Tell Me - Joe Louis Walker

Joe Louis Walker, also known as JLW (born December 25, 1949) is an American musician, best known as a electric blues guitarist, singer, songwriter and producer. A feature of his work is his recourse to older material or playing styles, which revealed his knowledge of blues history. Joe Louis Walker was born in San Francisco, California, United States. He came from a musical family, amidst the early influences of T-Bone Walker, B.B. King, Meade Lux Lewis, Amos Milburn, and Pete Johnson. Walker first picked up the guitar at the age of eight, and became a known quantity within the Bay Area music scene by the age of 16. While publicly performing through his teens, he soaked up many influences (especially vocalists such as Wilson Pickett, James Brown, Bobby Womack and Otis Redding). Over these early years, Walker's musical pupilage saw him playing with John Lee Hooker, J.J. Malone, Buddy Miles, Otis Rush, Thelonious Monk, The Soul Stirrers, Willie Dixon, Charlie Musselwhite, Steve Miller, Nick Lowe, John Mayall, Earl Hooker, Muddy Waters, and Jimi Hendrix. By 1968, he had forged a friendship with Mike Bloomfield; they were roommates for many years until Bloomfield's untimely death. This event was the catalyst that placed Walker into a lifestyle change. He left the world of the blues and enrolled himself at San Francisco State University, achieving a degree in Music and English. Throughout this time, Walker was regularly performing with The Spiritual Corinthians Gospel Quartet. After a 1985 performance at the New Orleans Jazz & Heritage Festival, he was inspired to return to his blues roots whereupon he formed the "Bosstalkers" and signed to the HighTone label. Under the auspices of Bruce Bromberg and Dennis Walker, his debut album, Cold Is The Night was released in 1986. He began a worldwide touring schedule, delivering a four more releases in succession for HighTone (The Gift (1988), Blue Soul (1989), Live At Slims Vol 1 (1991), and Live At Slims Volume 2 (1992). After the long partnership with HighTone, Walker was signed by Polygram to their Verve/Gitanes record label. His first of many Polygram releases ensued with Blues Survivor in 1993. This marked the beginning of an eclectic era that merged many of his gospel, jazz, soul, funk and rock influences with his trademark blues sensibilities. 1993 also saw the release of B.B. King's Grammy Award-winning Blues Summit album, which featured a duet with Walker (a Walker original, "Everybody's Had the Blues"). This was followed up by a live DVD release, featuring another duet with Walker (a rendition of "T-Bone Shuffle"). JLW was released in 1994, featuring guests such as James Cotton, Branford Marsalis, and the Tower Of Power horn section. During this period, Walker's touring schedule saw many re-appearances at the world's music festivals (North Sea Jazz, Montreaux, Glastonbury, San Francisco, Russian River Jazz, Monterey, New Orleans Jazz & Heritage, Byron Bay, Australia, Notodden, Lucerne, and at the Beacon Theatre in New York). Walker also spent years covering all the major western television networks (Conan O'Brien, Imus, Jools Holland UK, inauguration for George W. Bush, inducting B.B. King for President Bill Clinton and Hillary Rodham Clinton into the Kennedy Centre Honors, Ohne Filter, Germany, Rock and Roll Hall Of Fame) as well as numerous worldwide TV networks. Blues Of The Month Club was released in 1995, and was the first of three Walker albums that were co-produced with Steve Cropper. This was followed up by the release of Great Guitars in 1997. Walker's guest musicians on this release, included Bonnie Raitt, Buddy Guy, Taj Mahal, Clarence "Gatemouth" Brown, Otis Rush, Scotty Moore, Robert Lockwood, Jr., Matt "Guitar" Murphy, Steve Cropper, Tower Of Power, and Ike Turner. Also in 1996, Walker played guitar on James Cotton's, Deep in the Blues, a Grammy Award winner for "Best Traditional Blues Album". In addition, Walker won his third Blues Music Award for Band of the Year (1996) which was preceded by two similar awards for "Contemporary Male Artist of the Year" (1988 and 1991). Walker also won the 1995 Bammy (Bay Area Music Award) for "Blues Musician of the Year". He then released Preacher and the President in 1998 and Silvertone Blues in 1999 (his sixth album for Polygram). This sequence continued with In The Morning (Telarc 2002), Pasa Tiempo (Evidence 2002), Guitar Brothers (JSP 2002), She's My Money Maker (JSP 2003), Ridin' High (Hightone 2003), New Direction (Provogue 2004) and Playin' Dirty (JSP 2006). In 2002, he featured on the Bo Diddley tribute album, Hey Bo Diddley - A Tribute!, performing the song "Who Do You Love". In March 2008, Walker signed to Stony Plain Records, and recorded his first album for the label in April (produced by Duke Robillard). This album featured guest appearances by Robillard and Todd Sharpville, and was released in September 2008. His second album for the label was released in September 2009 entitled, Between A Rock and The Blues. This album featured Kevin Eubanks as a special guest, best known for his work as the musical director for The Tonight Show with Jay Leno. This album has garnered five nominations in the 2010 Blues Music Awards. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Medium Shuffle - Henry Vestine & the BluzCrafterz

