, his talented brothers, Jerry and Floyd, and how they began and evolved - he talked Conan, Laura Nyro, Phoebe Snow, Donald Fagen, John Sebastian, Al Kooper, Levon Helm, The Allman Brothers, Albert King, Tom Petty, Prince, Bruno Mars, Michael McDonald, Johnny Johnson, Hubert Sumlin, Stevie Wonder, Muddy Waters, Pinetop Perkins, John Sebastian, The Dead, The Band, Harry Shearer, Paul Shaffer, whom he credits as his mentor, Leader of the Pack, Broadway, Ronnie Spector, Felix Cavaliere, The Rascals, Frankie Valli, Slash, Sly Stone, The J. Geils Band, Elvis Costello, and the James Brown and Friends Set Fire To The Soul with Aretha, Robert Palmer, and Joe Cocker, that he orchestrated. Incredible stories all around, and this special is available on YouTube… wow - Snuff and I just watched it. Spectacular. We talked about COVID and Jimmy joining Canned Heat, currently touring with them, and Bill Murray, as well as still doing shows with Will Lee and The Fab Faux. His first all-original album, Gonna Be 2 of Those Days, is due to drop in February, signed copies are available for pre-sale at jimmyvmusic.com He treated us to a track to close the show. Life is busy, busy. busy… just the way Jimmy likes it. And so do we who follow and adore him. I so enjoyed every second of this. Jimmy needs to write a book and get all these stories down. He knows and has played with everyone. Such fun! Jimmy Vivino Live on Game Changers With Vicki Abelson Wednesday, 12/11/24, 5 PM PT, 8 PM ET Streamed Live on my Facebook Replay here: https://bit.ly/49vuRwT
Send us a textIn this episode I'm taking you through some really cool Rock and Roll double stops all the way from the 50's - Think Chuck Berry, John Lee Hooker & Hubert Sumlin! Download the Triad Method: https://thebluesguitarshow.com/the-triad-method/Support the showTo get your hands on THE TRIAD METHOD: https://thebluesguitarshow.com/product/the-triad-method/Become a Blues Guitar Show Member: https://www.buzzsprout.com/950998/subscribeHead over to www.thebluesguitarshow.com to subscribe to the mailing list
Drummer Sim Cain played with the Rollins Band from 1987 until 1997. Before joining Rollins Band, Sim played in the instrumental trio Gone, alongside future Rollins Band bassist Andrew Weiss and Black Flag guitarist Greg Ginn. He has also recorded with artists like David Poe, Marc Ribot, David Shea, and played in Elliott Sharp's Terraplane group. Cain appeared on Ween's 2004 album Quebec and performed with blues legend Hubert Sumlin in the early 2000s.
26 de enero de 1972. Estamos con él en el Alice’s Revisited, un pequeño restaurante y club de música en directo situado en el 950 W de Wrightwood Ave, en Chicago. Sobre el escenario, a sus 62 años, la leyenda del blues, Howlin’ Wolf. Le respaldan Willie Williams y el impecable Hubert Sumlin a las guitarras. La sección rítmica la forman David Myers al bajo y Fred Below a la batería. Y al piano la leyenda del Delta Sunnyland Slim. Todo quedó registrado en el álbum “Live and Cooking”.Playlist;(sintonía) HOWLIN' WOLF “When I laid down I was troubled”HOWLIN' WOLF “I didn’t know”HOWLIN' WOLF “Mean mistreater”HOWLIN' WOLF “I had a dream”HOWLIN' WOLF “Call me the wolf”HOWLIN' WOLF “Don’t laugh at me”HOWLIN' WOLF “Just passing by”HOWLIN' WOLF “Sittin’ on top of the world”HOWLIN' WOLF “The big house”Escuchar audio
In this episode of the LEGENDS: Podcast by All Day Vinyl, our host Scott Dudelson speaks with Sam Clayton and Scott Sharrard, two members of one of the greatest American bands of all time - Little Feat. Sam and Scott join the LEGENDS podcast to discuss the bands amazing legacy, their new blues album "Sam's Place" which features Sam Clayton singing lead vocals on every song, Little Feat history and a sneak peek of a new album, already completed, and featuring brand new Little Feat songs and eyed for a 2025 release. Sam Clayton has been a member of Little Feat since 1972 and in this episode we not only discuss his time in Little Feat but his work with Delaney & Bonnie and his stint playing with Jimmy Buffett & The Coral Reefer Band during Feat's hiatus in the 1980's. Little Feat newest member singer/guitarist Scott Sharrard also shares tales from his storied history which includes playing in blues clubs as a teenager with legends like Hubert Sumlin, Pinetop Perkins as well as his role as music director for Gregg Allman. These two share many great stories and I hope you enjoy! Thank you for listening and if you enjoy this episode please like, rate and subscribe/follow. We appreciate the support!
We answer listener questions about am radio in the old days, Skynyrd after Al, did Al play keyboard with the Tubes, playing with Taj Mahal, Al's collection of 380,00 songs, and a drunk Hubert Sumlin fan who Al was really nice to. After each question Nilly the Dog adds a canine comment. You can always submit questions for Al at alkooper.com on the Kooperkast page.
Making a Scene Brings you Gerry Casey's Interview with Todd SharpvilleAmericana/Blues stalwart Todd Sharpville has been at the coalface of grass roots music for 30 years as a respected guitarist, singer, songwriter. The list of artists he's worked with / for is long & diverse. Icons such as Joe Cocker, BB King, Hubert Sumlin, Ike Turner, Pink, Robbie Williams, George Michael, Duke Robillard, Albert Hammond, Mick Taylor, Snowy White, Kim Wilson, Bill Wyman, Rui Veloso, Joe Louis Walker, James Talley... His new album "Medication Time" (released 8th July 2022 - Dixiefrog Records CDDFG8834) features duets with US blues stalwarts Larry McCray & Sugar Ray Norcia, produced by the legendary Duke Robillard. http://www.makingascene.org
Making a Scene Brings you Gerry Casey's Interview with Sean ChambersFlorida born Sean Chambers began his career in the Blues back in 1998 when he toured with the legendary Hubert Sumlin as his guitarist and band leader until 2003. During Sean's tenure with Mr. Sumlin, Britain's own Guitarist magazine named Chambers as “One of the top 50 blues guitarists of the last century.” In 2009, Chambers went into the studio to record his critically-acclaimed album “Ten Til Midnight.” http://www.makingascene.org
In this episode we're looking at the blues classic Smokestack Lightning! This is a great example of a 'one riff song' its totally hypnotic to play and has a great feel and groove to it.At Chess' studio in Chicago in January 1956, Howlin' Wolf recorded "Smokestack Lightning".The song takes the form of "a propulsive, one-chord vamp, nominally in E major but with the flatted blue notes that make it sound like E minor", and lyrically it is "a pastiche of ancient blues lines and train references, timeless and evocative".Longtime Wolf guitarist Hubert Sumlin is credited with the distinctive guitar line.Howlin' Wolf sang and played harmonica, backed by pianist Hosea Lee Kennard, guitarists Willie Johnsonand Hubert Sumlin, bassist Willie Dixon, and drummer Earl Phillips.If you find this stuff useful leave me a review on Spotify or Apple PodcastsBecome a Blues Guitar Show Member: https://www.buzzsprout.com/950998/subscribeShoot me a question to cover in the upcoming episodes by emailing ben@thebluesguitarshow.comFollow me on instagram @bluesguitarshowpodcastSupport the show
Today's show features music performed by Louis Armstrong and Hubert Sumlin
We spin the reels of the rock and roll fruit machine this week and get the following pay-outs … … the preposterous present they gave Bobby Charlton when he retired. ... “the leaning man from Alabam”. … ‘Skinny Minnie Shimmy' by Lattie Moore And The Emperors and other apparently fictitious rock and roll hits. … a Radio One DJ who was also an actor, erotic sculptor, travel writer, sheep farmer, flamenco guitarist and ballet dancer. Why has no-one made a film of the life of Mike Raven? … why Born To Run was “a quantum leap”, the record where Springsteen wanted “to sing like Roy Orbison and write like Bob Dylan on an album that sounded like it was produced by Phil Spector”. … a leaked 1982 Radio One memo of ground rules for DJs! “Don't resort to ‘common talk' in a pathetic attempt at humour.” “You can say Cornflakes but not Shredded Wheat …” … how rock is adopting the Gilbert & Sullivan business model. … Richard Thompson, Steve Cropper, John Fahey, Hubert Sumlin … : who's the greatest guitarist of all time? … the story-spinning genius of John Prine. … the afterlife of the Love Affair. … Ernest ‘Boom' Carter's brief but marvellous moment of glory.… and birthday guest Giles Fraser wonders at what point a band shouldn't use their original name.Rolling Stone's top 250 guitarists …http://www.rollingstone.com/music/music-lists/best-guitarists-1234814010/nile-rodgers-5-1234814197/ The amazing story of Mike Raven …http://en.wikipedia.org/wiki/Mike_Raven Everybody's in the Mood by Howlin' Wolf …https://www.youtube.com/watch?v=XV0gDlzEnYUGet your exclusive Nord VPN deal here: https://nordvpn.com/yourearIt's risk-free with Nord's 30-day-money-back guarantee!Tickets for Word In Your Ear live at 21 Soho on November 27th here: https://www.tickettext.co.uk/ZOthfatjxiSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
We spin the reels of the rock and roll fruit machine this week and get the following pay-outs … … the preposterous present they gave Bobby Charlton when he retired. ... “the leaning man from Alabam”. … ‘Skinny Minnie Shimmy' by Lattie Moore And The Emperors and other apparently fictitious rock and roll hits. … a Radio One DJ who was also an actor, erotic sculptor, travel writer, sheep farmer, flamenco guitarist and ballet dancer. Why has no-one made a film of the life of Mike Raven? … why Born To Run was “a quantum leap”, the record where Springsteen wanted “to sing like Roy Orbison and write like Bob Dylan on an album that sounded like it was produced by Phil Spector”. … a leaked 1982 Radio One memo of ground rules for DJs! “Don't resort to ‘common talk' in a pathetic attempt at humour.” “You can say Cornflakes but not Shredded Wheat …” … how rock is adopting the Gilbert & Sullivan business model. … Richard Thompson, Steve Cropper, John Fahey, Hubert Sumlin … : who's the greatest guitarist of all time? … the story-spinning genius of John Prine. … the afterlife of the Love Affair. … Ernest ‘Boom' Carter's brief but marvellous moment of glory.… and birthday guest Giles Fraser wonders at what point a band shouldn't use their original name.Rolling Stone's top 250 guitarists …http://www.rollingstone.com/music/music-lists/best-guitarists-1234814010/nile-rodgers-5-1234814197/ The amazing story of Mike Raven …http://en.wikipedia.org/wiki/Mike_Raven Everybody's in the Mood by Howlin' Wolf …https://www.youtube.com/watch?v=XV0gDlzEnYUGet your exclusive Nord VPN deal here: https://nordvpn.com/yourearIt's risk-free with Nord's 30-day-money-back guarantee!Tickets for Word In Your Ear live at 21 Soho on November 27th here: https://www.tickettext.co.uk/ZOthfatjxiSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
