1902 J.D. Short*
1928 Fats Domino*
1943 Bob Hite*
1945 Mitch Ryder*
1977 Bukka White+
1995 Willie Johnson+
2003 Othar Turner+
2008 Buddy Miles+
Happy Birthday
Bob Hite *26.02.1943
Einige werden sicher fragen Bob Wer?
Die eingefleischten Blueskenner wissen natürlich sofort, wer da
gemeint ist. Bob Hite – Gründungsmitglied von Canned Heat.
1965
gründete Bob mit Alan Wilson und Henry Vestine Canned Heat. Hite kam
auf den Namen, da eine seiner Schallplatten aus dem Jahr 1928 von
Tommy Johnson einen gleichnamigen Bluessong enthielt. Bei Canned Heat
übernahm er den Gesang und die Mundharmonika.
Über
Bob Hite zu schreiben ohne Canned Heat zu erwähnen geht nicht.
Übrigens, Canned Heat trat 1969 beim legendären Woodstock-Festival
auf.
„Der
Name (englisch canned „eingemacht“, heat „Hitze“) ist eine
Anspielung auf gelierten Brennspiritus. Das Produkt wird unter dem
Markennamen Sterno Canned Heat als Brennpaste in Blechdosen
ausgeliefert, die gleichermaßen als Verpackung und als Rechaud
dienen. Außerdem wird das Gel häufig mit Wasser verdünnt als
billiger Schnapsersatz missbraucht. Bei einem Interview in einer
amerikanischen Fernsehsendung sagte Bob Hite 1969, dass der Name eine
Anspielung auf den Canned Heat Blues von Tommy Johnson aus dem Jahre
1929 ist.“ 2)
Canned Heat war
auch die Band, die damals unsere Hymne „Going up the Country“
spielte, ein Titel entstanden nach dem Bull Doze Blues von Henry
Thomas 3) , ein Titel der unseren Sehnsüchten entsprach.
„I'm going to leave the city got
to get away
I 'm going to leave the city got to
get away
All this fussing and fighting
Man, you know I sure can't stay.
Ich Werde die Stadt verlassen, ich
muss hier Weg
All diese Aufregung und dieser Kampf
Mensch, mir ist
klar, dass ich mit Sicherheit nicht bleiben kann.“ 5),Seite
153
„Bob Hite wurde die Liebe zu der
Musik in die Wiege gelegt. Seine Mutter war Sängerin und sein Vater
spielte in einer Band in Pennsylvania. Im Alter von neun fing er an,
jede Schallplatte aus Jukeboxen zu sammeln, die er bekommen konnte.
Aufgrund dieser Sammelleidenschaft eröffnete er später einen
eigenen Plattenladen und brachte das Sammler-Journal Rhythm&Blues
Collector heraus. Seine Sammlung erreichte 1973 einen Bestand von
über 70.000 Schallplatten. Er soll oft in Plattenläden sämtliche
Kopien einer Platte aufgekauft und sie bis auf ein Exemplar
vernichtet haben, um den Wert seiner Sammlung zu erhöhen. Nach
seinem Tod 1981 wurde die Sammlung zerschlagen, er hatte aber vorher
schon aufgrund finanzieller Probleme große Teile verkaufen müssen.
Einen Großteil seiner Sammlung besitzen heute Fito DeLaParra und
Walter De Paduwa. Dieser veröffentlichte 2007 in Zusammenarbeit mit
Adolfo „Fito“ De La Parra einige Aufnahmen aus der Sammlung auf
dem Sampler Rarities From The Bob Hite Vaults.“ 4)
„Zum
Erfolg von Hitze in Dosen, so die wortgetreue deutsche Übersetzung,
trugen zwei markante Stimmen bei: die tiefe, raspelige des 260 Pfund
schweren Leadsängers Bob Hite und die merkwürdig hohe des
Gitarristen Al Wilson, dessen Mundharmonikaspiel ebenfalls
unverwechselbar war.“ 6)
Seinen Spitznamen „The Bear“ soll
er wegen seines grossen,massigen Körpers bekommen haben.
„Neben seiner Rolle als Musiker
(co-)produzierte Hite auch Alben von Canned Heat und anderen
Interpreten. Über seine Sammlerleidenschaft traf er 1969 Albert
Collins und half ihm, seine Karriere aufzuwerten. Collins widmete ihm
daraufhin die Single Love Can Be Found Anywhere, dessen Namen aus dem
von Hite geschriebenen Song Fried Hockey Boogie stammt.
