Archive for the ‘Blues’ Category
Mark Twang says check out John Lee Hooker at Live in 1965 At the American Folk Blues Festival. There is a excellent 4 DVD set that was released not long ago with other Great Chess Records Artists, such as Buddy Guy, Muddy Waters, Memphis Slim, Sonny Boy, Little Walter, Holwin Holf with a young Hubert Sumlin, and many more, it is awesome. The stuff was shot in Europe and one DVD was made in England and the quality and performances are great.
Blues Legends Diaporama Soundtrack: “As The Years Go Passing By” Albert King & Rory Gallagher – Montreux 1975 158 Blues Artists. William Christopher Handy,Gus Cannon,Mamie Smith, Jim Jackson,Ma Rainey,Frank Stokes,LeadBelly, Charley Patton,Mississippi John Hurt,Blind Blake, Blind Lemon Jefferson,Furry Lewis,Lonnie Johnson, Bessie Smith,Mance Lipscomb,Tommy Johnson, Reverend Gary Davis,Memphis Minnie, Blind Willie Johnson,Big Bill Broonzy,Sippie Wallace, Rice Miller,Blind Willie Mc Tell …
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Played in France in 1980. It’s the same concert as “off the handle” is played 
Enjoy.
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delta blues music … Robert Johnson Crossroad Blues Delta girl models ar
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Eric gives us a fine version of this Otis Rush classic from an abandoned documentary ‘Nothin’ But The Blues’ by Martin Scorsese.
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In 2004 they opened a great BLUES club called Coco Blues in Koh Samui, Thailand
It was great!
They had a real good house band and also started to book and bring great bands in from the U.S. Blues circuit, bands like Jackie Pane who brought his own backup band.
They also put on some great music festivals each year around the Island.
The second year bringing in such great acts as UB40, Jerry Lee Lewis, The Blues Brothers, Ike Turner, Lonnie Brooks, John Lee Hookers daughter a
No More Coco Blues
nd her awesome band, as well as new acts like Chris King, it was great.
But like all good things it must come to end.
I heard there was a lot of mis-management with funds etc. and all the other rock & roll things that happen to suck money.
It grew and grew and all local expats were happy to go to a decent place that actually built a club with a stage for live blues bands.
Great while it was there but now
we are all left with the BLUES!!
Hopefully someone else will pick up the slack as the place use to be pack and sold out for many years.
We only hope someone else will bring in great blues band, blues guitar, harp, sax music here in Koh Samui and replace the COCO BLUES Bar as Samui needs much more places like this once was!
Keep on playing those Samui Blues!
Memphis blues music is a type of sound that has a very rich history, dating to the early 1900s. Characterized by the songs produced by musicians in the Memphis area like Sleepy John Estes, Frank Stokes, Memphis Minnie and Furry Lewis, it gained popularity and exposure through some medicine shows and vaudeville. Memphis blues music is closely tied to the Memphis night scene, specifically the entertainment district on Beale Street.
Some of the most popular Memphis blues music bands include jug bangs, blues with a guitar base and more recently, electric instruments. The progression of jug band focused Memphis blues music to that with an electrical instrument slant has been an interesting one, to say the lease. When Memphis blues music was first getting popular, the area was economically depressed and many musicians could not afford to buy proper instruments.
Instead of relying on store bought purchases to make Memphis blues music, musicians relied on everyday household things. Items like jugs, harmonicas, washboards, Jews harps, spoons and kazoos were prevalent in Memphis blues music up until the end of World War II.
Following World War II, however, electric instruments became more and more popular among the musicians in the Memphis blues music scene. This is because there was a pretty significant migration of African Americans who were leaving the Mississippi Delta region (as well as other impoverished areas in the south) for larger cities, where there were more jobs and more opportunities. As Memphis was a fairly large urban area, it attracted many of the migrants, including a number of musicians who would go on to shape the Memphis blues music.
As people flooded into the Memphis area, Memphis blues music began to take on a new sound. Musicians like Willie Nix, Ike Turner, Howlin Wolf and B.B. King performed regularly in West Memphis and on Beale Street, finally recording some classic electric blues, rock & roll and rhythm and blues records for labels (Sun Records was popular among many of the better known Memphis blues music players).