Henry Charles Vestine (December 25, 1944 – October 20, 1997)[1] a.k.a. "The Sunflower", was an American guitar player known mainly as a member of the band Canned Heat. He was with the group from its start in 1966 to July 1969. In later years he played in local bands but occasionally returned to Canned Heat for a few tours and recordings. In 2003 Vestine was ranked 77th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time" Born in Takoma Park, Maryland, Vestine was the only son of Harry and Lois Vestine. His father was a noted physicist specializing in gravity studies. The Vestine Crater on the Moon had been named posthumously after him. Henry Vestine married twice, first in 1965 and in the mid 1970s to Lisa Lack and with whom he moved to Anderson, South Carolina. In 1980 they had a son, Jesse. In 1983, after they separated, Vestine moved to Oregon. Vestine's love of music and the blues in particular was fostered at an early age when he accompanied his father on canvasses of black neighborhoods for old recordings . Like his father, Henry became an avid collector, eventually coming to own tens of thousands of recordings of blues, hillbilly, country, and Cajun music. At Henry’s urging, his father also used to take him to blues shows at which he and Henry were often the only white people present. Later Henry was instrumental in the "rediscovery" of Skip James and other Delta musicians. In the mid-1950s, Henry and his childhood friend from Takoma Park, John Fahey began to learn how to play guitar and sang a mixed bag of pop, hillbilly, and country music, particularly Hank Williams. Soon after the family moved to California, Henry Vestine joined his first junior high band Hial King and the Newports. On his first acid trip with a close musician friend, he went to an East LA tattoo parlor and got the first of what was to be numerous tattoos: the words "Living The Blues". Later, in 1969, that became the title of a double album by Canned Heat. By the time he was seventeen he was a regular on the Los Angeles club circuit. He became a familiar sight at many black clubs, where he often brought musician friends to turn them on to the blues. Henry became friends with Cajun guitarist Jerry McGhee. It was from him that Henry learned the flat pick and 3-fingerstyle that was to become so much a part of Henry’s own style. He was an early fan of Roy Buchanan and his favorite guitar players included T-Bone Walker, Johnny "Guitar" Watson, Sonny Sharrock, Freddie King, and Albert Collins. In Canned Heat he was able to play and record with John Lee Hooker whom he had admired since the late 1950s. Throughout the early to mid 1960s Henry played in various musical configurations and eventually was hired by Frank Zappa for the original Mothers of Invention in 1965.[3] Vestine was in the Mothers for only a few months and left before they recorded their debut album. His friend Fahey was to be instrumental in the formation of Canned Heat. He had introduced Al Wilson, whom he knew from Boston, to Henry and Bob and Richard Hite. Wilson, Vestine and the Hite brothers formed a jug band that rehearsed at Don Brown’s Jazz Man record Shop. Bob Hite and Alan Wilson started Canned Heat with Kenny Edwards as a second guitarist, but Henry was asked to join. The first notable appearance of the band was the following year when they played at the Monterey Pop Festival. Shortly after Canned Heat’s first album was released, Henry burst into musical prominence as a guitarist who stretched the idiom of the blues with long solos that moved beyond the conventional genres. He had his own style and a trademark piercing treble guitar sound. Vestine missed playing at the Woodstock Festival in 1969, having quit the band the previous week. In 1995, he explained to an Australian reporter that "[a]t the time, it was just another gig. It was too bad I wasn’t there, but I just couldn’t continue with the band at the time." There had some tension between him and bassist Larry Taylor. When Taylor quit Canned Heat, Vestine returned; their alternating membership in the band was to be repeated a few more times over the years. While Canned Heat played at Woodstock in August 1969, Henry was invited to New York City for session work with avant-garde jazz great Albert Ayler . That session work resulted in two releases on the Impulse label. At the same time he developed an intense interest in Harley Davidson motorcycles. He eventually owned eleven of them. Prior to his death he was looking forward to playing at their 75th Anniversary Celebration. Over the years he had also a close relationship with the Hells Angels. Through the 1970s gradually Canned Heat had become a part time occupation with occasional gigs and recordings sessions. When Vestine's marriage broke up in 1983, he moved to Oregon. There he lived on a farm in rural Blodgett for a year and then in Corvallis, making a living doing odd jobs and playing music at rodeos and taverns in a country band with Mike Rosso, an old friend from southern California who had also moved to Oregon. He also played with Ramblin' Rex. Terry Robb brought Vestine to Portland and they did some recording together. Henry began playing with the Pete Carnes Blues Band and made his way to Eugene when the band folded in the mid 1980s. He played the regional club scene with a number of blues and blues-rock groups including James T. and The Tough. From that band he was to bring James Thornbury to a reconstituted Canned Heat. Vestine toured with Canned Heat in Australia[4] and Europe, where the band had a popularity that far surpassed the recognition they got in the United States. When he returned to Eugene he would play with The Vipers, a group of veteran Eugene blues musicians who perform throughout the Northwest. He continued to record including sessions with Oregon bands such as Skip Jones and The Rent Party Band, Terry Robb, and The Vipers. He also recorded the album Guitar Gangster with Evan Johns in Austin. Vestine had finished a European tour with Canned Heat when he died from heart and respiratory failure, in a Paris hotel on the morning of October 20, 1997,[6] just as the band was to return to the United States. Henry Vestine's ashes are interred at the Oak Hill Cemetery outside of Eugene, Oregon. A memorial fund has been set up in his name. The fund will be used for maintenance of his resting place at Oak Hill Cemetery and, when it is possible, for conveyance of some of his ashes to the Vestine Crater on the moon, as has been his wish If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Don't Leave Me Baby - Rabon Tarrant with T Bone Walker

Recorded: Los Angeles, September 30, 1946 T-Bone Walker (vcl) (g) Joe „Red" Kelly (tp), Jack McVea (ts), Tommy „Crow" Kahn (p), Frank Clarke (b), Rabon Tarrant (d) A "y" in this drummer and bandleader's first name seems to be optional as far as credits are concerned, not something that could be said for the magical backbeat Rabon Tarrant glued onto the rhythmic pages of many a Jack McVea side. Tarrant also wrote songs, staying so solidly in the jump blues genre that the song titles themselves even seem to have the blues, be it the "Lonesome Blues," the "Naggin' Woman Blues," or even just the plain old "Slowly Going Crazy Blues." Tarrant began playing drums for an uncle who ran a brass band in Wichita Falls, KS. His professional drumming career began with a bandleader who played the banjo, Otis Stafford. That was in the mid-'20s, and by 1927 he had shifted his rhythm section allegiance to the sometimes stormy, sometimes breezy Roy McCloud. Lafayette Thompson's Golden Dragon Orchestra may sound like a group that would stay put inside a Chinese restaurant, but actually provided Tarrant with work in both Colorado and Texas in the late '20s and early '30s. During the latter decade this drummer continued popping up in various parts of the country. In 1936 he worked with Edith Turnham's Orchestra, based out of San Diego, following a period roaming on the other side of the Rockies with Bert Johnson's Sharps and Flats -- an ensemble that can certainly be said to have been named accidentally. The California presence continued in 1940 as the drummer ascended onto the throne of a Hollywood big-band attraction, Cee Pee Johnson's Orchestra. A long tenure with the hipster McVea was next, ending only when Tarrant cooked up his own combo in the early '50s, a group that remained active performing for nearly two decades. Tarrant's discography largely documents his relationship with McVea, the importance extending well beyond the accepted supremacy of a drummer in a blues group. Tarrant not only brought in his original songs but was allowed to sing them as well, a distinct and powerful feature of the McVea presentation. There are about 100 songs recorded by McVea; Tarrant is the singer on about a third of these. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Soon One Morning - Boyd Rivers & Ruth May Rivers

"Soon One Morning," performed by Boyd Rivers (b December 25, 1934 in Pickins, Mississippi) and his wife Ruth May, followed by brief talk on Boyd's cousin Cleophus Robinson. Shot by Alan Lomax, John Bishop, and Worth Long, August 30, 1978, at the Rivers' home in Canton, Mississippi. For more information about the American Patchwork filmwork, Alan Lomax, and his collections, visit http://culturalequity.org If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band! See Discography