We spin the reels of the rock and roll fruit machine this week and get the following pay-outs … … the preposterous present they gave Bobby Charlton when he retired. ... “the leaning man from Alabam”. … ‘Skinny Minnie Shimmy' by Lattie Moore And The Emperors and other apparently fictitious rock and roll hits. … a Radio One DJ who was also an actor, erotic sculptor, travel writer, sheep farmer, flamenco guitarist and ballet dancer. Why has no-one made a film of the life of Mike Raven? … why Born To Run was “a quantum leap”, the record where Springsteen wanted “to sing like Roy Orbison and write like Bob Dylan on an album that sounded like it was produced by Phil Spector”. … a leaked 1982 Radio One memo of ground rules for DJs! “Don't resort to ‘common talk' in a pathetic attempt at humour.” “You can say Cornflakes but not Shredded Wheat …” … how rock is adopting the Gilbert & Sullivan business model. … Richard Thompson, Steve Cropper, John Fahey, Hubert Sumlin … : who's the greatest guitarist of all time? … the story-spinning genius of John Prine. … the afterlife of the Love Affair. … Ernest ‘Boom' Carter's brief but marvellous moment of glory.… and birthday guest Giles Fraser wonders at what point a band shouldn't use their original name.Rolling Stone's top 250 guitarists …http://www.rollingstone.com/music/music-lists/best-guitarists-1234814010/nile-rodgers-5-1234814197/ The amazing story of Mike Raven …http://en.wikipedia.org/wiki/Mike_Raven Everybody's in the Mood by Howlin' Wolf …https://www.youtube.com/watch?v=XV0gDlzEnYUGet your exclusive Nord VPN deal here: https://nordvpn.com/yourearIt's risk-free with Nord's 30-day-money-back guarantee!Tickets for Word In Your Ear live at 21 Soho on November 27th here: https://www.tickettext.co.uk/ZOthfatjxiSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. Florida born Sean Chambers began his career in the Blues back in 1998 when he toured with the legendary Hubert Sumlin as his guitarist and band leader until 2003. During Sean's tenure with Mr. Sumlin, Britain's own Guitarist magazine named Chambers as “One of the top 50 blues guitarists of the last century.” In 2020, Chambers recorded "That's What I'm Talkin About" which is a tribute to his mentor, the late great Hubert Sumlin & was released on July 9th, 2021, on the Quarto Valley Record label. The album reached the Top 10 on the Billboard Blues Charts and received great accolades and rave reviews around the globe. Chambers became friends with the members of Savoy Brown after they played a festival together. When Savoy Brown's founder, Kim Simmonds, died in 2022, Chambers teamed up with bass player Pat De Salvo and drummer Garnet Grimm. Chambers and Savoy Brown recorded on the same label, they had the blessing of Kim Simmonds, and the move felt right. As a touring band, Sean Chambers takes guitar and vocals, Pat De Salvo takes bass and vocals, and Garnet Grimm takes drums and vocals. They continue to tour throughout the United States, Canada, and Europe, although Chambers always returns to his home base in Florida. PLEASE WELCOME BLUES GUITARIST/SINGER/SONGWRITER/ FLORIDA'S OWN SEAN CHAMBERS… and the Savoy Brown rhythm section bass player Pat De Salvo and drummer Garnet Grimm TO INTERVIEWING THE LEGENDS … PURCHASE THE MOST RECENT RELEASE BY SEAN CHAMBERS entitled THAT'S WHAT I'M TAKIN ABOUT Tribute to Hubert Sumlin Available at amazon.com Recorded In March 2020 Just Before The Coronavirus Shut Everything Down, The Florida-Based Sean Chambers Went Into Showplace Studios In Dover, New Jersey, For The Sessions Of His 8th Album. That's What I'm Talkin About' Was Engineered And Produced By Showplace Owner Ben Elliott, Who Suddenly Passed Away Shortly After The Album Was Recorded. In Addition To Sean Chambers (Guitar, Vocals) And Members Of His Band, 'That's What I'm Talkin About' Also Features Guest Appearances From Lauded Keyboardists Bruce Katz And John Ginty. The 11 Tracks On The New Disc Include 10 Songs Sean Regularly Performed On The Road As A Member Of Hubert Sumlin's Touring Band, As Well As "Hubert's Song," A Chambers Original Saluting Sumlin. AND THE MOST RECENT RELEASE BY KIM SIMMONDS AND SAVOY BROWN ‘BLUES ALL AROUND' Available at amazon.com Quarto Valley Records is honored to release the last newly recorded music by the late great Kim Simmonds and Savoy Brown. The album follows Savoy Brown's critically acclaimed 2022 album, Ain't Done Yet. "The album continues the approach I've been taking with the band this past decade," says guitarist/singer/songwriter Kim Simmonds, who formed the band in 1965 in London, England, and is one of the longest running Blues Rock bands in existence. "The big difference with the new album is the multi-layer approach I took to recording the guitar parts. It's all blues-based rock music. I try to find new and progressive ways to write and play the music I've loved since I was a young teenager." Kim Simmonds: Guitar, Vocals, Organ and Harmonica / Garnet Grimm: Drums and Percussion / Pat DeSalvo: Bass FOR MORE INFORMATION ABOUT SEAN CHAMBERS and THE SAVOY BROWN RHYTHM SECTION VISIT www.seanchambers.com Official website www.facebook.com/seanchambersmusic/?ref=hl Facebook www.facebook.com/seanchambersmusic/?ref=hl Twitter www.youtube.com/seanchambersband YouTube www.instagram.com/sean_chambers_/?hl=en Instagram https://open.spotify.com/album/7l6q20jv19NP5OTVYI0f4u Spotify www.savoybrown.com Savoy Brown official DISCOGRAPHY 1998 Strong Temptation 2004 Humble Spirits 2009 Ten Til Midnight 2011 Live from the Long Island Blues Warehouse 2013 The Rock House Sessions 2017 Trouble & Whiskey 2018 Welcome to My Blues 2021 That's What I'm Talkin About: Tribute to Hubert Sumlin Sean Chambers Tour dates 2023 - 2024 Oct 7th Stuart, FL, US Lyric Theatre Nov 17th Amen, Netherlands Cafe De Amer Nov 18th Reitwein, Germany Stüler-kirche Reitwein Nov 24th Joldelund, Germany Gerd's Juke Joint Nov 25th Ghent, Belgium De Korenbloem, Zingem Nov 27th Verviers, Belgium Spirit of 66 Support us on PayPal!
Erik Lawrence has toured the world as a saxophonist, flutist and composer, sometimes with his own original groups and often in support of a wide variety of legendary artists, from The Band, Levon Helm, Bob Dylan and Elvis Costello to Chico Hamilton and Sonny Sharrock, from Tibetans Yungchen Lamo and Nawhang Khechog to poet Robert Pinsky, from David Amram to the Spin Doctors, My Morning Jacket, Roger Waters, Joan Osborne, Bob Weir and Phil Lesh, Aaron Neville, Hubert Sumlin, Buddy Miles, Henry Butler, Big Chief Russell Moore and countless others. He's currently a member of the legendary band Little Feat and Steven Bernstein's Millennial Territory Orchestra. In addition to a busy concert and recording schedule, Erik performs musically guided meditations, which he calls Sound Sanctuary. Often performed solo or with one, two or three other like minded musicians, these are intended to calm, uplift and respond to the listener and help them to attain a higher sense of peace and confidence. He also offers private sessions, and in both settings Erik engages the listener/participant to release stress, trauma, grief, conflict and anger. Erik has working with physical trauma, illness, migraines, end of life care, grief, with ailing or troubled pets, as well. Erik has given lectures and demonstrations at music therapy pain symposiums (recertification program), nursing continuing education, the New Jersey Piano Tuner's Guild, arts centers, yoga and healing centers, private and public universities and high schools, and in other formal and informal settings. http://www.eriklawrencemusic.com/ Natalie Brown: http://www.soundshealstudio.com http://www.facebook.com/soundshealstudio.com http://www.instagram.com/nataliebrownsoundsheal http://www.youtube.com/soundshealstudio Music by Natalie Brown, Hope & Heart http://www.youtu.be/hZPx6zJX6yA This episode is sponsored by The Om Shoppe. The OM Shoppe & Spa offers a vast array of Sound Healing and Vibrational Medicine tools for serious professionals and for those ready to make sound and vibration part of their ongoing lifestyle. More and more we are coming to understand that our individual wellness is a direct reflection of our personal vibration. How we care for ourselves, our physical bodies, our minds and our spirits. The OM Shoppe is ready to help you today in a variety of ways. They offer the countries largest showroom of Quartz Crystal Singing bowls, sound healing instruments and vibrational medicine tools. If you are ready to uplevel your sound healing practice The OM Shoppe is a great place to get guidance and direction. They are available to consult with you directly by phone or you can shop online. They really enjoy getting to know their clients and customers one on one to better help recommend the right sound healing tools in the right tones for you. Call them today or visit them at http://www.theomshoppe.com. If you are ever near Sarasota, Florida, do consider stopping in and visiting with them or enjoy a luxury spa treatment such as sound healing, energy work, massage, vibroacoustics or hypnotherapy. They truly offer a full holistic experience for practitioners and those seeking healing through natural means.