1968 war er Co-Produzent des Albums
Slim's Got His Thing Going On von Sunnyland Slim, an dem er neben
Alan Wilson auch musikalisch mitwirkte. Als Gage erhielt er ein
Piano, welches bei dem Song Turpentine Moan auf dem Album Boogie With
Canned Heat zu hören ist.
Im selben Jahr produzierte er zusammen
mit Skip Taylor das Album Hooker ’n Heat, das Canned Heat mit ihrem
großen Idol John Lee Hooker aufnahmen.
Daneben wirkte und produzierte er mit
Musikern wie Little Richard, Clarence Gatemouth Brown, Memphis Slim
und Ronnie Barron.
Nach dem Tod seines Mitstreiters
und Bandgründers Alan Wilson ließ der Erfolg der Gruppe rapide nach
und Hite verfiel mehr und mehr harten Drogen.“ 4)
Das Album „Hooker ´n Heat“ ist
sicherlich eines der wichtigsten und besten Alben der Bluesgeschichte
und Bob hatte einen riesigen Anteil am Erfolg des Albums.
Canned Heat ist die Band, die
wahrscheinlich die meisten Mitgliederwechsel zu verzeichnen hat, aber
auch die meisten verstorbenen Bandmitglieder und das nicht wegen des
hohen Alters.
Sex and
Drugs and Rock and Roll gehörten genau so zu der Band wie guter
Blues. Sie hetzten nicht nur von Konzert zu Konzert sondern auch von
Vollrausch zu Vollrausch. Ein Wunder, dass da überhaupt noch jemand
lebt. (Eine gute Darstellung der Mitglieder ist unter 7) zu finden.)
Bob Hite hat es
jedenfalls nicht geschafft.
Die Drogenexzesse verbunden mit
Alkoholkonsum waren wahrscheinlich die Ursache für Bobs
Gesundheitszustand.
„Am 5. April 1981 spielten Canned Heat im Palmino Club in Los Angeles unter anderem mit Henry Vestine einen laut ihrem Schlagzeuger Adolfo „Fito“ De La Parra sehr guten Gig, was zu dieser Zeit für die Band nicht selbstverständlich war, da sie aufgrund enormer Drogenprobleme und oft wechselnden Besetzungen viele Reinfälle erlebte. In der Pause zwischen den beiden Sets boten ein paar Junkies Hite Heroin an, welches dieser sofort komplett inhalierte. Von dem Heroin völlig weggetreten war Hite nicht mehr in der Lage, das zweite Set zu singen. Um ihn wieder auf die Beine zu bekommen, gaben ihm ein paar Roadies der Band etwas Kokain, doch das knockte ihn völlig aus und die Band musste ohne ihn weiter spielen. Sie kümmerte sich nicht weiter um ihn, da sie so was öfters mit ihm erlebten. Während des zweiten Sets brachten ihn Freunde nach Hause, wo er einen Herzanfall hatte. Als nach langer Wartezeit endlich der Krankenwagen eintraf konnte er zwar noch einmal reanimiert werden doch der stark übergewichtige Hite verstarb einige Minuten darauf. Seine letzte Aufnahme war das Lied "Hell's just on down the line" für das Album "Kings of the Boogie", das ohne ihn fertiggestellt wurde. Zu seinem Gedenken brachte der ehemalige Canned Heat-Bassist Tony De La Barreda ein 1980 aufgenommenes, auf Hites ausdrücklichen Wunsch unveröffentlicht gebliebenes Album mit dem Titel "In Memory of Bob „The Bear“ Hite - Don't forget to boogie" heraus. Bis dato hatte er jedes Konzert mit den Worten "Don't forget to boogie" beendet.“ 1)
2) http://de.wikipedia.org/wiki/Canned_Heat3)
http://mattizwoo.blogspot.de/2013/06/thomas-henry.html
5)Die Deutsche Bibliothek - CIP-Einheitsaufnahme
de la Parra, Fito:
Living The Blues, Canned Heat's Story
zwischen Musik,
Drogen, Tod, Sex und Überleben / Fito
de la Parra.