Hey Joe - Jimi Hendrix, Noel Redding, Mitch Mitchell

Noel Redding (25 December 1945 – 11 May 2003) was an English rock bassist and guitarist best known for his work as bassist with The Jimi Hendrix Experience. Born as David Noel Redding in Folkestone, he was selected by Chas Chandler to join Hendrix's band at its inception in 1966 and left in 1969. Although he played in other bands before, after, and even during his stint with the Experience, he never achieved a similar level of success and retired to Clonakilty, Ireland in 1972. At age nine, Redding played violin at school and then mandolin and guitar. His first public appearances were at the Hythe Youth Club then at Harvey Grammar School where he was a student. His first local bands, in which he played lead guitar, were: The Strangers: with John "Andy" Andrews (bass) The Lonely Ones: 1961 - John Andrews (bass) Bob Hiscocks (rhythm guitar); Mick Wibley (drums); Pete Kircher (vocals and in '62. drums). The Lonely Ones made a privately pressed EP at the Hayton Manor Studio in Stanford, Kent, in 1963, with Derek Knight on vocals, Trevor Sutton on drums, Noel Redding on lead guitar and John Andrews on bass. First recordings: "Some Other Guy"; "Money"; "Talking About You"; "Anna". The Loving Kind: 1966 with Pete (Kircher) Carter (drums); Jim Leverton (bass); and Derek Knight (vocals). At 17 Redding went professional and toured clubs in Scotland and Germany with Neil Landon and the Burnettes (formed in late 1962) and The Loving Kind (formed in November 1965). In addition, The Lonely Ones reunited in September 1964, and Redding remained with them a year before taking his leave. Redding switched from guitar to bass on joining the Jimi Hendrix Experience. He was the first person to join the Experience, and the first to leave. His final concert with them was in June 1969. With the band, he helped create the 3 landmark albums Are You Experienced, Axis: Bold as Love, and Electric Ladyland, as well as performing in some of Hendrix's most celebrated concerts. His playing style was distinguished by the use of a pick, a mid-range "trebly" sound, and in later years the use of fuzz and distortion effects through overdriven Sunn amps. His role in the band was that of a time-keeper. He would typically lay down a bass groove which Hendrix and drummer Mitch Mitchell would loosely play on top of. He wrote two album tracks, "Little Miss Strange" and "She's So Fine". He played the bass line on "Red House" using the bass strings on a normal six-string guitar. In 1968, Redding formed the group Fat Mattress with another Kent musician, Neil Landon (born as Patrick Cahill, 27 July 1941, Kindford, Sussex), on vocals. The band also included Jim Leverton (born 1946, Dover, Kent) on bass and keyboards and Eric Dillon (born 1950, Swindon) on drums. Redding played guitar and vocals, and a key part of the Fat Mattress sound was the vocal harmonies between him, Landon, and Leverton. The band initially toured in support of the Jimi Hendrix Experience, requiring Redding to play two full sets each night. He left Fat Mattress after only one album with them, though some of his compositions would appear on their second album Hendrix's manager, Michael Jeffery, attempted to reunite the Jimi Hendrix Experience months after the Woodstock event. The three were interviewed by Rolling Stone magazine, but no shows or recordings resulted. Redding soon went on to other projects. While living in Los Angeles he formed Road, a three-piece in the same psychedelic hard rock vein as the Experience, with Rod Richards (born as Rod Cox; ex Rare Earth) on guitar and Les Sampson on drums, and Redding himself switching back to bass. They released one album, Road (1972), with the three members taking turns on lead vocals. Noel Redding moved to Ireland in 1972. He formed The Noel Redding Band with Eric Bell from Thin Lizzy, Dave Clarke, Les Sampson, and Robbie Walsh. Despite the band's name, Redding shared songwriting and lead vocal duties equally with Clarke. They did two albums for RCA, three tours of the Netherlands, two tours of England, one tour of Ireland, and a 10 week tour in the US. The band dissolved after a dispute with their management company. Tracks recorded for a third unreleased album were later released as The Missing Album on Mouse Records. In his book Are You Experienced? (co-authored with Carol Appleby) he spoke openly about his disappointment in his being cut off from the profits of the continued sale of the Hendrix recordings. He was forced to sign away his royalties in 1974 and later had to sell the bass guitar he used during that time. Redding had received $100,000 (equivalent to about $471,255 in today's funds) as a one-off payment after he had been told that there would be no more releases of Jimi Hendrix Experience material. (This was before the advent of CDs and DVDs.) Right up until his death, Redding had been planning legal action against the Hendrix estate for payment estimated at £3.26 million for his part in Hendrix's recording and for ongoing royalties. Redding was married to Danish schoolteacher Susanne Redding. Redding recorded and toured sporadically through the years, occasionally doing session work for other artists, including Thin Lizzy and Traffic. He performed with the rock band Phish in 1993. He also formed Shut Up Frank with Dave Clarke, Mick Avory of The Kinks and Dave Rowberry of The Animals. They toured extensively and recorded several albums. Redding was found dead in his home in Clonakilty on 11 May 2003. A post mortem was carried out on 13 May at Cork University Hospital in Wilton, Cork. The report concluded that Redding died from "shock haemorrhage due to oesophageal varices in reaction to cirrhosis of the liver". He was 57 years old. In the village of Ardfield, local people erected a plaque to his memory. A compilation CD and record entitled The Experience Sessions was released by Experience Hendrix, LLC in 2004. Along with the released tracks ("She's So Fine" and "Little Miss Strange") the collection contains rare and unreleased Redding-penned songs recorded by The Jimi Hendrix Experience. Most of the tracks are outtakes from Axis: Bold As Love and Electric Ladyland, and feature Redding predominantly on guitar (with Hendrix on bass). It also features a live version of Hendrix's "Red House" with Redding on rhythm guitar. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

You Know I've Tried - McKinley Mitchell

McKinley Mitchell (December 25, 1934 – January 18, 1986) was an American Chicago-based soul-blues and rhythm and blues singer, who started out performing gospel music. He reor His first recorded single was for Boxer Records around 1959. His big break came with his 1962 record, "The Town I Live In," which became a national r&b hit on the One-der-ful label in Chicago. "The Town I Live In" peaked at number eight on the US Billboard R&B chart. In his later career Mitchell returned to Mississippi and recorded "I Won't Be Back for More" in 1984. He was born in Jackson, Mississippi, and died in Chicago Heights, Illinois, from a heart attack in January 1986, at the age of 51 If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