Harvey Brownstone conducts an in-depth interview with Rob Fraboni, Renowned Record Producer and Sound Engineer About Harvey's guest: Today's special guest, Rob Fraboni, is a legendary record producer and sound engineer who's worked with some of the greatest music artists of all time, including The Rolling Stones, The Beach Boys, John Lennon, Bob Dylan, The Band, Eric Clapton, Patti LaBelle, Melissa Etheridge and Bonnie Raitt, whose “Green Light” album earned him a Grammy Award nomination. As Vice President at Island Records, he oversaw the remastering of the entire Bob Marley catalog. He produced the soundtrack on Martin Scorsese's groundbreaking concert movie, “The Last Waltz”, widely considered to be the greatest concert film ever made – and earning him another Grammy Award nomination. He meticulously designed and built the world famous Shangri-La Studios in Malibu, where so many great albums were recorded. In 1989 he was nominated for Producer of the Year at the New York Music Awards. In 2002, he won a Grammy Award for best Country Album for his production of Keith Richards' performance of "You Win Again" on the Hank Williams tribute album, “Timeless”. And in 2005, he received yet ANOTHER Grammy nomination for Best Blues Album, for Hubert Sumlin's album entitled, “About Them Shoes”. And the following year, he won the award for Best Blues Album at The Blues Music Awards. In his autobiography, Keith Richards said it all when he referred to our guest, quite simply, as a genius. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ https://www.robfraboni.com/https://www.facebook.com/rfraboni/ https://twitter.com/robfrabonihttps://www.instagram.com/robfraboni #robfraboni #harveybrownstoneinterviews
Hyvää joulua ja onnellista uutta vuotta rakkaat kuulijat! Joulun juhlakauteen sopivasti Sami Ruokangas ja Juha Kakkuri käyvät läpi vuoden parhaita levyjä ja julkaisuja. Kuuntele, viihdy ja nauti elämästä! Jakson soittolista eli vuoden parhaita biisejä: https://open.spotify.com/playlist/3x7Tmie8gefdluJX7vMX2V?si=c288cd0cd9db4d44 Menossa ovat mukana Rolling Stones, Ronnie Wood, Ollie Brown, Billy Preston, Hubert Sumlin, Sheryl Crow, Howlin´ Wolf, Muddy Waters, Kirk Fletcher, Joe Bonamassa, Cyndi Lauper, Eros Ramazzotti, Albert King, B.B. King, Freddie King, Muscle Shoals, Bette Smith, Larkin Poe, Rebecca Lovell, Megan Lovell, Sam Huber, George Thorogood, The Hellacopters, AC/DC, Nicke Andersson, Beatles, Judas Priest, Lynyrd Skynyrd, Ramones, Ghost, Papa Emeritus, Bruce Springsteen, Ron Aniello, The E Street Horns, Sam Moore, Sam & Dave, Dobie Gray, Commodores, Four Tops, The Temptations, Jimmy Ruffin, Sass Jordan, Rick Derringer, Johnny Winter, Taylor Hawkins, Foo Fighters, Dave Grohl, Edgar Winter, Steve Lukather, Toto, Doyle Bramhall II, Robben Ford, Billy Gibbons, Warren Haynes, Derek Trucks, Joe Walsh, Ringo Starr, Michael McDonald, Geroge Harrison, Eric Clapton, Phil Collins, Elton John, Jimmy Lee, Jerry Lee, Jerry Lee Lewis, Jimmy Lee Swaggart, Elvis, Carl Perkins, Johnny Cash, Roy Orbison, Venom Inc., Simon McBride, Deep Purple, Ritchie Blackmore, Tommy Bolin, Steve Morse, Rory Gallagher, Gary Moore, GA-20, Hound Dog Taylor, Samantha Fish, Lähiöbotox, Nyrkkitappelu, KISSA, Aino ja Hajonneet, Shiraz Lane, Rose Tattoo, Angry Anderson, Mark Evans, Orange Goblin, Clutch, Megadeth, Night Demon, The Black Crowes, Shemekia Copeland, ZZ Top, Pink Floyd, Ozzy Osbourne, Nazareth, Dan McCafferty, Pete Agnew, Jimmy Murrison, Lee Agnew, Carl Sentance, Don Airey, KISS, Tom Waits, Fleetwood Mac, Juho Pitkänen, Kihara, Hurriganes, Remu, Neil Young, Jimi Hendrix, Hannu Sormunen, Dana Fuchs, Järvenpään Puistoblues, Trudy Lynn, Ruth Fuchs ja Keith Richards.
Writer and Blues music expert Marty Weil joins us to talk about the legacy of Howlin' Wolf, one of the titans of that genre in the 20th century. Topics discussed include Wolf's time at Chess Records, his classic albums Moanin' in the Moonlight (1959) and Howlin' Wolf (aka The Rockin' Chair Album) (1962), his partnership with legendary guitarist Hubert Sumlin, his tremendous influence on blues-rock artists and his induction into the Rock & Roll Hall of Fame in 1991. This is a must-listen for any blues fan!
Today's show features music performed by Louis Armstrong and Hubert Sumlin
Louis Armstrong "I Ain't Go Nobody"Curtis Harding "Where's The Love"S.G. Goodman "If You Were Someone I Loved"Bessie Smith "House Rent Blues"Steve Earle & The Dukes (& Duchesses) "Pocket Full of Rain"Willie Nelson & Wynton Marsalis "Ain't Nobody's Business"Plains "Line of Sight"Vic Chesnutt "Band Camp"Twain And The Deslondes "Run Wild"James McMurtry "Paris"Ray Charles "The Right Time"Benjamin Booker "Violent Shiver"The Deslondes "Good to Go"Doc Watson "Nashville Blues"Eilen Jewell "Queen of the Minor Key"Hubert Sumlin "Howlin' For My Darling"Loretta Lynn "Heartaches Meet Mr. Blues"Jimmy Reed "You Got Me Dizzy"Kathleen Edwards "Empty Threat"Valerie June "Tonight I'll Be Staying Here With You"Charlie Parr "Henry Goes to the Bank"Willie Nelson "Stay All Night (Stay a Little Longer)"Willie Nelson "Devil in a Sleepin' Bag"Micah Schnabel "I'm Dead, Serious"Spirit Family Reunion "I Am Following That Sound"Lula (Lulu) Reed "Watch Dog"Langhorne Slim & The Law "The Way We Move"Fats Waller "Dream Man"Sam Cooke "Touch The Hem Of His Garment"Billy Joe Shaver "The Hottest Thing In Town"Miranda Lambert "I'm Just An Old Chunk Of Coal (But I'm Gonna Be A Diamond Someday)"Amanda Shires "Honky Tonk Heroes"Billy Joe Shaver "Ride Me Down Easy"Otis Redding "I've Been Loving You Too Long ( To Stop Now)"Ike Gordon "Don't Let The Devil Ride"Guy Clark "Desperados Waiting For A Train"Joan Shelley "Jenny Come In"Oscar Peterson Trio "Have You Met Miss Jones?"Ry Cooder "Good Morning Mr. Railroad Man"Charlie Bozo Nickerson "What's The Matter Now? - Part 1"Hattie Hart "Coldest Stuff In Town"Hank Williams "Lost Highway"Tommy Tucker "Walking The Dog"Vic Chesnutt "Worst Friend"
Making a Scene Presents Gerry Casey's Interview with Todd SharpvilleSharpville first came to public prominence with his 1994 debut blues album release, Touch of Your Love (Red Lightnin'). The album achieved critical acclaim, winning "Best Album" in 1994 in the British Blues Connection awards (Britain's equivalent to the W.C. Handy Awards). At this time, Sharpville was putting together European backing bands for visiting American blues artists (such as Hubert Sumlin, Ike Turner, Chuck Berry and Byther Smith). He won the British Blues Connection "Best UK Guitarist" award in 1995 (beating fellow nominees Eric Clapton and Gary Moore according to the April 1995 edition of British Blues Connection's Blueprint magazine) and became a mainstay on the European blues circuit as a solo artist.
Making a Scene Presents an Interview with Todd Sharpville Sharpville first came to public prominence with his 1994 debut blues album release, Touch of Your Love (Red Lightnin'). The album achieved critical acclaim, winning "Best Album" in 1994 in the British Blues Connection awards (Britain's equivalent to the W.C. Handy Awards). At this time, Sharpville was putting together European backing bands for visiting American blues artists (such as Hubert Sumlin, Ike Turner, Chuck Berry and Byther Smith). He won the British Blues Connection "Best UK Guitarist" award in 1995 (beating fellow nominees Eric Clapton and Gary Moore according to the April 1995 edition of British Blues Connection's Blueprint magazine) and became a mainstay on the European blues circuit as a solo artist.[citation needed]
No programa de hoje iremos falar e ouvir duas vozes do Blues: Rory Block natural do estado de New Jersey e Hubert Sumlin natural do estado do Mississippi.
Episode 53 - Oteil Burbridge - Music, Mystics and Magic This all new episode of the MAPS Podcast features an all new wild, magical and deep interview with the great Oteil Burbridge. One of the great bass players of the modern era, Oteil shares lessons on life, the death of his father, finding magic in music and re-introducing psychedelics into his life upon taking initation into the Grateful Dead legacy. This was one of the most exciting interviews for me to do and I hope you get a taste of what makes Oteil such a special human. being. Two-time Grammy winning bassist Oteil Burbridge has been in the music business touring and recording for over three decades. His first step into the national spotlight came in 1991 when he became a founding member of the Aquarium Rescue Unit featuring Col. Bruce Hampton, a cult classic that has stood the test of time. That led to his membership in the classic rock group The Allman Brothers Band. Since 1997, his work with the band has earned him two Grammy nominations for best rock instrumental, in 2003 and in 2004. Over the years, Oteil has shared the stage with rock and blues legends such as Eric Clapton, Carlos Santana, Levon Helm, Taj Mahal, Buddy Guy, Pinetop Perkins, Hubert Sumlin, Billy Gibbons, Chuck Leavell, Bob Weir, Phil Lesh, Johnny Winter, Bonnie Raitt, Sheryl Crow and Trey Anastasio. In 2012, Oteil received a Grammy Lifetime Achievement Award for his 15 year contribution to the Allman Brothers Band as the longest running bassist in the band's history.