Memphis blues music has since then had a huge impact on all different kinds of different genres of music, including rockabillies and rock & rollers (many of which also recorded albums for Sun Records). W.C. Handy, who was cited in the song Walking in Memphis, wrote a song called Memphis Blues in 1912 that was among the first Memphis blues music hit on the charts.
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Blues legend Hubert Sumlin talks about his punishment as a child for getting into some devilment with his father. He reminisces about Howlin’ Wolf, Robert Johnson, Robert Jr. Lockwood and Charley Patton and he gives “Seventh Hour Blues” editor, Anthony Sapienza, a guitar lesson. Featuring “Smokestack Lightnin’” and “Killing Floor”. Filmed by Anthony Sapienza.
The blues is a form of music that can be vocal, instrumental (blues guitar) or both. It uses the ‘blue’ notes which are based on a ‘minor pentatonic’ scale most of the time, otherwise known as the blues scale.
Blues music was derived from the African-American communities in the U.S. out of work songs, spiritual songs, field hollers, chants, shouts and simple ballads that rhymed. A lot of aspects of the blues are indicitive of African influence.
The call-and-response aspect of the music came directly from African roots and there were a lot of lines that would get repeated twice or more. This later evolved into a line repeating twice and then on the third time around there would be an ‘answer line’. You can still find these characteristics of early blues in modern day music, especially hip-hop.
The term ‘The Blues’ refers to the ‘blue devils’ which means down spirits or sadness.
The blues guitar plays a heavy role in blues music as well as modern music. It has influenced Jazz, Rhythm and Blues, Bluegrass and even Rock N’ Roll tremendously.
The original blues of the early 1900′s, otherwise known as “poor man’s blues” was normally associated with hard times, oppression from white folk, cruelty of the police, gambling, economic depression, floods, magic, farming and dry periods. This music was fueled by a lot of heartache and depression. Usually a lost loved one or an overall harsh environment inspired the lyrics and the tone of the blues guitar.
After the world war, you began to see blues songs that were about relationships and ***. Also, humor was added to the mix. Here is a funny example:
“That must be your woman, cause mine don’t look like that…
I said That must be your woman, cause mine don’t look like that…
Have you seen my baby? She’s so big and fat…”
The blues guitar style emerged from the American South’s instruments of the time which were the banjo and the Diddley Bow. This was a home made one stringed instrument that was popular in the early 20th century. Figures such as Robert Johnson, Charley Patton, Son House and Blind Willie McTell were a part of the delta blues style which used a lot of finger picking techniques and slide guitar innovations.
Eventually, after WWII ‘electric blues’ became increasingly popular where the blues guitar was played on electric guitars as were the bass guitars. This was most prevalent in the Chicago area.
Blues music today has become a multi-cultural genre with artists playing Blues in every corner of the world. Texas-born Stevie Ray Vaughan set the music world on fire with his modern combination of Blues and Rock until his untimely death in 1990. Other modern Blues artists making a mark are: Shemekia Copeland, Susan Tedeschi, Robert Cray, Taj Mahal, Charlie Musselwhite, and the North Mississippi Allstars .
The history of blues guitar and poor man’s blues is rich with culture and stories of good times and bad. I could go on for days about the history of the blues guitar but let’s make this part 1 so you don’t fall asleep on me!
Billy gives us a private lesson.