I Don't Want To Lose You - Steve Mancha

Clyde Wilson - Steve Mancha On Christmas Day 1945 in Walhall, South Carolina a musical legend was born. Clyde Darnell Wilson, or as all collectors and lovers of Detroit soul music know him ... Steve Mancha. Clyde moved to Detroit at the age of five years old and by 1960 he was already singing locally around the Detroit area when he met another future Detroit icon, Melvin Davis. Melvin Davis was already recording for Jack and Devora Brown's Fortune Records. Around this early time Clyde joined Melvin Davis, David Ruffin and Tony Newton in forming a group called The Jaywalkers. Any info on this group and any records that exist would be gratefully received by Hitsville. Shortly after this Clyde met and became friends with Wilburt Jackson. It was with Wilbur that Clyde formed the duo The Two Friends. They were about to record their first 45 for Harvey Fuqua's HPC label. Join us now as we explore the work of one Detroit's Northern Soul musical heroes ... Mr. STEVE MANCHA The Two Friends cut one single for Harvey Fuqua's HPC label in 1960 "Just Too Much To Hope For" b/w "Family Reunion." Most Motown collectors are probably more familiar with the version of "Too Much to Hope For" cut in 1968 for Motown Records by Tammi Terrell. HPC was a short lived label and Harvey Fuqua went on to form Harvey and TRI- Phi Records with Gwen Gordy. As a duo Clyde and Wilburs days were numbered as Gwen and Harvey put all their promoting energy into another newly formed pairing, Johnny Bristol and Jackey Beavers, who recorded surprisingly enough as Johnny and Jackie! It was through Gwen Gordy that, after struggling with sluggish sales of their labels, that they merged with Berry Gordy's expanding Motown stable. Part of this package deal meant that the artists connected with Harvey and TRI Phi were also brought under contract to Motown. Thus began the 'Motown' years of Two Friends, Johnny and Jackie, Jr Walker and The All-stars, The Detroit Spinners and many more. The Monitors - Number One In Your Heart (V.I.P.) It was in this period that Clyde was allegedly a member of Laurence Faulkon and The Stars and another group Laurence Faulkon and The Sounds. They recorded two records, firstly for MRC Records in 1962 called "I'll Marry You" and a second one on Mike Hank's MAHs label called "My Girlfriend" b/w"Why Should We Hide Our Love." Although it appears that Motown didn't record anything on The Two Friends, Clyde and Wilbur did have a hand in writing some of the songs of the time. A couple of notable songs in which they feature on the credits are "Give A Little Love" - Marvin Gaye and Tammi Terrell and the wonderful upbeat stomper by The Monitors - "Number One In Your Heart" - VIP 25032 Steve Mancha - Did My baby Call (Wheelsville) With Motown concentrating it's efforts on other artists, here ended the relationship between Clyde Wilson and Motown. Clyde looked around for other opportunities and eventually teamed up with yet another legendary Detroit record producer, Don Davis. At this point Don Davis suggested that Clyde change his performing name and Clyde adopted Don Davis' partner Don Mancha's (Yet another legendary Detroit musical figure), surname. Hence Clyde Wilson a.k.a. Steve Mancha found himself recording for Wheelsville Records under the auspicious production talents of Don Davis. Their first work together produced an absolute classic Detroit Soul 45. Steve Mancha - "Did My Baby Call" b/w "Whirlpool" - MW 518 Mad Lads - Did My Baby Call (Volt) The record sold fairly well but not enough to become a hit even locally. The song "Did My Baby Call" was also released on the B side of the magnificent Professionals - "Thats Why I Love You" - Groove City 101. Another version of this fabulous song was also recorded a few years later by The Mad Lads - "Did My Baby Call" b/w "Let Me Repair Your Heart" - Volt 4080. The version by Steve Mancha is probably Steve's finest moment and is typical of Don Davis' production work of that period. A Trio of Mancha inspired singles In the same year Steve switched to the newly formed GrooVesville Record label and released the brilliant ballad "Youre Still In My Heart" b/w "She's so good" - GV 1001. The A side of this record is the epitome of a Detroit soulful 'beat ballad', haunting vocals mixed in with brilliant backing group. This really does it for me. The strong drum/piano led, almost midtempo track is filled with ghost like supporting voices that were to become a signature of the GrooVesville set up in the mid to late 60's. Steve's voice is fully matured now and when paired with Mr. Davis' production they became an extremely tight knit musical team. The flip side is almost equally good and produces much of the same. A tremendous double sided record. Steve Mancha - I Don't Want To Loose You (GrooVesville) The next release on GrooVesville in 1966 was the great "I Don't Want To Lose You" b/w "I Need To Be Needed" - GV 1002. This track made the RnB Chart and became a minor hit. Both sides are wonderful Detroit soul, but "I need To Be Needed" is, for me, the better side. A wonderful production with a string section probably called on from The Detroit Symphony Orchestra. Again the backing vocals are stunning, and Steve, at his best, noticeably straining vocally, every ounce of his body as he claims he needs to be needed. If you haven't heard this side, then you're in for a real treat. It was this year that Steve took a brief respite from singing solo and joined up with Eddie Anderson, JJ Barnes and Edwin Starr to form The Holidays. The group immediately cut the incredible "I'll Love You Forever" for Ed Wingate's Golden World label. The other side of this 45 (GW 36) is the uptempo instrumental "Making Up Time" and can be heard on the website under the 'Golden World Article'. The lead on this 45 is taken by Edwin Starr and the record became an RnB hit and went some way to establishing The Holidays name as a group. A Trio of Mancha singles As the members of The Holidays continued their solo careers, Steve returned to his solo recordings with GrooVesville. His next release was "Friday Night" b/w "Monday Through Thursday" - GV 1004. This was probably Steve's most uptempo record up to date, both sides being basically the same track with different but similar lyrics on each side. Thus the flip side is almost a Part 2 of the A side. Again a wonderful production with one of the best brass sections you will hear on a record, and the drum rolls are awesome. A point of note is that the dynamic duo of Popcorn Wylie and Tony Hester are credited on the A side, whilst their names are nowhere to be seen on the B Side! Ah, the wonders of sixites Detriot Soul eh? A further point of interest is that the song was also produced by Don Davis with Johnny Taylor and released on the Stax label. Although this is a great version, it is considerably funkier and I feel it has lost that 'Detroit Sound', in fact I know a few people who would swear it's a different record! 1967 saw the release of two more records on GrooVesville. First up was "Don't Make Me a Story Teller" b/w "I Wont Love You And Leave You" - GV1005. "Story Teller" is a lovely ballad in a simlar vein to "I dont Want To Lose You." It was covered by that legendary Chicago outfit The Dells in the early 70s and that too is a wonderful record. Another Trio of Mancha singles The second release of 1967 was "Just Keep On Loving Me" b/w "Sweet Baby Dont Ever Be Untrue" GV 1007. The A side, although a dancer, is one of Steves recordings that has never really taken off in the clubs (it also failed to chart). There are at least two more versions of "Just Keep on Loving Me" one by King Bee And The Sensations and one featured here by Lee Jennings on Star Track Records. This song really does deserve more turntable action. The Steve Mancha version just shades the others but all three are quality examples of the eras best soul records. 1969 saw Steve's career switch to a different label Groove City. Different label, same people and set up. The first single released by Steve on this label was "A Love Like Yours" b/w "Hate Yourself In The Morning" - GC 204. Written by Steve (under his real name and Don Davis), this song ("Hate Yourself In The Morning"), especially Steves rendition is a powerhouse of mid-tempo Detroit Soul at its very best. The credits on the label alone would be enough to get the soul fans attention. A GrooVesville production, it features Steve on the production credits. Maybe Steve felt it was time to put the lessons learned from his mentor Don Davis to the test. The result is a stunning vocal peformance interloping with a fantastic bass and drum led mid-tempo beat that uses the signature vibes so loved by soul fans everywhere. This is not the only Groove City record by Steve to be a sought after item. In my opinion the best was yet to come. The group known as The Holidays (this time minus Edwin Starr), went into the studio and recorded one of the greatest double siders of all time. The record was "Easy Living" b/w "I Lost You" - Groove City 206. "Easy Living" is one of the best mid-tempo records you will ever hear, the production, by a certain Jack Ashford (who also appears on the writing credits, along with Bobbie C. Croft), is awesome, as you would expect from a member of the legendary Pied Piper Production Team. The song contains a beautiful string arrangement that is reminiscent of Paul Riser's similar work at Motown. Steve's lead vocal is great foil to the skills of all involved. A great record in all departments. Groove City 45's The flipside, "I Lost You," is also a song written and produced by a Detroit icon, Tony Hestor. Although Mr Hestor is probably best known as half the duo of Wylie/Hestor because of their prolific output of sheer quality records. Tony Hestor was a superb songwriter, producer and artist in his own right, as this awesome song showcases. Although credited to The Holidays, this is 100% Mancha, and Mancha at his very best! The deep bass and powerful drum intro just makes your ears prick up as you know from the opening refrains that this is something special. Steves vocal just about drips with passion that only the 'Real Deal' soul-singers can get away with. A mid-tempo dancer it's a masterpiece of mid-sixities Detroit soul music. It is this side that is popular with the Northern Soul dance floors and the record comes under the 'Hard To Find' category with copies changing hands for large sums of money. The next couple of records we take a look at from Steve in this first part of his musical journey never saw a release at the time they were recorded. Long time collector and Detroit soul fan Martin Koppell gained access to the Solid Hitbound/GrooVesville masters and whilst working on the material came across a number of unreleased items that found their way to issue on the UK Goldmine's Connoisseur/Sevens labels. All are of quite extraordinary quality and should have a home in every Detroit collectors boxes. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

I Like It Like That - Chris Kenner

Chris Kenner (December 25, 1929 – January 25, 1976) was a New Orleans R&B singer and songwriter, best known for two hit singles in the early 1960s that became staples in the repertoires of many other musicians. Born in the farming community of Kenner, Louisiana, upriver from New Orleans, Kenner sang gospel music with his church choir, and moved to New Orleans in his teens. In 1955 he made his first recordings, for a small label, Baton Records, without success; and in 1957 recorded his "Sick and Tired" for the Imperial Records label; Fats Domino covered it the next year and the song became a hit. "Rocket to the Moon" and "Life Is Just a Struggle," both cut for the Ron Records label, were other notable songs from this period. Moving to another New Orleans label, Instant, he began to work with pianist and arranger Allen Toussaint. In 1961, this collaboration produced "I Like It Like That", his first and biggest hit, peaking at #2 in the Billboard Hot 100 chart (covered in 1965 by The Dave Clark Five) and "Something You Got" (covered by Alvin Robinson, the Ramsey Lewis Trio, Chuck Jackson, Earl Grant, Maxine Brown, Bobby Womack, Fairport Convention and Bruce Springsteen). "I Like It Like That" sold over one million copies, and was awarded a gold disc. In 1962 he produced his most enduring song, "Land of a Thousand Dances," which was recorded by Cannibal & the Headhunters, Thee Midniters, Wilson Pickett, The Action and Patti Smith. Kenner continued to record for Instant and for various other small local labels, including many of his lesser-known songs from the 1960s, such as "My Wife," "Packing Up" and "They Took My Money". He released an album on Atlantic Records in 1966; the Collectors' Choice label reissued the LP, Land of a Thousand Dances, on CD in 2007. In 1968 Kenner was convicted of statutory rape of a minor, and spent three years in Louisiana's Angola prison. Kenner died from a heart attack in 1976, at the age of 46. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