This episode I had the pleasure of talking with Jerry Fierro. We talk about his time with Sonny Terry and how enlightening that was for himself and his now students. We also talked about what is going on with him these days in and around Naples Florida. Jerry and the band Mudbone run a jam every Tuesday night at the DogTooth sports bar 5310 Shirley St. Naples, FL 34109. Here are some words form the Florida Weekley PROFILES IN PARADISE March 12, 2015 Jerry Fierro, with his harmonica and occasionally the congas, is a regular guest when the band Mudbone invites other musicians to sit in for a jam session on Tuesday evenings at Weekend Willie's. Jerry plays great blues and is a terrific blues singer as well. It's clear he's having a great time when he plays. His level of excellence is not easily attained, and he's had quite a musical journey. He was born the ninth of 10 kids, just five minutes after his twin sister Mary, on Dec. 8, 1958, in Paterson, N.J. Although there were no musicians in the house (his dad was an accomplished auto mechanic and mom was a housewife), there was always music playing. Jerry remembers his parents having great parties with jazz standards on the record player and sometimes a live band in the yard. He was a senior at Passaic County Tech High School, studying to become a baker, when he got the notion to play music. Inspired by watching a cousin play the harmonica and sing, he bought his first marine band harmonica in 1975 for $5.26 at the legendary Manny's Music in New York City. Two more really good things happened that same year, he says: First, he was introduced to Bob “Hoochie Coochie” Paolucci, who taught him what to play and, more importantly, what not to play. “Hooch is still out there doing his thing in Long Island, New York,” he says. And second, he met Son Lewis (Silk City Records) by answering an ad in the local music rag. “Son is a true bluesman who never made it big but should have,” he says. “He must have seen something in me, because he would sneak me into nightclubs to perform when I was 16. We've been playing on and off together ever since.” After a few years playing with Mr. Lewis, Jerry got the opportunity to expand his horizons by joining Impact, a local band of brothers (now called The Flying Mueller Brothers). They played the blues and almost every other genre of music, too. For eight years, from 1978 to '86, the band played the New York metro area. It was during that time that Jerry met blues harpist Sonny Terry. Renowned for his unique style of “hootin' and hollerin,'” Mr. Terry gave Jerry lessons on the harmonica. Other highlights of Jerry's music career include playing with such greats as Junior Wells, Hubert Sumlin, Johnny Copeland, Jorma Kaukonen, Felix Cavaliere “and now the best players in Southwest Florida — Mudbone,” he says. In 2014 Jerry won the trophy for Overall Champion in the Forida Harmonica Competition. https://www.facebook.com/jerry.fierro.10 Check out the Mudbone Jam with Jerry and the band https://www.dogtoothnaples.com/happenings/ I started this new page on facebook after years of establishing other pages one being the first woman admin at World of Hamronica and founding member of Harmonica Jam. Now We my husband Julio inglasses run this group of world wide harmonica LOVERS! https://www.facebook.com/groups/1598464463522496 Visit my site for more cool linkd and blogs https://www.nedraruss.com
Matt Walsh joins the podcast to talk about some of his road stories, studio stories, venue stories, and just regular place stories. Click here for easy streaming or download - https://mcdn.podbean.com/mf/web/3xgrcu/Ep_140_Matt_Walsh_pt_2av9zh.mp3 Click to listen on Apple/iTunes Stitcher Spotify iHeart Pandora Listen and follow Matt Walsh https://open.spotify.com/album/1LXV25EfdskXeRP2I1LCpX www.mattwalshmusic.net www.fullbloomrecords.com https://youtube.com/c/MattWalshMusic http://instagram.com/mattwalshmusic Thanks to Iris Marlowe for the closing song Spotify YouTube https://www.facebook.com/irismarlowemusic/ https://www.instagram.com/iris.marlowe/?hl=en Subscribe to the podcast - https://podcasts.apple.com/us/podcast/wnc-original-music/id1378776313 https://www.iheart.com/podcast/wnc-original-music-31067964/ This link has all the other places to subscribe https://gopod.me/wncom Follow on Social Media https://www.facebook.com/wncoriginalmusic https://www.wncoriginalmusic.com https://www.instagram.com/wnc_original_music/ All music used by permission Matt Walsh is a singer-songwriter, guitarist, filmmaker and actor from Statesville NC who performs 200 plus shows a year either solo or with his rhythm section, 'The Movers'. His albums Life After Rock N Roll (2017 Full Bloom Records) and The Midnight Strain (2018 Full Bloom Records) have been hailed by music publications and played on radio stations in the US, Canada, Germany, Italy, Spain, the Netherlands and Australia. Matt's sound is a clever blend of numerous styles of the music that have influenced him since his youth - early electric and country Blues, Rock N Roll, Rockabilly, Soul, R&B, Country, Bluegrass, Jazz and Psychedelia. His focus on making all original music by combining the influences that inspired him, along with his own ideas, have produced an exciting blend of many genres without rules or limitations. His exposure to music came first came from his mother through her love of Motown. When Matt was 9 years old, she took him to a Prince concert and afterwards, he knew he wanted to be a musician. His musical education began with his late uncle who turned him onto a record collection that included early 1950's electric Blues and 1960's Rock which inspired Matt to play guitar. When he was 13, Matt got a knock off electric guitar for $25 at a flea market and set out to learn the instrument. He furthered his musical education when he began absorbing the music on old record labels, notably Chess, Sun and Stax . Less than a decade later, he began performing in clubs and in the years to follow, he established himself as a highly regarded musician in the Blues world with his first release, Hard Luck (2007), as one of the few artists in the genre capable of writing relevant original material without relying on any cover songs from the past. The album got rave reviews in multiple music publications, radio play on stations around the world and a featured spot on XM 74 Satellite Radio as a 'Pick to Click'. Around this time Matt joined Bob Margolin (guitarist for Muddy Waters 1973-1980) and performed with some of his heroes, legendary artists like Howlin' Wolf's guitarist Hubert Sumlin and members of Muddy Water's band, Pinetop Perkins and Willie "Big Eyes" Smith. While he was looking for a new direction to expand his music, Matt started working with drummer Austin Hicks after they met on Craigslist in 2013. They formed the drum-guitar duo, the Low Counts and branded themselves as, "Blue Collar Rock-N-Roll". They turned heads, made dedicated fans and blew audiences away with their no frills, high energy stage show. Their ride was cut short on March 8th 2017 when Austin passed away unexpectedly. Matt wrote 27 songs that the duo released over three albums in the four short years they were together (The Low Counts 2014 Real Original Records, Unsettled Days 2015 Grimtale Records, Years Pass By 2015 Real Original Records) Matt released his first full length solo studio album in almost a decade, Life After Rock N Roll' (2017 Full Bloom Records). The album reignited his standing as a solo artist and found him stretching out to make powerful, refined music that was entirely different than any of his previous works and his third full length studio album, The Midnight Strain (2018 Full Bloom Records) built upon that success. Matt released his fourth full length studio album 'Burnt Out Soul' (Full Bloom Records) on September 25th 2020 that he recorded at the legendary Columbia Records Studio A on Music Row in Nashville TN. Iris Marlowe is a singer-songwriter from Chicago, IL. Iris has been playing and writing music since she was 3 years old. She begun taking music seriously in 2018 and started to cultivate her sound. After releasing two albums 'Savannah' (2019) and 'Winter Solace' (2020) she decided to work on a western album inspired by spaghetti westerns and the occult. 'Home' is the first single to be released from the upcoming album. It's a folk song from the record that focuses on the reflection and acceptance you feel when you outgrow the place you grew up in.
Show #929 Blue For You 01. Johnny Moore's Three Blazers - How Blue Can You Get [1949] (3:05) (Singin' The Blues, RCA Victor, 1960) 02. Tas Cru - Memphis Blue (4:25) (Drive On, Subcat Records, 2020) 03. Diane Durrett & Soul Suga - Blue Water (4:10) (Put A Lid On It, Blooming Tunes Music, 2021) 04. Steve Guyger & Rich Yescalis - Little Boy Blue (4:37) (Blues For Big Walter, EllerSoul Records, 2016) 05. Austin Young & NO Difference - Blue As Can Be (3:56) (Blue As Can Be, Redeye Records, 2013) 06. Tomás Doncker - Drown in Blue (3:59) (Wherever You Go, True Groove Records, 2020) 07. Hubert Sumlin - Blue Guitar (5:13) (Hubert Sumlin's Blues Party, Black Top/Demon Records, 1987) 08. Johnny Never - Blue Delta Blues (3:38) (Blue Delta, self-release, 2020) 09. Barrelhouse - Blue Ain't Blue (4:36) (Blue Ain't Blue, Ariola Records, 1983) 10. Rusty Ends Blues Band - Blue Shadows (3:29) (Rusty Ends Blues Band, Earwig Music, 2021) 11. The Preacher Men - Into The Blue (3:46) (Blue, ZenneZ Records, 2018) 12. Lonnie Johnson - Blue Ghost Blues [1938] (2:58) (Out Came The Blues Vol.2, Ace Of Hearts Records, 1967) 13. Jason Vivone & The Billy Bats - Little Blue River (4:37) (The 5th, self-release, 2020) 14. Bridget Kelly Band - Deeper Than Blue (6:04) (Bone Rattler, Alpha Sun Records, 2017) 15. Bees Deluxe - Blue + Yellow (3:03) (Mouthful of Bees, Slapping Cat Records, 2020) 16. Crystal Shawanda - Blue Train (3:41) (Voodoo Woman, True North Records, 2018) 17. Keith Stone With Red Gravy - Blue Eyed Angel (3:18) (Keith Stone With Red Gravy, self-release, 2018) 18. John Prine - No Ordinairy Blue (2:56) (The Tree Of Forgiveness, Oh Boy Records, 2018) 19. Sariyah Idan - Refuge In Blue (2:57) (Breaking Shadows, self-release, 2019) 20. Pete Anderson - Blue Guitar (5:29) (Even Things Up, Little Dog Records, 2011) Bonus track 21. Dhani Harrison - For You Blue (2:31) (YouTube, 2013) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