Hear the songs at
Hamilton Canada Blues Blog Cool Fool: Blues Rockin’ the Hammer! (thanks Brother)
December 08, 2006
Gettin’ The Blues In 1963
Gettin’ The Blues In 1963: Something’s Gotta’ Hold On Me! I’d been thinking about it for awhile the early days of blues rock and early electric bands in general in Hamilton starting with my own experience growing up in Hamilton in love with black rock ‘n roll & rockabilly & electric blues & then playing with Son Richard (Richard Newell aka King Biscuit Boy) & the Chessmen from 1963 to 1965…and then I went to the Canal Bank Shuffle blues festival in Thorold, Ontario back in October and ended up seeing Harrison Kennedy backed by an old friend, Keith Lindsay on various keyboards who put me in touch with Russ Carter, the guitar player for The Bishops with which Harry had been front man at one time…and Russ has pictures & stories…& I was in band back then to & one thing leads to another so here I go… If anyone reads this & has access to or know where there are photos, documents & especially music, tapes, 8mm or super* film or better etc. (at the moment I’m looking for material from the late ’50s to the mid-60′s, pre-psychedelia but that will be another chapter & then the next era & so forth…) I’d love to get in touch and talk about adding the material to a “history of Hamilton bands” aspect of this blog…some bands contemporary with The Bishops and the Chessmen I remember: Freddy & the Goldtones, Doug Holland, The Prophets, The Bucks (I have vinyl by the Bucks! they practiced in a basement on East 26th Street a couple of blocks over from my house ), Frank Rondell, Nicky Moore & The Sceptres…but there were lots more… To give you an idea where I’m comin’ from here are some early band photos I somehow still have…and a couple of the tunes from a tape Richard made in 1963 at the Sportsmen’s Bowling Alley & lounge on the side of the escarpment in central Hamilton off Wentworth Street south…Richard, vocals & harp, Ron Copple, steel guitar, Rick Golka, lead guitar, Russell Carter guitar (understudying Rick on lead to take over at the next gig as Rick was leaving to play full time on the Ontario bar circuit with Frank Rondell with whom he eventually cut a few 45′s), Richie Hodgson, drums, Paul Cronkwright piano and myself on bass…playin’ the blues for me starts in 1963. We played all over the city, there were dances everywhere…we rehearsed in a Fish ‘n Chip Shop run by Ron Copple’s parents at Brucedale & East 13th right to next to a fav teen hangout, The Rocket, a combo variety store soda shop with a great juke box…let the joint jump, let the good times roll! 
From the
THE FUTURE IS BRIGHT FOR THE GREAT SOUTHERN BLUES & ROCKABILLY FESTIVAL Australia- The Great Southern Blues & Rockabilly Festival is one of New South Wales' favourite music festivals, and its growth over its first 14 years has been significant. Today, Festival Director Neil Mumme from Instep Management Group announced an exciting new chapter in the event's history. Leading Australian promoter Michael Chugg and the team at Chugg Entertainment will come on board as partners in 2010, working with Neil Mumme to ensure the continued growth of this great event including movement to a new site, which will bring great potential for the expansion of the festival. For the past 12 months, Neil and his team have been reviewing every aspect of the festival and exploring the best way forward for the event. Chugg Entertainment became a clear choice as a business partner due to their many years of touring international artists, and experience in producing some of Australia's greatest music festivals and special events. Chugg Entertainment will work closely with Neil Mumme and the team of people who have worked tirelessly to build the festival, to ensure its ongoing viability and most of all, to ensure that this festival continues to meet, and exceed the expectations of it's many loyal fans. The event will continue to be held on the October Labour Day weekend but will have a new home in Bateman's Bay from 2010. Neil Mumme commented, "It has been a very tough decision to move to a new site. Whilst we have always valued the ongoing support of the Narooma community, after 14 years we had to make a commercial decision to secure the future of the event. We are thrilled to have Chuggi and his team onboard and their commitment to throw their weight behind the festival to take it to the next level. "We have outgrown Narooma due to lack of accommodation and with the ever increasing number of patrons looking to attend the festival the decision to move to an area with more facilities is necessary. We want to keep it in the Eurobodalla, and therefore Batemans Bay was the natural solution," said Mumme. Executive Chairman of Chugg Entertainment, Michael Chugg, said, "Neil has created a fantastic festival and we are thrilled to be working with him and his team to continue to build on the foundations of the event, and continue to give the audience a great experience, that will always be our first priority. I am also excited to be working with the local Batemans Bay community to ensure great outcomes for the region." Mr Mumme added, "I'd like to thank everyone in Narooma who has supported the event for so many years, and whilst I am sad to see it leave it's current home, I'm truly excited about the future of the festival. Stay tuned for some exciting announcements next year!" Further announcements regarding the 2010 Great Southern Blues and Rockabilly Festival will be made in early 2010.