DON'T CHA MESS WITH MY MONEY, MY HONEY - L V JOHNSON

L.V. Johnson (December 25, 1946 – November 22, 1994) was an American Chicago blues and soul-blues guitarist, singer and songwriter. He is best known for his renditions of "Don't Cha Mess With My Money, My Honey Or My Woman" and "Recipe". He worked with The Soul Children, The Bar-Kays and Johnnie Taylor, plus his self penned songs were recorded by Tyrone Davis, Bobby Bland and The Dells. He was the nephew of Elmore James Johnson was born in Chicago, Illinois, and learned his guitar playing from B.B. King. Johnson was originally a session musician employed by Stax Records, and he played on recordings by The Bar-Kays, Johnnie Taylor, and The Soul Children. His songs "Are You Serious" and "True Love Is Hard to Find" were both hit singles for Tyrone Davis, while "Country Love" was recorded by Bobby Bland. The Dells reached the US Billboard charts with their version of Johnson's "Give Your Baby a Standing Ovation". Johnson's association with Tyrone Davis extended to him being Davis' accompanist, until Johnson embarked on a modest solo career in the early 1980s. He then recorded for ICA, Phono, and Ichiban Records, although his style did not garner much commercial success. Up to his early death from undisclosed causes, Johnson was also the part-owner of a steakhouse and nightclub in Chicago. L.V. Johnson died in Chicago in November 1994, at the age of 47. Johnson's track "I Don't Really Care" was sampled by J. Dilla in 2006, and appeared on the track "Airworks" on Dilla's album, Donuts. The same track was sampled by Strong Arm Steady in 2010, and featured on the track "Chittlins & Pepsi" (featuring Planet Asia), on Strong Arm Steady's album, In Search of Stoney Jackson If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Woke Up This Morning - EB Davis

EB Davis was born in 1945 in the Delta town of Elaine, Arkansas and raised in Memphis, Tennessee. In the sixties he moved to New York where he spend many years performing before moving to Germany. mike My first exposure to music was gospel also, because that was the only thing allowed in the home. When I was six or seven years old, I was walking home from school and there was an old guy, Jim Hunt, sitting on his front porch and he was playing a big acoustic guitar. I had never seen a guitar so big and I was amazed at the sound of his guitar, so I just went across the road there to have a look. I had never heard this kind of music before , and the way he was playing and the way he was singing. I was just totally fascinated. I asked my mother what kind of music was he playing and she told me I shouldn’t go back over there anymore. [...] so I started to sneak over there without my family knowing it. I just fell in love with that music. When EB was about fourteen, he left Arkansas and the ‘country-life’ behind and moved to Memphis, which at that time was truly the home of the Blues. top mike In Memphis I lived only for the weekends - hanging out on Beale Street and at the weekly Jam Sessions in Handy Park, listening to all the great bluesmen like Bobby Bland, B.B. King, Junior Parker, Albert King ...! From the masters I learned the main ingredients: Work hard and sound good, entertain and look good. The audience paid their hard earned money to see you. In Memphis, EB met Eugene Goldston. He owned the 521 Club in Booklyn and EB moved to New York to work for him. mike I started working in the club, but not as an entertainer. Later on I started performing there on a regular basis. And when I formed a band in New York (‘The Soulgroovers’), we became the regular house band there. [...] We did a lot of the covers of whatever was popular at the time, a little bit of blues, but mostly soul. A good seventy percent of soul. EB and the ‘Soulgroovers’ soon became one of the most important touring bands of the soul and blues era. Regularly touring with and supporting people like Rufus Thomas, Wilson Pickett, Isaac Hayes, Ray Charles and B.B. King. Members of the band later becoming part of James Brown’s JBs and the Isaac Hayes Movement.After the band break up, EB started singing with ‘The Drifters’ and worked with them in Europe for the first time. top mike I had every intention of going back to New York. But there was a band called ‘The Bayou Blues Band’ and it was a nine piece band and the leader of this band (Wolfgang Ruegner)approached me one night and he said :”How would you like to join our band as the lead vocalist?” And being as they were, such a well-known, well-established band - they were playing all the top houses - I said : ”Of course.” I joined them around 1980 and was with them until ’83,’84. One thing lead to another and from there came the Radio Kings and then ‘The Superband’. EB Davis has more than 19 recordings to his name and can be heard on numerous other recordings as a guest; a career of more than 7000 concerts in more as 60 different countries. He has been invited to give lectures and seminars on the history of the blues and is the only bluesman to appear at the Posnan- (Poland) and Bratislava- (Slovakia) State Opera Houses. He has appeared in five movies to which he contributed songs to the soundtrack including ‘The Innocent’ with Anthony Hopkins and his music has been covered by other artists such as the great Guitar Crusher and Mick Taylor of the Rolling Stones. EB is a yearly hit at many of the major festivals of Europe and America, where he recently played the King Biscuit Blues Festival in Helena, Arkansas. In 2008 EB Davis was inducted into the Blues Hall of fame as an official Blues Ambassador to the state of Arkansas. He was also in 2008 voted by The Deutsche Rock music Verein as the best R&B singer in Europe. In the same year he was invited by The 52-piece Jobst Liebrecht classical orchestra to headline the classical open-air festival in Hellersdorf Germany. If you want to read more about EB look for the Living Blues interview (#147, sept./oct. 1999). If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Filthy McNasty - Ronnie Cuber

If you research back to the George Benson Cookbooks “66” “67” on Columbia, Which have already been released on CD, You'll find a young, early twenties baritone saxophone master. As you listen to this keep in mind that Benson and Cuber had this as a working band. His sound is something amazingly beautiful and vivid. That Benson band,from the day, was a working unit and a marvelous display of an an emerging Ronnie Cuber. As Cuber developed past his early years into a quintessential sideman for people as diverse as, Eddie Palmieri or Aretha Franklin and King Curtis. Nothing had been released under his name until the mid-seventies when he released the recording, Cuber Libre on Xanadu Records with Barry Harris,Sam Jones and Al "Tutti" Heath. At the same time in the early seventies, around 1973 and before, he had been adding one of a kind talents to personal projects with friends such as Mike Manieri's ground breaking White Elephant Band and Bobby Paunetto's Latin Jazz Projects. Cuber, at a point in the seventies was also in the Saturday Night Live band, Backing artists like Frank Zappa ,and playing solos with people like Zappa that to this day are light years ahead of what most people can play. For my ears - Cuber is one of the most soulful musicians ever.Bar none !! Cuber, born December 25, 1941 in Brooklyn, New York, has been composing, arranging and leading his own groups since 1959. He is acknowledged to be one of the greats among baritone saxophonists, with a sound that is an exciting amalgam of straight-ahead jazz, hard bop, soul, R& B, and Latin . In his teens he was chosen to perform in Marshall Brown's Newport Youth Band at the 1959 Newport Jazz Festival. By ' 62 Cuber had recorded with Slide Hampton. He worked and recorded with Maynard Ferguson's band from 1963-1965. After stints with the orchestras of both Lionel Hampton and Woody Herman , Cuber augmented his New York session work by performing and recording with the great Latin bands of Eddie Palmieri, Charlie Palmieri, Mario Bauza. At the same time, Mr. Cuber was playing alongside and recording with R&B legend King Curtis and backing Aretha Franklin.Ronnie holds this association in high regard. He loved his friendship with King also. His killin' solos with Lee Konitz's Nonet from 1977-79 are historic as well as a study in Bari -sax-ology.. During that decade and the 1980s, Mr. Cuber also recorded with Mickey Tucker, Rein De Graaff, and Nick Brignola, and appeared with such artists as Andy and Jerry Gonzalez and vibraphone player Bobby Paunetto. Other leading artists with whom Mr. Cuber has performed include Eric Clapton, Steely Dan, the Eagles, Chaka Khan, Maynard Ferguson, Conrad Herwig, Boz Scaggs, Horace Silver, and Frank Zappa. From the 1990s to the present, Mr. Cuber has performed regularly with the Mingus Big Band and recorded several discs for Steeplechase and Fresh Sound. He created the Baritone Saxophone Band Tribute to Gerry Mulligan, and has spent summers touring with blues artist Dr. John, for whose band he has written numerous large horn section arrangements for tour and television performances. Mr. Cuber's summer 2000 tour found him opening for Dr. John at European jazz festivals with his quartet and his old friend, organist Lonnie Smith. This is someone that has something to offer every listener of all tastes and ranges musically. Cuber is a musicians musician, as well as one of the most gifted players ever. His gift is in his ability to function with somebody like Steve Gadd and then go record with Horace Silver, at the same time do a tour with Eric Clapton. There is not one of his records that contains any half-hearted playing or musical skating. When he plays, it's serious creative business and he tells a story. If you pick up anything under Cuber's name, you're guaranteed a winner. Check him out ! In this day and age, Ronnie is one of the modern day masters, and supreme creators. Do hear him ASAP! This recording, " Ronnie". Released last year on Steeplechase records, is some of the most vivid and personal saxophone playing ever done on a baritone saxophone. This CD is a shining example of Cubers big, beefy baritone sax tone and a fluent technique that is a one of a kind match between the gritty, down-home feeling of R&B and the advanced harmonies of bebop. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Chalk My Toy - Willie "61" Blackwell