WISCONSIN MUSIC PODCAST Episode #58 Michael Legut (AKA Casual Intent Band) Bio: I was born and lived on the south side of Chicago for most of my young adult life. Started playing guitar and writing songs when I was 16. I've been in several garage and bar bands (Starliner Band in the 70's). Then I moved out to the San Francisco bay area and join a band called the HiTops. We played R&B and Motown covers. Lot's of fun and crazy stuff then. Our claims to fame were include playing for a presidential candidate party - Gary Hart event - LOL - and opening for the Violent Femmes at a dive bar called the Golden Grommet. I sort of put music aside for a few years to raise a family and get a PhD, and work in the corporate world (Gap Inc, Humana, Northwestern Mutual). Eventually I moved back to the midwest - Louisville and then to the Milwaukee area. I met Jesus Villa at Northwestern Mutual and that got me back into playing and writing again. It's hard to describe my songs. I try to write mindful songs. People say that my songs are more like Bob Dylan or Tom Waits but I'm still looking for my voice so who know where that will be. ...and I like Captain Beefheart's 10 Commandments of Guitar Playing 1. Listen to the birds That's where all the music comes from. Birds know everything about how it should sound and where that sound should come from. And watch hummingbirds. They fly really fast, but a lot of times they aren't going anywhere. 2. Your guitar is not really a guitar Your guitar is a divining rod. Use it to find spirits in the other world and bring them over. A guitar is also a fishing rod. If you're good, you'll land a big one. 3. Practice in front of a bush Wait until the moon is out, then go outside, eat a multi-grained bread and play your guitar to a bush. If the bush doesn't shake, eat another piece of bread. 4. Walk with the devil Old Delta blues players referred to guitar amplifiers as the “devil box.” And they were right. You have to be an equal opportunity employer in terms of who you're brining over from the other side. Electricity attracts devils and demons. Other instruments attract other spirits. An acoustic guitar attracts Casper. A mandolin attracts Wendy. But an electric guitar attracts Beelzebub. 5. If you're guilty of thinking, you're out If your brain is part of the process, you're missing it. You should play like a drowning man, struggling to reach shore. If you can trap that feeling, then you have something that is fur bearing. 6. Never point your guitar at anyone Your instrument has more clout than lightning. Just hit a big chord then run outside to hear it. But make sure you are not standing in an open field. 7. Always carry a church key That's your key-man clause. Like One String Sam. He's one. He was a Detroit street musician who played in the fifties on a homemade instrument. His song “I Need a Hundred Dollars” is warm pie. Another key to the church is Hubert Sumlin, Howlin' Wolf's guitar player. He just stands there like the Statue of Liberty — making you want to look up her dress the whole time to see how he's doing it. 8. Don't wipe the sweat off your instrument You need that stink on there. Then you have to get that stink onto your music. 9. Keep your guitar in a dark place When you're not playing your guitar, cover it and keep it in a dark place. If you don't play your guitar for more than a day, be sure you put a saucer of water in with it. 10. You gotta have a hood for your engine Keep that hat on. A hat is a pressure cooker. If you have a roof on your house, the hot air can't escape. Even a lima bean has to have a piece of wet paper around it to make it grow. Finally....I now live in Waukesha, Wisconsin - the birthplace of Les Paul - a very musical little town. I've since retired from my business career. Now I often play at the open mics and farmers markets in the area. During the Covid shutdown I wrote a lot of songs. Some of those are on band camp. I also started a Motown, Blues Reggae band called the Casual Intent Band that is just starting to schedule gigs in the area. Here are the links to some of that: Casual Intent Band - https://www.facebook.com/casualintent/ Band Camp - Michaellegut.bandcamp.com
Jim reels off one cool story after another, including how he got the gig with Rod Stewart... jamming with Frank Zappa, Howlin' Wolf, Hubert Sumlin', Ron Wood, Kenny Jones & Rod… drunk Joe Cocker late night in the recording studio… building tension in a song, and SO much more. INCREDIBLY cool & upbeat If you'd like to support this show: http://www.everyonelovesguitar.com/support What a life! Jim Cregan's had a solo career in the UK with a number one hit single, and was also Rod Stewart's lead guitarist & band leader for 18 years, co-writing 30 songs with him. Played one of the greatest guitar solos, on 1977's “I Was Only Joking.” Much more than a great conversation, this was a Masterclass in guitar playing, getting along with people, and being a music director! Subscribe YouTube: https://www.youtube.com/c/EveryoneLovesGuitar?sub_confirmation=1 Website: https://www.everyonelovesguitar.com/subscribe
Герой очередного выпуска программы - американский блюзовый гитарист и певец, работавший в жанре чикагского блюза Хьюберт Самлин. Знаете ли вы, что большими ценителями таланта Хьюберта Самлина были музыканты группы The Rolling Stones и после смерти музыканта они полностью взяли на себя все похоронные расходы? Сегодня в программе - 11 фактов, которые вы могли не знать о великой чикагской блюзовой гитаре. Автор и ведущий программы - мотопутешественник, организатор Блюз-байк фестиваля в Суздале Максим Привезенцев ( https://suzdalblues.com/ ) Слушайте каждый понедельник в 14-00 с повторами на неделе на MOTORADIO Все эпизоды подкаста программы по ссылке: https://bluesbusiness.podster.fm/
Jälleen on tarjolla rautainen lähetys, jossa mennään vuoden 1951 Sun Recordsin savikiekosta samana vuonna syntyneen brittihevikitaristin tulevaan uutuuslevyyn. Ohjelma on täynnä musiikin tuomaa iloa ja energiaa eri vuosikymmeniltä. Uutiskatsauksessa ovat esillä mm. Rolling Stones, Toto, George Thorogood & The Destroyers, Thin Lizzy, Black Star Riders, Beach Boys, Brian Wilson, The Black Keys ja Judas Priest. Juha Kakkurin levylautasella soi Howlin´ Wolfin klassikko ja Sami Ruokangas on hyvällä tavalla huvittunut KK`s Priest -heviuutuuden huumorista. Jakson 11 biisin soittolista: https://open.spotify.com/playlist/01Mxyyzg0UqR5b4TL0stFY?si=c1a0e5fa81d24199 Muuten menossa mukana ovat mm. Charlie Watts, Steve Jordan, iorr.org, Mick Jagger, Brother Firetribe, Reckless Love, H.E.A.T., Steve Lukather, Joseph Williams, David Paich, Mick Jones, Foreigner, Steve Porcaro, Huey Lewis & The News, Hank "Hurricane" Carter, Buddy Leach, Steve Miller, Scott Gorham, Darren Wharton, Ricky Warwick, Scott Travis, Mastodon, Damon Johnson, Gary Rossington, Lynyrd Skynyrd, Mike Love, Judas Priest, Ross Halfin, Rob Halford, Glenn Tipton, Ian Hill, Richie Faulkner, Iron Maiden, KISS Army Finland, Helloween, Masterplan, Roland Grapow, KaaosZine, Les Binks, Lionheart, Timo Tolkki, Stratovarius, Sam Phillips, Sun Records, B. B. King, Chess Records, Georg "Jori" Malmstén, Bill Haley, Robert Johnson, Jody Williams, Hubert Sumlin, Esa Kuloniemi, Muddy Waters, K. K. Downing ja Tim "Ripper" Owens.
Making a Scene Presents an Interview with Brad Vickers of Brad Vickers and his VestapolitansBrad Vickers learned on the job playing, touring, and recording with America's blues and roots masters: Jimmy Rogers, Hubert Sumlin, Bo Diddley, Chuck Berry, Odetta, Sleepy LaBeef, Rosco Gordon, and Pinetop Perkins—with whom Brad had the good fortune to play on the Grammy-nominated discs, “Born in the Delta” (Telarc) and “Ladies' Man” (MC)—to name just a few.
In this episode, I am pleased to share the screen with one of the most impactful guitar players who has molded hundreds to love and excel in the craft. Meet Roger "Hurricane" Wilson; the more you get to know him, the more you understand why he has an accurate moniker for his fantastic career and how his passion and purpose continue in all these decades. Key points covered in this episode: ✔️ Roger shares his journey of first picking up the guitar at age 9 and started learning note by note, falling hard for rock and roll, and he never looked back. ✔️ He shares one unforgettable remark from a young student that stuck to him. The critical thing was to "have some fun." With music and everything else in life, something more amazing comes out when we're letting ourselves enjoy our gifts. ✔️ From teaching, building the chops to learning to write the songs and figuring out where the history comes from, Roger had his share of being discouraged from"doing this musician thing." ✔️ Roger shares how the fame and rockstar lifestyle can go to a person's head many times, but he stood by the belief that humility is the best virtue and there's always going to be somebody better who can come along. "There's nothing wrong with being proud of what you do and everything; just don't let it get to your head." ✔️ His moniker "Hurricane" was him getting in and out of joints and gigs fast as a passionate musician. "I love playing guitar, and I don't care if anybody is listening or not." ✔️ At age 68, there's more to be done by the Hurricane. "Think about what you're going to leave behind — that's more about it now than anything else." Roger "Hurricane" Wilson has been playing guitar since 1963 and performing professionally since 1972 in his own band, as a solo artist at home, and on the road. From 1973 to 1985, he owned and operated the brick-and-mortar location of the Roger Wilson Guitar Studio in Atlanta, Georgia, which still operates online today. It was during this time that he taught hundreds of students basic and advanced guitar styles. He has also worked as a radio DJ, music journalist, and broadcaster. In addition, he has been a judge for the International Blues Challenge in Memphis, Tennessee, as well as being a 2015 Oklahoma Blues Hall of Fame Inductee. To date, he has released over 25 albums and toured over a million miles. Wilson started playing professionally in 1972, and he has jammed with Les Paul, Hubert Sumlin, Stevie Ray Vaughan, Albert Collins, Roy Buchanan, Savoy Brown, Magic Slim, Michael Burks, and Charlie Musselwhite. He has also shared the stage with B.B. King, Buddy Guy, Little Milton, John Mayall, Marcia Ball, Delbert McClinton, Taj Mahal, Leon Russell, and Edgar Winter. Visit Roger's website: www.hurricanwilson.com _____________________________________________________________________________ How to Connect with Dianne A. Allen You have a vision inside to create something bigger than you. What you need is a community and a mentor. The 6-month Visionary Leader Program will move you forward. You will grow, transform and connect. https://msdianneallen.com/ Join our Facebook Group Someone Gets Me Follow Dianne's Facebook Page: Dianne A. Allen Email contact: dianne@visionsapplied.com Dianne's Mentoring Services: msdianneallen.com Website: www.visionsapplied.com Be sure to take a second and subscribe to the show and share it with anyone you think will benefit. Until next time, remember the world needs your special gift, so let your light shine!
SEAN CHAMBERS – COUCH KID NEW MUSIC Sean will join me to talk about his new album, That's What I'm Talking About, his tribute to Hubert Sumlin. MEMPHIS LIGHTNING Both Lightnin' and his dad Red will join me to talk about their adventure and the last year of their lives, and the album Borrowed Time. CLINT MORGAN – COUCH KID NEW MUSIC Clint returns to The Couch to talk about the last few years and his new album, Troublemaker. WILL JOHNS – COUCH KID NEW MUSIC Will will be joining me from England to talk about his new album, BluesDaddy and more.
Making a Scene Presents an Interview with Sean ChambersFlorida born Sean Chambers began his career in the Blues back in 1998 when he toured with the legendary Hubert Sumlin as his guitarist and band leader until 2003. During Sean's tenure with Mr. Sumlin, Britain's own Guitarist magazine named Chambers as “One of the top 50 blues guitarists of the last century.”
Mark sits down with blues guitar legend Steve Freund to talk about his career and blues history. Steve began his career in Chicago with Hubert Sumlin, Lee Jackson, Homesick James, Louis Myers, and many others. He spent two years working with Big Walter Horton and Floyd Jones, and in 1978 he became Sunnyland Slim's main guitarist. Freund is the consummate piano accompanist working with Pinetop Perkins, Jimmy Walker, Henry Gray, Erwin Helfer and many more. Steve spent nine years working with harmonica legend James Cotton. Steve tours internationally and has played with and opens shows for Boz Scaggs. Special Thanks to Bob Corritore for his photographs Steve Freund's Website Mark Hummel's Website Produced by Accidental Productions For a video version please visit Mark Hummel's Harmonica Party on YouTube
Episode 126 of A History of Rock Music in Five Hundred Songs looks at “For Your Love", the Yardbirds, and the beginnings of heavy rock and the guitar hero. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "A Lover's Concerto" by the Toys. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The Yardbirds have one of the most mishandled catalogues of all the sixties groups, possibly the most mishandled. Their recordings with Giorgio Gomelsky, Simon Napier-Bell and Mickie Most are all owned by different people, and all get compiled separately, usually with poor-quality live recordings, demos, and other odds and sods to fill up a CD's running time. The only actual authoritative compilation is the long out-of-print Ultimate! . Information came from a variety of sources. Most of the general Yardbirds information came from The Yardbirds by Alan Clayson and Heart Full of Soul: Keith Relf of the Yardbirds by David French. Simon Napier-Bell's You Don't Have to Say You Love Me is one of the most entertaining books about the sixties music scene, and contains several anecdotes about his time working with the Yardbirds, some of which may even be true. Some information about Immediate Records came from Immediate Records by Simon Spence, which I'll be using more in future episodes. Information about Clapton came from Motherless Child by Paul Scott, while information on Jeff Beck came from Hot Wired Guitar: The Life of Jeff Beck by Martin Power. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at the early career of the band that, more than any other band, was responsible for the position of lead guitarist becoming as prestigious as that of lead singer. We're going to look at how a blues band launched the careers of several of the most successful guitarists of all time, and also one of the most successful pop songwriters of the sixties and seventies. We're going to look at "For Your Love" by the Yardbirds: [Excerpt: The Yardbirds, "For Your Love"] The roots of the Yardbirds lie in a group of schoolfriends in Richmond, a leafy suburb of London. Keith Relf, Laurie Gane, Paul Samwell-Smith and Jim McCarty were art-school kids who were obsessed with Sonny Terry and Jimmy Reed, and who would hang around the burgeoning London R&B scene, going to see the Rolling Stones and Alexis Korner in Twickenham and at Eel Pie Island, and starting up their own blues band, the Metropolis Blues Quartet. However, Gane soon left the group to go off to university, and he was replaced by two younger guitarists, Top Topham and Chris Dreja, with Samwell-Smith moving from guitar to bass. As they were no longer a quartet, they renamed themselves the Yardbirds, after a term Relf had found on the back of an album cover, meaning a tramp or hobo. The newly-named Yardbirds quickly developed their own unique style -- their repertoire was the same mix of Howlin' Wolf, Bo Diddley, Jimmy Reed and Chuck Berry as every other band on the London scene, but they included long extended improvisatory instrumental sequences with Relf's harmonica playing off Topham's lead guitar. The group developed a way of extending songs, which they described as a “rave-up” and would become the signature of their live act – in the middle of a song they would go into a long instrumental solo in double-time, taking the song twice as fast and improvising heavily, before dropping back to the original tempo to finish the song off. These “rave-up” sections would often be much longer than the main song, and were a chance for everyone to show off their instrumental skills, with Topham and Relf trading phrases on guitar and harmonica. They were mentored by Cyril Davies, who gave them the interval spots at some of his shows -- and then one day asked them to fill in for him in a gig he couldn't make -- a residency at a club in Harrow, where the Yardbirds went down so well that they were asked to permanently take over the residency from Davies, much to his disgust. But the group's big break came when the Rolling Stones signed with Andrew Oldham, leaving Giorgio Gomelsky with no band to play the Crawdaddy Club every Sunday. Gomelsky was out of the country at his father's funeral when the Stones quit on him, and so it was up to Gomelsky's assistant Hamish Grimes to find a replacement. Grimes looked at the R&B scene and the choice came down to two bands -- the Yardbirds and Them. Grimes said it was a toss-up, but he eventually went for the Yardbirds, who eagerly agreed. When Gomelsky got back, the group were packing audiences in at the Crawdaddy and doing even better than the Stones had been. Soon Gomelsky wanted to become the Yardbirds' manager and turn the group into full-time musicians, but there was a problem -- the new school term was starting, Top Topham was only fifteen, and his parents didn't want him to quit school. Topham had to leave the group. Luckily, there was someone waiting in the wings. Eric Clapton was well known on the local scene as someone who was quite good on guitar, and he and Topham had played together for a long time as an informal duo, so he knew the parts -- and he was also acquainted with Dreja. Everyone on the London blues scene knew everyone else, although the thing that stuck in most of the Yardbirds' minds about Clapton was the time he'd seen the Metropolis Blues Quartet play and gone up to Samwell-Smith and said "Could you do me a favour?" When Samwell-Smith had nodded his assent, Clapton had said "Don't play any more guitar solos". Clapton was someone who worshipped the romantic image of the Delta bluesman, solitary and rootless, without friends or companions, surviving only on his wits and weighed down by troubles, and he would imagine himself that way as he took guitar lessons from Dave Brock, later of Hawkwind, or as he hung out with Top Topham and Chris Dreja in Richmond on weekends, complaining about the burdens he had to bear, such as the expensive electric guitar his grandmother had bought him not being as good as he'd hoped. Clapton had hung around with Topham and Dreja, but they'd never been really close, and he hadn't been considered for a spot in the Yardbirds when the group had formed. Instead he had joined the Roosters with Tom McGuinness, who had introduced Clapton to the music of Freddie King, especially a B-side called "I Love the Woman", which showed Clapton for the first time how the guitar could be more than just an accompaniment to vocals, but a featured instrument in its own right: [Excerpt: Freddie King, "I Love the Woman"] The Roosters had been blues purists, dedicated to a scholarly attitude to American Black music and contemptuous of pop music -- when Clapton met the Beatles for the first time, when they came along to an early Rolling Stones gig Clapton was also at, he had thought of them as "a bunch of wankers" and despised them as sellouts. After the Roosters had broken up, Clapton and McGuinness had joined the gimmicky Merseybeat group Casey Jones and his Engineers, who had a band uniform of black suits and cardboard Confederate army caps, before leaving that as well. McGuinness had gone on to join Manfred Mann, and Clapton was left without a group, until the Yardbirds called on him. The new lineup quickly gelled as musicians -- though the band did become frustrated with one quirk of Clapton's. He liked to bend strings, and so he used very light gauge strings on his guitar, which often broke, meaning that a big chunk of time would be taken up each show with Clapton restringing his guitar, while the audience gave a slow hand clap -- leading to his nickname, "Slowhand" Clap-ton. Two months after Clapton joined the group, Gomelsky got them to back Sonny Boy Williamson II on a UK tour, recording a show at the Crawdaddy Club which was released as a live album three years later: [Excerpt: The Yardbirds and Sonny Boy Williamson II, "Twenty-three Hours Too Long"] Williamson and the Yardbirds didn't get along though, either as people or as musicians. Williamson's birth name was Rice Miller, and he'd originally taken the name "Sonny Boy Williamson" to cash in on the fame of another musician who used that name, though he'd gone on to much greater success than the original, who'd died not long after the former Miller started using the name. Clapton, wanting to show off, had gone up to Williamson when they were introduced and said "Isn't your real name Rice Miller?" Williamson had pulled a knife on Clapton, and his relationship with the group didn't get much better from that point on. The group were annoyed that Williamson was drunk on stage and would call out songs they hadn't rehearsed, while Williamson later summed up his view of the Yardbirds to Robbie Robertson, saying "Those English boys want to play the blues so bad -- and they play the blues *so bad*!" Shortly after this, the group cut some demos on their own, which were used to get them a deal with Columbia, a subsidiary of EMI. Their first single was a version of Billy Boy Arnold's "I Wish You Would": [Excerpt: The Yardbirds, "I Wish You Would"] This was as pure R&B as a British group would get at this point, but Clapton was unhappy with the record -- partly because hearing the group in the studio made him realise how comparatively thin they sounded as players, and partly just because he was worried that even going into a recording studio at all was selling out and not something that any of the Delta bluesmen whose records he loved would do. He was happier with the group's first album, a live recording called Five Live Yardbirds that captured the sound of the group at the Marquee Club. The repertoire on that album was precisely the same as any of the other British R&B bands of the time -- songs by Howlin' Wolf, Bo Diddley, Chuck Berry, John Lee Hooker, Slim Harpo, Sonny Boy Williamson and the Isley Brothers -- but they were often heavily extended versions, with a lot of interplay between Samwell-Smith's bass, Clapton's guitar, and Relf's harmonica, like their five-and-a-half-minute version of Howlin' Wolf's "Smokestack Lightning": [Excerpt: The Yardbirds, "Smokestack Lightning"] "I Wish You Would" made number twenty-six on the NME chart, but it didn't make the Record Retailer chart which is the basis of modern chart compilations. The group were just about to go into the studio to cut their second single, a version of "Good Morning Little Schoolgirl", when Keith Relf collapsed. Relf had severe asthma and was also a heavy smoker, and his lung collapsed and he had to be hospitalised for several weeks, and it looked for a while as if he might never be able to sing or play harmonica again. In his absence, various friends and hangers-on from the R&B scene deputised for him -- Ronnie Wood has recalled being at a gig and the audience being asked "Can anyone play harmonica?", leading to Wood getting on stage with them, and other people who played a gig or two, or sometimes just a song or two, with them include Mick Jagger, Brian Jones, and Rod Stewart. Stewart was apparently a big fan, and would keep trying to get on stage with them -- according to Keith Relf's wife, "Rod Stewart would be sitting in the backroom