Some believe that Willie Blackwell was born around 1898. Another source claims that he was born on December 25, 1905 in LaGrange, TN. He reportedly spent his early years in Memphis. He was originally a piano player, but sometime in the 1920’s he was severely beaten, by friends of another piano player after a talent contest, that caused major damage to his left arm, since he had bested the other contestant. He later picked up and learned how to play guitar, and claimed that he received lessons from Robert Johnson, who he knew from a friendship with Robert Lockwood, Jr. He also stated that he was related to Calvin Frazier. In 1941 he traveled to Chicago, IL. and recorded eight songs for the Bluebird label. In 1942, Alan Lomax recorded two more songs from him for The Library of Congress, this time on a plantation in Arkansas. In 1944 he moved to Detroit, MI. along with Baby Boy Warren, where he landed work in the Chevrolet division of General Motors until he retired. He was rediscovered in Flint, MI. in 1967 with the aid of Dr. Ross. He started playing in public again, sometimes on guitar as well as piano. His last recordings were made for the Adelphi Records label, that were taped at a Memphis blues festival in December, 1971. He is believed to have passed away in 1972. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band! Check out Willie's Discography

HE WON'T BITE ME TWICE / MOVE WITH YOU BABY- BIG AMOS

Big Amos Patton came to music with one of the more extraordinary pedigrees a man could have, as a nephew of Charley Patton himself. Born in 1921 in Sardis, MS, he grew up along with the blues as a recorded medium, and his own style was heavily influenced by that of Rice Miller, aka Sonny Boy Williamson II. He moved to West Memphis, AR, after serving in World War II, mostly working with Joe Willie Wilkins, doing radio shows and playing local juke joints. During the early '60s, Patton started shopping around a song he'd written called "He Won't Bite Me Twice," which he intended to record himself. After turning down the offer of a publishing deal from Stax Records (who apparently wanted the song for Albert King), he ended up at Hi Records for five years, recording intermittently and performing all over his section of the South, and was good enough to rate a spot in one installment of the mid-'60s television soul showcase The !!!! Beat (host/creator Hoss Allen must've loved his work). "He Won't Bite Me Twice" ended up being as close to a signature tune as Patton ever had, but he was never heard from again on record following its inclusion on a Hi anthology album in the mid-'70s If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Hello Little Girl - Ernie Andrews

Ernie Andrews has a raw vitality that communicates instantly, he exudes a "reach 'em by preachin'" energy, influenced by his gospel roots. Born Christmas day in Philadelphia, his early years were spent in his mother's Baptist Church. In his early teens, his family moved to Los Angeles, where he studied drums at Jefferson High School and continued singing. He was discovered by songwriter Joe Greene in 1947, when he won an amateur show at the Lincoln Theatre on Central Avenue in Los Angeles. Greene was so impressed that he immediately took Andrews into the studio to record at age 17. With a 300,000 seller hit, "Soothe Me" with "Wrap It Up And Put It Away" on the flip side, Ernie Andrews became a singer to be reckoned with. In 1953, he had another big record with "Make Me A Present of You" with Benny Carter. By this time, Andrews was working at home and out of town playing clubs, concerts and "after-hours" rooms. In 1959, Andrews joined Harry James' band, touring the U.S. and South America for nine years, which time he considers his most valuable learning experience. In 1967, he recorded the jazz classic "Big City" with Cannonball Adderley on Capital Records. Obviously a fan and admirer, Cannonball Adderley stated, "When it comes down to the real nitty-gritty, there's Ernie Andrews." After the project with Cannonball, Andrews rejoined Harry James in 1968 for one more year before going it alone. In 1969, Baltimore became home base for Andrews, where he worked the East Coast and the Midwest, again scoring big with his hit record of "Bridge Over Troubled Waters." In 1974, he returned to Los Angeles, where he resided with his wife of 50 years, Dolores, who recently passed away, but Ernie continues on, sharing the lives of his five children and grandchildren. Early influences included Ella Fitzgerald, Billy Eckstine, Al Hibbler, Johnny Mercer, Jimmy Rushing and "Big" Joe Turner. Jazz producer Gene Norman said of Andrews, "Ernie is everything an outstanding modern singer should be. His sound and style have been influenced by his predecessors, but he contributes important values . . . uniquely his own." Several years ago Andrews returned to the scene of his prime -- to the Gaiety Club across from the Lincoln Theatre -- as his life was being profiled in an award-winning documentary, available on video, "Ernie Andrews' Blues on Central Avenue," directed by Lois Shelton. Ernie continues to play clubs, concerts and jazz festivals throughout the world, and often performs in Las Vegas. In 1989, he recorded with Gene Harris and the Philip Morris Superband, "Live at Town Hall NYC" for Concord, and subsequently toured with the band for three months covering five continents. Engagements followed in 1991 and 1992 with Ray Brown at the Blue Note. In 1993, 1994 and 1996, he performed in concert at club venues all over the world, including Europe, Asia, Australia, and throughout the United States, Canada and South America. He performed with his own small group at the WBGO Annual New Year's Eve, which was nationally broadcast on National Public Radio. After a two hour stint with his own quartet featuring Aaron Graves on piano, Frank Wes on bass, and Kenny Washington on drums, Ernie then tore the house apart with a big band including the Heath Brothers, led by Jimmy Heath. Los Angeles Times critic Don Heckman said of a recent performance at the Jazz Spot in Los Angeles, "[H]e blends a hard-swinging, outgoing vocal style with a quick-witted sense of humor . . . he does so with a rich timbre, a gift for drama and a singular capacity to stimulate an audience," and "[H]e was a musical whirlwind, bringing life, love, humor and musicality to everything he sang." A four-page discography includes 20+ albums, such as "This Is Ernie Andrews" and "Soul Proprietor," "Travelin' Light" with arrangements by Benny Carter, Gerald Wiggins and John Anderson; "From The Heart," and his recent releases "No Regrets," "The Great City" and "Girl Talk." He is also featured on numerous albums, including "Ellington Is Forever," Volumes I and II with Kenny Burrell; "Juggernaut" and "Juggernaut Strikes Again" with the Capp-Pierce Orchestra; "Paris All-Stars" with Jay McShann; and "You Can Hide Inside the Music" with the Harper Brothers (Verve). Having the ear to improvise and a rich resonant voice, Andrews plays his vocal chords as a musician plays his horn. He must be seen to be fully appreciated. With his special strut, unique mannerisms and a performance that portrays the gamut of emotional experience, he consistently moves audiences to standing ovations. There's only one, and he's the best. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Lonesome Shack - Ernie Washington

Ernie Washington was a R&B piano player with some cool tracks. I couldn't find a lot of info on him but he dies on December 24,1979 in CHULA VISTA, CA. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

I DON'T WANT NO WOMAN - Earnest Johnson with Magic Sam

Earnest Johnson is a bass player known primarily for playing with Muddy Waters and Magic Sam. Johnson died in Chicago on December 24, 1982. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Two BIG Post-Christmas/Pre-New Year's Shows For Tommy Marsh and Bad Dog

Two BIG Post-Christmas/Pre-New Year's Shows                     For Tommy Marsh and Bad Dog This Week!!!                                                                                                                          (Ventura, Calif.) -  Hey SoCal Blues Lovers: Get rid of that Post-Christmas holiday hangover and beat those exorbitantly high New Year's Eve entertainment prices with two free - yes, you read right, no charge! - shows this week by Tommy Marsh and Bad Dog. The first is Wednesday night's weekly Blues Jam at The Tavern (this Wednesday, December 26 the Guest Artist is guitarist Randy Rich of Randy Rich and the Ravens renown; 8-11 p.m.); followed by Tommy Marsh and Bad Dog in concert at Amigo's Surf Cantina, on Friday, December 28 ((9:30 p.m.-12:30 a.m.). Now that's something to Ho-Ho-Ho about!        Tommy Marsh & Bad Dog In The (Blues) News: Check out two new features on Tommy: Guitar On Sky (http://www.guitaronsky.com/2012/12/tommy-marsh-and-bad-dog-for-blues.html) and Mixalis Blues (gotta love the headline - "Tommy Marsh: Damn Good Music For Damn Good Folks") -  http://blues.gr/profiles/blogs/an-interview-with-californian-tommy-marsh-blending-the-blues . Watch for an upcoming feature on Marsh in cool new publication Blues E-News that comes out Wednesday night,December 26.                                      http://www.youtube.com/watch?v=rh8mqc56KbI                                              https://www.facebook.com/pages/Tommy-Marsh-and-Bad-Dog/187328757996121?ref=ts&fref=ts          Ventura County Star - Feature   All Access Magazine - Interview/Feature   Guitar On SKy Feature

Working In The Coal Mine - Lee Dorsey

Lee Dorsey (December 24, 1924 – December 2, 1986) was an African American pop/R&B singer during the 1960s. Much of his work was produced by Allen Toussaint with instrumental backing provided by the Meters. Born Irving Lee Dorsey in New Orleans, Louisiana, Dorsey moved to Portland, Oregon when he was ten years old. He served in the United States Navy and began a career in prizefighting. Boxing as a light heavyweight in Portland in the early 1950s, he fought under the name "Kid Chocolate" and was quite successful. Dorsey met songwriter/producer Allen Toussaint at a party in the early 1960s, and was signed to the Fury record label. The song that launched his career was inspired by a group of children chanting nursery rhymes - "Ya Ya" went to number seven on the Billboard Hot 100 in 1961. It sold over one million copies, and was awarded a gold disc. He recorded other songs for Fury before the label folded, and Dorsey went back to his car repair business. Toussaint later came back on the Amy label and began to work with Dorsey once again. From 1965 to 1969 Dorsey put seven songs in the Hot 100, the most successful of which was "Working in the Coal Mine" in 1966. It was to be his second and last Top Ten song. In 1970 Dorsey and Toussaint collaborated on an album entitled Yes We Can; the title song was Dorsey's last entry in the singles chart. It was later a hit for the Pointer Sisters under the title, "Yes We Can Can". Dorsey appeared on an album with Southside Johnny and the Asbury Jukes, which led to more recordings on his own with ABC Records in the late 1970s. In 1980, Dorsey opened for English punk band The Clash on their U.S. tour. Dorsey contracted emphysema and died on December 2, 1986, in New Orleans, at the age of 61. Dorsey's songs have been covered by artists as diverse as Petula Clark ("Ya Ya Twist," a 1962 French version of "Ya Ya") and Devo ("Working in the Coal Mine"). "Ya Ya" was also covered on John Lennon's Rock 'n' Roll album, and The Beatles Let It Be... Naked contained an extended live jam, with Tommy Sheridan on vocals. His version of the Allen Toussaint song "Everything I Do Gonna Be Funky (From Now On)" is referenced in the Beastie Boys' song lyrics for "Sure Shot" - "...everything I do is funky like Lee Dorsey." "Ya Ya" was spoken by Cheech Marin in Cheech and Chong's Next Movie, as he was waiting for his girlfriend. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

Theres No Friend to Me Like Jesus - Rev. Daniel Womack

Daniel Womack b, December 24, 1904 in Keeling, Virginia. Womack sang, played guitar, harmonica and piano. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Warren ''Baby'' Dodds

Warren "Baby" Dodds (December 24, 1898 – February 14, 1959) was a jazz drummer born in New Orleans, Louisiana. Dodds was among the first drummers who improvised while performing to be recorded. He varied his drum patterns with accents and flourishes, and he generally kept the beat with the bass drum while playing buzz rolls on the snare. Some of his early influences include Louis Cottrell, Sr., Harry Zeno, Henry Martin, and Tubby Hall. "Baby" Dodds (pronounced "dots") was the younger brother of clarinetist Johnny Dodds. He is regarded as one of the very best jazz drummers of the pre-big band era, and one of the most important early jazz drummers. His mother, who died when he was nine years old, taught him valuable lessons about persistence and putting one’s whole effort into endeavors, and he carried these with him through his career as a jazz drummer. He was born into a very musical family. His father and uncle played violin and his sister played harmonica. In addition, his father was religious and the family would regularly sing hymns together. Dodds, in his autobiography The Baby Dodds Story, tells the story of making his first drum: “I took a lard can and put holes in the bottom and turned it over and took nails and put holes around the top of it. Then I took some rounds out of my mother’s chairs and made drumsticks out of them” At age 16, Dodds saved up enough money to buy his own drum set. Although Dodds had several paid teachers during his early years as a drummer, various jazz drummers around New Orleans also influenced him. He started playing in street parades around New Orleans with Bunk Johnson and his band and then got a job playing in Willie Hightower’s band, the American Stars. The band played in various venues around New Orleans, and Dodds recalls hearing many musicians along the way, including Buddy Bolden, John Robichaux, and Jelly Roll Morton. He played with several different outfits including those of Frankie Duson and Sonny Celestin, and he was part of the New Orleans tradition of playing jazz during funeral marches. Dodds describes this experience in his autobiography: “The jazz played after New Orleans funerals didn’t show any lack of respect for the person being buried. It rather showed their people that we wanted them to be happy”. Dodds gained reputation as a top young drummer in New Orleans. In 1918, Dodds left Sonny Celestin’s outfit to play in Fate Marable’s riverboat band. A young Louis Armstrong also joined the band, and the two of them were on the boats for three years (from 1918 to 1921). The band played on four different boats, and would usually leave New Orleans in May and travel to St. Louis, though they would also sometimes travel further north. They played jazz, popular, and classical music while on the boats. Dodds and Armstrong left Fate Marable’s band in 1921 due to a disagreement about musical style, and Dodds soon joined King Oliver’s Creole Jazz Band. At this time, the personnel in Oliver’s band were Joe "King" Oliver on cornet, Baby Dodds’ brother Johnny Dodds on clarinet, Davey Jones on alto saxophone, Honoré Dutrey on trombone, Lil Hardin on piano, Jimmie Palao on violin, and Eddie Garland on bass fiddle. The moved to California in 1921 to work with Oliver there, and they played together for about fifteen months. In 1922, the band, excepting Garland, Palao, and Jones, followed Oliver to Chicago, which would be his base of operations for several years. They began playing at the Lincoln Gardens, and Louis Armstrong also joined this outfit. Dodds describes playing with this band as “a beautiful experience”. Dodds recorded with Louis Armstrong, Jelly Roll Morton, Art Hodes, and his brother Johnny Dodds. Dodds played in Louis Armstrong’s famous Hot Five and Hot Seven groups. In May 1927 Armstrong recorded with the Hot Seven, which consisted of Johnny Dodds, Johnny St. Cyr, Lil Hardin Armstrong, John Thomas, Pete Briggs, and Baby Dodds. From September to December 1927 the Hot Five Armstrong assembled consisted of Johnny Dodds, Kid Ory, Johnny St. Cyr, Lonnie Johnson, and Baby Dodds After the Oliver band broke up, the Dodds brothers played at Burt Kelley’s Stables in Chicago, and soon after, Johnny Dodds began leading his own outfit, of which Baby was a part. Johnny Dodds died of a stroke in 1940. Of his brother, Baby Dodds said the following: “There just couldn’t be another Johnny Dodds or anyone to take his place. And his passing on made a big difference in my life. I had been connected with him for many years and from then on I had to be wholly on my own”. After his brother’s death, Baby Dodds worked mostly as a freelance drummer around Chicago. This was the time of the New Orleans Revival, which was a movement in response to the emerging style of bebop. Many jazz traditionalists wanted jazz to return to its roots during this time. Dodds, having remained a New Orleans style drummer untouched by the influence of swing, found himself playing a role in the New Orleans jazz revival. In 1941, he played with Jimmie Noone and his band for a short time. This band featured Mada Roy on piano, Noone on clarinet, Bill Anderson[disambiguation needed] on bass, and Dodds on drums. Dodds only stayed with this outfit for three months before they went to California while Dodds decided to stay in Chicago. In the late 1940s he worked at Jimmy Ryan's in New York City. On some of his trips back to New Orleans, he recorded with Bunk Johnson. Dodds ended up playing with Johnson's band in New York. Dodds described his impressions of New York as a place where people listened to jazz rather than danced to it: "When I first went to New York it seemed very strange to have people sitting around and listening rather than dancing. In a way it was similar to theatre work. But it was peculiar for me because I always felt as though I was doing something for the people if they danced to the music". After playing with several outfits in New York, he joined Mezz Mezzrow’s group on a tour of Europe in 1948 that lasted eight weeks. The group ended up playing solely in France, and Dodds had a great experience, saying that Europeans “take our kind of music much more seriously than they do in our own country”. They played at the Nice Festival along with Rex Stewart, Louis Armstrong, and several other American jazz musicians. Dodds returned to Chicago after the European tour and while taking a trip to New York in April 1949, he suffered a stroke. In 1950 he had his second stroke and in 1952 suffered a third. After his three strokes, Dodds tutored and played in public as much as he could, though he was unable to complete entire performances. He died on February 14, 1959 in Chicago. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Blues No. 6 - Ray Bryant