begging to go on—‘Oh give us a turn, give us a turn.'” Luckily, Relf's lung was successfully reinflated, and he returned to singing, harmonica playing... and smoking. In the early months back with the group, he would sometimes have to pull out his inhaler in the middle of a word to be able to continue singing, and he would start seeing stars on stage. Relf's health would never be good, but he was able to carry on performing, and the future of the group was secured. What wasn't secure was the group's relationship with their guitarist. While Relf and Dreja had for a time shared a flat with Eric Clapton, he was becoming increasingly distant from the other members. Partly this was because Relf felt somewhat jealous of the fact that the audiences seemed more impressed with the group's guitarist than with him, the lead singer; partly it was because Giorgio Gomelsky had made Paul Samwell-Smith the group's musical director, and Clapton had never got on with Samwell-Smith and distrusted his musical instincts; but mostly it was just that the rest of the group found Clapton rather petty, cold, and humourless, and never felt any real connection to him. Their records still weren't selling, but they were popular enough on the local scene that they were invited to be one of the support acts for the Beatles' run of Christmas shows at the end of 1964, and hung out with the group backstage. Paul McCartney played them a new song he was working on, which didn't have lyrics yet, but which would soon become "Yesterday", but it was another song they heard that would change the group's career. A music publisher named Ronnie Beck turned up backstage with a demo he wanted the Beatles to hear. Obviously, the Beatles weren't interested in hearing any demos -- they were writing so many hits they were giving half of them away to other artists, why would they need someone else's song? But the Yardbirds were looking for a hit, and after listening to the demo, Samwell-Smith was convinced that a hit was what this demo was. The demo was by a Manchester-based songwriter named Graham Gouldman. Gouldman had started his career in a group called the Whirlwinds, who had released one single -- a version of Buddy Holly's "Look at Me" backed with a song called "Baby Not Like You", written by Gouldman's friend Lol Creme: [Excerpt: The Whirlwinds, "Baby Not Like You"] The Whirlwinds had split up by this point, and Gouldman was in the process of forming a new band, the Mockingbirds, which included drummer Kevin Godley. The song on the demo had been intended as the Mockingbirds' first single, but their label had decided instead to go with "That's How (It's Gonna Stay)": [Excerpt: The Mockingbirds, "That's How (It's Gonna Stay)"] So the song, "For Your Love", was free, and Samwell-Smith was insistent -- this was going to be the group's first big hit. The record was a total departure from their blues sound. Gouldman's version had been backed by bongos and acoustic guitar, and Samwell-Smith decided that he would keep the bongo part, and add, not the normal rock band instruments, but harpsichord and bowed double bass: [Excerpt: The Yardbirds, "For Your Love"] The only part of the song where the group's normal electric instrumentation is used is the brief middle-eight, which feels nothing like the rest of the record: [Excerpt: The Yardbirds, "For Your Love"] But on the rest of the record, none of the Yardbirds other than Jim McCarty play -- the verses have Relf on vocals, McCarty on drums, Brian Auger on harpsichord, Ron Prentice on double bass and Denny Piercy on bongos, with Samwell-Smith in the control room producing. Clapton and Dreja only played on the middle eight. The record went to number three, and became the group's first real hit, and it led to an odd experience for Gouldman, as the Mockingbirds were by this time employed as the warm-up act on the BBC's Top of the Pops, which was recorded in Manchester, so Gouldman got to see mobs of excited fans applauding the Yardbirds for performing a song he'd written, while he was completely ignored. Most of the group were excited about their newfound success, but Clapton was not happy. He hadn't signed up to be a member of a pop group -- he wanted to be in a blues band. He made his displeasure about playing on material like "For Your Love" very clear, and right after the recording session he resigned from the group. He was convinced that they would be nothing without him -- after all, wasn't he the undisputed star of the group? -- and he immediately found work with a group that was more suited to his talents, John Mayall's Bluesbreakers. The Bluesbreakers at this point consisted of Mayall on keyboards and vocals, Clapton on guitar, John McVie on bass, and Hughie Flint on drums. For their first single with this lineup, they signed a one-record deal with Immediate Records, a new independent label started by the Rolling Stones' manager Andrew Oldham. That single was produced by Immediate's young staff producer, the session guitarist Jimmy Page: [Excerpt: John Mayall and the Bluesbreakers, "I'm Your Witch Doctor"] The Bluesbreakers had something of a fluid lineup -- shortly after that recording, Clapton left the group to join another group, and was replaced by a guitarist named Peter Green. Then Clapton came back, for the recording of what became known as the "Beano album", because Clapton was in a mood when they took the cover photo, and so read the children's comic the Beano rather than looking at the camera: [Excerpt: John Mayall's Bluesbreakers, "Bernard Jenkins"] Shortly after that, Mayall fired John McVie, who was replaced by Jack Bruce, formerly of the Graham Bond Organisation, but then Bruce left to join Manfred Mann and McVie was rehired. While Clapton was in the Bluesbreakers, he gained a reputation for being the best guitarist in London -- a popular graffito at the time was "Clapton is God" -- and he was at first convinced that without him the Yardbirds would soon collapse. But Clapton had enough self-awareness to know that even though he was very good, there were a handful of guitarists in London who were better than him. One he always acknowledged was Albert Lee, who at the time was playing in Chris Farlowe's backing band but would later become known as arguably the greatest country guitarist of his generation. But another was the man that the Yardbirds got in to replace him. The Yardbirds had originally asked Jimmy Page if he wanted to join the group, and he'd briefly been tempted, but he'd decided that his talents were better used in the studio, especially since he'd just been given the staff job at Immediate. Instead he recommended his friend Jeff Beck. The two had known each other since their teens, and had grown up playing guitar together, and sharing influences as they delved deeper into music. While both men admired the same blues musicians that Clapton did, people like Hubert Sumlin and Buddy Guy, they both had much more eclectic tastes than Clapton -- both loved rockabilly, and admired Scotty Moore and James Burton, and Beck was a huge devotee of Cliff Gallup, the original guitarist from Gene Vincent's Blue Caps. Beck also loved Les Paul and the jazz guitarist Barney Kessel, while Page was trying to incorporate some of the musical ideas of the sitar player Ravi Shankar into his playing. While Page was primarily a session player, Beck was a gigging musician, playing with a group called the Tridents, but as Page rapidly became one of the two first-call session guitarists along with Big Jim Sullivan, he would often recommend his friend for sessions he couldn't make, leading to Beck playing on records like "Dracula's Daughter", which Joe Meek produced for Screaming Lord Sutch and the Savages: [Excerpt: Screaming Lord Sutch and the Savages, "Dracula's Daughter"] While Clapton had a very straightforward tone, Beck was already experimenting with the few effects that were available at the time, like echoes and fuzztone. While there would always be arguments about who was the first to use feedback as a controlled musical sound, Beck is one of those who often gets the credit, and Keith Relf would describe Beck's guitar playing as being almost musique concrete. You can hear the difference on the group's next single. "Heart Full of Soul" was again written by Gouldman, and was originally recorded with a sitar, which would have made it one of the first pop singles to use the instrument. However, they decided to replace the sitar part with Beck playing the same Indian-sounding riff on a heavily-distorted guitar: [Excerpt: The Yardbirds, "Heart Full of Soul"] That made number two in the UK and the top ten in the US, and suddenly the world had a new guitar god, one who was doing things on records that nobody else had been doing. The group's next single was a double A-side, a third song written by Gouldman, "Evil Hearted You", coupled with an original by the group, "Still I'm Sad". Neither track was quite up to the standard of their previous couple of singles, but it still went to number three on the charts. From this point on, the group stopped using Gouldman's songs as singles, preferring to write their own material, but Gouldman had already started providing hits for other groups like the Hollies, for whom he wrote songs like “Bus Stop”: [Excerpt: The Hollies, “Bus Stop”] His group The Mockingbirds had also signed to Immediate Records, who put out their classic pop-psych single “You Stole My Love”: [Excerpt: The Mockingbirds, “You Stole My Love”] We will hear more of Gouldman later. In the Yardbirds, meanwhile, the pressure was starting to tell on Keith. He was a deeply introverted person who didn't have the temperament for stardom, and he was uncomfortable with being recognised on the street. It also didn't help that his dad was also the band's driver and tour manager, which meant he always ended up feeling somewhat inhibited, and he started drinking heavily to try to lose some of those inhibitions. Shortly after the recording of "Evil Hearted You", the group went on their first American tour, though on some dates they were unable to play as Gomelsky had messed up their work permits -- one of several things about Gomelsky's management of the group that irritated them. But they were surprised to find that they were much bigger in the US than in the UK. While the group had only released singles, EPs, and the one live album in the UK, and would only ever put out one UK studio album, they'd recorded enough that they'd already had an album out in the US, a compilation of singles, B-sides, and even a couple of demos, and that had been picked up on by almost every garage band in the country. On one of the US gigs, their opening act, a teenage group called the Spiders, were in trouble. They'd learned every song on that Yardbirds album, and their entire set was made up of covers of that material. They'd gone down well supporting every other major band that came to town, but they had a problem when it came to the Yardbirds. Their singer described what happened next: "We thought about it and we said, 'Look, we're paying tribute to them—let's just do our set.' And so, we opened for the Yardbirds and did all of their songs. We could see them in the back and they were smiling and giving us the thumbs up. And then they got up and just blew us off the stage—because they were the Yardbirds! And we just stood there going, 'Oh…. That's how it's done.' The Yardbirds were one of the best live bands I ever heard and we learned a lot that night." That band, and later that lead singer, both later changed their name to Alice Cooper. The trip to the US also saw a couple of recording sessions. Gomelsky had been annoyed at the bad drum sound the group had got in UK studios, and had loved Sam Phillips' drum sound on the old Sun records, so had decided to get in touch with Phillips and ask him to produce the group. He hadn't had a reply, but the group turned up at Phillips' new studio anyway, knowing that he lived in a flat above the studio. Phillips wasn't in, but eventually turned up at midnight, after a fishing trip, drunk. He wasn't interested in producing some group of British kids, but Gomelsky waved six hundred dollars at him, and he agreed. He produced two tracks for the group. One of those, "Mr. You're