Raphael Homer "Ray" Bryant (December 24, 1931 – June 2, 2011) was an American Jazz pianist and composer. Born in Philadelphia, Pennsylvania, Ray Bryant began playing the piano at the age of six, also performing on bass in junior High School. Turning professional before his age of majority, Bryant accompanied many other leading players such as Miles Davis, Sonny Rollins, Melba Liston, and Coleman Hawkins, as well as singers Carmen McRae and Aretha Franklin. From the late 1950s, he led a trio, performing throughout the world, and also worked solo. In addition, he was a noted jazz composer, with well-known themes such as "Cubano Chant," "The Madison Time," "Monkey Business," and "Little Susie" to his credit. The musicians Kevin Eubanks, Duane Eubanks, and Robin Eubanks are his nephews. His brothers are the bass player Tommy Bryant (May 21, 1930 – March 1, 1982) and Len Bryant, who plays drums and is also a singer. His niece Jennifer Bryant who is also Len Bryant's daughter is a singer songwriter and producer. Both Tommy and Ray Bryant formed a trio with Oz Perkins as the back-up band for the off-Broadway run of the comedy show Cambridge Circus, at Square East in 1964. The show starred John Cleese, Bill Oddie, Tim Brooke-Taylor, David Hatch, Jo Kendall, Graham Chapman, Jonathan Lynn, and Jean Hart. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band! Please hit Video to watch.

In My Time Of Dying - Doyle Bramhall ll

Doyle Bramhall II was raised in a home filled with the blues and rock and roll sounds that are indigenous to his birthplace - Austin, Texas. His father, Doyle Bramhall Senior, was the drummer for blues legend Lightning Hopkins and a regular collaborator with Jimmie and Stevie Ray Vaughan. When Doyle was 16 years old, he toured as second guitarist with Jimmy Vaughan's band, The Fabulous Thunderbirds. Shortly thereafter he and fellow Texan, Charlie Sexton, co-founded the rock band Arc Angels. Doyle and Charlie enlisted the rhythm section from Stevie Ray Vaughan's backing band, Double Trouble, to complete the lineup. The group enjoyed critical acclaim and commercial success. Following the release of "Jellycream," Doyle's 1999 RCA debut recording, he received phone calls from both Roger Waters and Eric Clapton. Doyle ended up joining Roger Waters for a summer tour while Clapton, along with fellow blues great B.B. King, chose two of Doyle's songs - "Marry You" and "I Wanna Be" - for their collaborative recording entitled "Riding With The King." Upon completion of the "Riding..." project, Doyle, his wife - Susannah Melvoin, and Clapton co-wrote and performed "Superman Inside" for Clapton's album, "Reptile." Doyle's playing is also heavily featured on the album. The latest offering from Doyle Bramhall II, entitled - "Welcome" - is the purest sampling of Doyle's talents to date. Doyle entered the studio with Smokestack, the band he put together a couple of years ago, and co-producers Benmont Tench and Jim Scott to record the 12 - song set. Joining Doyle in Smokestack is J.J. Johnson on drums and bassist Chris Bruce. Susannah Melvoin contributed background vocals, Benmont Tench pulled keyboard duty and Craig Ross played second guitar. The album, "Welcome" showcases the diversity of Bramhall's talent; from his songwriting to his intense, soulful vocals and virtuoso guitar playing. Doyle's gravity explosion can be readily heard on such tracks as the driving "Green Light Girl" and the uptempo "Soul Shaker." His dedication to the blues can be felt on tracks like "Life," "So You Want It To Rain" and "Send Some Love." Doyle and his band are set to open for Eric Clapton on the first leg of a worldwide tour this year. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

So Many Roads - BLUES WIRE, GREGG GIARELIS, VINILION

Gregg Giarelis is a singer / songwriter and guitarplayer born in Athens, Greece. Early recordings of Chicago bluesmen heard around the house and a deep fascination towards the guitars hanging in the living room was what triggered Gregg's interest in guitar playing and led to a further involvement with blues. Over the years he intensified his relationship with the guitar and singing. His playing was influenced by great blues artists such as Otis Rush, Albert king, Albert Collins, Ronnie Earl, Colin James and Buddy Wittington. Gregg's been performing frequently since 2004 as a solo artist or in the context of blues bands and has shared the stage with great blues artists like Lucky Peterson, Michael Dotson and Eddie Taylor Jr. "The boy can play the blues..." Such were Benny Turner's words to the audience after the 10 minute long jam that took place at the "Saloon" blues club in New Orleans, during Greg's recent trip to the United States. Gregg has just finished recording his first solo album entitled "Five years of trouble". It consists of 6 original compositions, five songs and one instrumental track. These songs were written during the fall of 2011 and were recorded by the end of that year. A lot of attention to detail has been paid in the album process, being recorded at top notch studios and mastered in Memphis Tennessee. Last track of the album , was recorded in Nashville Tennessee with producer Steve Haggard of Wild Oats records and is also included in the 2012 Wild Oats sampler cd. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!