a Better Man Than I", was written by Mike Hugg of Manfred Mann and his brother: [Excerpt: The Yardbirds, "Mister, You're a Better Man Than I"] The backing track there was produced by Phillips, but the lead vocal was redone in New York, as Relf was also drunk and wasn't singing well -- something Phillips pointed out, and which devastated Relf, who had grown up on records Phillips produced. Phillips' dismissal of Relf also grated on Beck -- even though Beck wasn't close to Relf, as the two competed for prominence on stage while the rest of the band kept to the backline, Beck had enormous respect for Relf's talents as a frontman, and thought Phillips horribly unprofessional for his dismissive attitude, though the other Yardbirds had happier memories of the session, not least because Phillips caught their live sound better than anyone had. You can hear Relf's drunken incompetence on the other track they recorded at the session, their version of "Train Kept A-Rollin'", the song we covered way back in episode forty-four. Rearranged by Samwell-Smith and Beck, the Yardbirds' version built on the Johnny Burnette recording and turned it into one of the hardest rock tracks ever recorded to that point -- but Relf's drunk, sloppy, vocal was caught on the backing track. He later recut the vocal more competently, with Roy Halee engineering in New York, but the combination of the two vocals gives the track an unusual feel which inspired many future garage bands: [Excerpt: The Yardbirds, "Train Kept A-Rollin'"] On that first US tour, they also recorded a version of Bo Diddley's "I'm a Man" at Chess Studios, where Diddley had recorded his original. Only a few weeks after the end of that tour they were back for a second tour, in support of their second US album, and they returned to Chess to record what many consider their finest original. "Shapes of Things" had been inspired by the bass part on Dave Brubeck's "Pick Up Sticks": [Excerpt: Dave Brubeck Quartet, "Pick Up Sticks"] Samwell-Smith and McCarty had written the music for the song, Relf and Samwell-Smith added lyrics, and Beck experimented with feedback, leading to one of the first psychedelic records to become a big hit, making number three in the UK and number eleven in the US: [Excerpt: The Yardbirds, "Shapes of Things"] That would be the group's last record with Giorgio Gomelsky as credited producer -- although Samwell-Smith had been doing all the actual production work -- as the group were becoming increasingly annoyed at Gomelsky's ideas for promoting them, which included things like making them record songs in Italian so they could take part in an Italian song contest. Gomelsky was also working them so hard that Beck ended up being hospitalised with what has been variously described as meningitis and exhaustion. By the time he was out of the hospital, Gomelsky was fired. His replacement as manager and co-producer was Simon Napier-Bell, a young dilettante and scenester who was best known for co-writing the English language lyrics for Dusty Springfield's "You Don't Have to Say You Love Me": [Excerpt: Dusty Springfield, "You Don't Have to Say You Love Me"] The way Napier-Bell tells the story -- and Napier-Bell is an amusing raconteur, and his volumes of autobiography are enjoyable reads, but one gets the feeling that he will not tell the truth if a lie seems more entertaining -- is that the group chose him because of his promotion of a record he'd produced for a duo called Diane Ferraz and Nicky Scott: [Excerpt: Diane Ferraz and Nicky Scott, "Me and You"] According to Napier-Bell, both Ferraz and Scott were lovers of his, who were causing him problems, and he decided to get rid of the problem by making them both pop stars. As Ferraz was Black and Scott white, Napier-Bell sent photos of them to every DJ and producer in the country, and then when they weren't booked on TV shows or playlisted on the radio, he would accuse the DJs and producers of racism and threaten to go to the newspapers about it. As a result, they ended up on almost every TV show and getting regular radio exposure, though it wasn't enough to make the record a hit. The Yardbirds had been impressed by how much publicity Ferraz and Scott had got, and asked Napier-Bell to manage them. He immediately set about renegotiating their record contract and getting them a twenty-thousand-pound advance -- a fortune in the sixties. He also moved forward with a plan Gomelsky had had of the group putting out solo records, though only Relf ended up doing so. Relf's first solo single was a baroque pop song, "Mr. Zero", written by Bob Lind, who had been a one-hit wonder with "Elusive Butterfly", and produced by Samwell-Smith: [Excerpt: Keith Relf, "Mr. Zero"] Beck, meanwhile, recorded a solo instrumental, intended for his first solo single but not released until nearly a year later. "Beck's Bolero" has Jimmy Page as its credited writer, though Beck claims to be a co-writer, and features Beck and Page on guitars, session pianist Nicky Hopkins, and Keith Moon of the Who on drums. John Entwistle of the Who was meant to play bass, but when he didn't show to the session, Page's friend, session bass player John Paul Jones, was called up: [Excerpt: Jeff Beck, "Beck's Bolero"] The five players were so happy with that recording that they briefly discussed forming a group together, with Moon saying of the idea "That will go down like a lead zeppelin". They all agreed that it wouldn't work and carried on with their respective careers. The group's next single was their first to come from a studio album -- their only UK studio album, variously known as Yardbirds or Roger the Engineer. "Over Under Sideways Down" was largely written in the studio and is credited to all five group members, though Napier-Bell has suggested he came up with the chorus lyrics: [Excerpt: The Yardbirds, "Over Under Sideways Down"] That became the group's fifth top ten single in a row, but it would be their last, because they were about to lose the man who, more than anyone else, had been responsible for their musical direction. The group had been booked to play an upper-class black-tie event, and Relf had turned up drunk. They played three sets, and for the first, Relf started to get freaked out by the fact that the audience were just standing there, not dancing, and started blowing raspberries at them. He got more drunk in the interval, and in the second set he spent an entire song just screaming at the audience that they could copulate with themselves, using a word I'm not allowed to use without this podcast losing its clean rating. They got him offstage and played the rest of the set just doing instrumentals. For the third set, Relf was even more drunk. He came onstage and immediately fell backwards into the drum kit. Only one person in the audience was at all impressed -- Beck's friend Jimmy Page had come along to see the show, and had thought it great anarchic fun. He went backstage to tell them so, and found Samwell-Smith in the middle of quitting the group, having finally had enough. Page, who had turned down the offer to join the group two years earlier, was getting bored of just being a session player and decided that being a pop star seemed more fun. He immediately volunteered himself as the group's new bass player, and we'll see how that played out in a future episode...
This episode is an amazing interview with filmmaker Scott Rosenbaum about his award winning documentary, Sidemen-Long Road to Glory. Scott and I discuss everything from the Kickstarter campaign that got the film off his hard drive and onto the big screens, to what he was working on at the time of the interview. Scott explains the origins of Sidemen while working on his 2009 film The Perfect Age of Rock and Roll and how those 3 legends, Pinetop Perkins, Willie "Big Eyes" Smith, and Hubert Sumlin, came to be the center of his documentary. The film is now available on iTunes and through a variety of retailers including amazon. Follow Scott at his website to stay up to date on all his projects. Visit my sponsor Pure Mountain Coffee and enter coupon taitc and receive 15% off on all orders over $25. Follow my photography at Black Cat Bone Productions on Instagram --- Send in a voice message: https://podcasters.spotify.com/pod/show/artinsidethecraft/message Support this podcast: https://podcasters.spotify.com/pod/show/artinsidethecraft/support
Brian welcomes brand new co-host Jason Johantges. Brian and Jason are joined by their guest Oklahoma native and blues guitarist Shawn Pittman. The guys chat with Shawn about his venture into playing blues, playing with Double Trouble, Hubert Sumlin, and Susan Tedeschi. Shawn also tells us what it's like to open for BB King.
In this episode, Jerrell speaks to professional blues guitar player Gino Matteo. Gino has shared the stage with artists such as B.B. King, John Mayer, Hubert Sumlin, Jonny Lang, Robert Cray, Buddy Guy, and many more. He talks about the experience making music with his wife Jade Bennett, his passion for the blues, and how it has been taken for granted today. Follow the podcast on Instagram: @the440guitarpodcast | Twitter: @the440podcast | FaceBook: @the440guitarpodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Gary Clark Jr. tries not to put too much pressure on himself. That's not surprising since outside forces seem to put a lot of pressure on Gary, with guys like Eric Clapton asking him to go on tour and outlets like Rolling Stone calling him The Chosen One. The truth is, Gary was just a kid who wanted to be an R&B singer and taught himself how to play guitar. He tells Marc what he learned about the guitar from watching Stevie Ray and Jimmie Vaughan, playing with Hubert Sumlin , and listening to Tito Jackson. Yes, Tito Jackson. Somewhere along the way, Gary made the shift from doing covers of the blues to tapping into it on his own. This episode is sponsored by Vice Live, Squarespace, and Care/of. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.
Show 27 – Recorded 2-10-19. This podcast provides 13 performances of blues songs performed by 12 blues artists or groups whose tremendous talent is highlighted here. Performances range from the 1929 up to 2018. These blues artists are: Hubert Sumlin, Jimmy Reed, Etta James, Luther “Guitar Junior” Johnson, Muddy Waters, John Primer, Howlin Wolf, Johnny […]
Show 24 – Recorded 1-13-19. This podcast provides 12 performances of blues songs performed by 12 blues artists or groups whose tremendous talent is highlighted here. Performances range from the 1962 up to 2017. These blues artists are: Taj Mahal and Keb Mo, Drink Small, KoKo Taylor, Big Joe Williams, Hubert Sumlin, Hezekiah and The […]
Show 8 – Recorded 7-22-18 This podcast provides 7 performances of blues songs performed by 7 artists ranging from the 1930's up to the early 2000's. Blues artists are: Elmore James, Son House, David “Honey Boy” Edwards, Bill Howl N Madd Perry, Hubert Sumlin, T-Model Ford, Pine Top Perkins . This podcast is a live […]
While Habitat for Humanity rehabs a house next door to The Little Blue House on the Wetlands, we spend an hour building a solid blues structure. Hubert Sumlin, Jimmy Burns, Mark Robinson, Slim Harpo, and Bob Corritore lay the foundation upon which we build another hour of the finest blues you've never heard - the 295th Roadhouse.
We're in a festive mood in the 280th Roadhouse. I took the show on the road this week to the 26th annual IH Mississippi Valley Blues Festival in Davenport, IA. Tight to the banks of the Mississippi, it's one of the longest-running and most well-respected festivals in the country. Bernard Allison, Ana Popovic, Billy Branch, Hubert Sumlin, and Legendary Rhythm & Blues Revue fill the 280th Roadhouse with festival music. It's blues you've probably heard, but it's still an hour of undoubtedly fine music - the 280th Roadhouse.
Painted with a variety of brushes, the 236th Roadhouse is a blues free-for-all without the usual sub-theme. Hubert Sumlin, Tommy Castro, Professor Longhair, Omar Kent Dykes, and Marcia Ball provide the basic palette from which the different shakes of blues take shape in this edition. They fill the canvas with a solid hour of the finest blues you've never heard.
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