Lindewerra: Little Big Beat
Musikverlag, 2001
ISBN 3-00-007020-6
Originalausgabe: Living The Blues,
Canned Heat's Story
of Music, Drugs, Death, Sex and
Survival
Copyright © 2000 Fito de la Parra
Deutsche Ausgabe: Copyright © 2001
Little Big Beat Musikverlag,
Ludwig-Wagner-Straße 31a, 37318
Lindewerra
Lektorat: Thomas Gutberlet, Berlin
Übersetzung aus dem Amerikanischen:
Uli Twelker, Gütersloh
Herstellung und Gestaltung: Christian
Wiesner-Stippel, Berlin
Druck: Fuldaer Verlagsanstalt GmbH,
Fulda
ISBN 3-O0-007020-6
Discografie
Robert Ernest "Bob" Hite (February 26, 1943 – April 6, 1981) was the American lead singer of the blues-rock band, Canned Heat, from 1965 to his death in 1981. His nickname was "The Bear".
Biography
Hite was introduced to Alan Wilson by Henry Vestine and the two of them helped convince blues pianist Sunnyland Slim (1906-1995) to get back into the recording studio to record. In 1965, aged 22, he formed a band with Wilson. Vestine joined soon after and this trio formed the core of Canned Heat. The trio were eventually joined by Larry Taylor (bass) and Frank Cook (drums).
Canned Heat appeared on a November 1969 episode of Playboy After Dark. Hite was invited to talk with Hugh Hefner after the performance, along with other guests Sonny and Cher, Vic Damone, Dick Shawn and Larry Storch. A 20-year-old Lindsay Wagner, playing the part of one of Hefner's party guests, sat on Hite's lap and played a party game. When asked by Hefner what kind of animal Hite would be if he were an animal, Wagner claimed he'd be a bear. Hite told her she got it right, that people called him "The Bear." It was also on this episode that Bob Hite informed Hugh Hefner that he had over 15,000 78s.[1]
Hite performed with Canned Heat at Woodstock in August 1969. The performances were not included in the original (1970) film Woodstock, but are in the 1994 "Director's Cut" version.
He produced the John Lee Hooker/Canned Heat album, Hooker 'N Heat (1971).
Death
On April 5, 1981, during a break between sets at The Palomino Club in North Hollywood, Hite was handed a drug vial by a fan. Thinking it contained cocaine, Hite stuck a straw into the vial and snorted it. The drug turned out to be heroin and Hite turned blue and collapsed. Some roadies put Hite in the band's van, and drove him to a nearby home where he died of an overdose.
Canned Heat - Going Up The Country (Subtitulado)
Fats Domino *26.02.1928
Fats Domino (* 26. Februar 1928 in New Orleans, Louisiana; eigentlich Antoine Domino) ist ein US-amerikanischer Pianist und Singer-Songwriter des Rock ’n’ Roll, Rhythm-and-Blues, des Piano
ä-Blues und des Boogie-Woogie.
Der Sänger, Pianist und Komponist lernte das Klavierspielen von seinem Schwager Harrison Verrett. Bei einem Arbeitsunfall in der Fabrik, in der er bereits mit 14 Jahren arbeitete, verlor er fast seine Finger. 1948 heiratete er seine Jugendfreundin Rosemary Hall, mit der er acht Kinder großzog.Entdeckt wurde Domino, der sein Klavier im Boogie-Stil bearbeitete, 1949 von dem Produzenten und Bandleader Dave Bartholomew, einem ehemaligen Trompeter bei Duke Ellington, in einem Club in New Orleans, wo er für 3 Dollar in der Woche auftrat. Dieser verschaffte ihm seine erste Plattenaufnahme The Fat Man, die sich nach ihrer Veröffentlichung im Januar 1950 zu einem der ersten Millionenseller des Rhythm & Blues entwickelte und in den R & B-Charts bis zum zweiten Rang vordrang. Dieser Titel war als Selbstironie zu verstehen, weil Fats (d. h. „der Dicke“) schon damals erhebliches Übergewicht auf die Bühne brachte. Bereits diese erste Single brachte für Domino den Durchbruch und war der Beginn einer mehr als zehnjährigen Plattenkarriere bei Imperial Records, fast ausnahmslos in Cosimo Matassas Tonstudio in New Orleans aufgenommen.
Die erfolgreichste Phase für Fats Domino waren die 1950er-Jahre, als er in Zusammenarbeit mit Dave Bartholomew und Lew Chudd, dem Chef der Plattenfirma Imperial, eine lange Liste von Hits komponierte und interpretierte. Der endgültige Durchbruch gelang ihm 1955 mit Ain’t that a shame und 1956 mit Blueberry Hill, das er in der legendären Ed Sullivan Show im US-TV erstmals aufführte und zu Dominos größtem Hit seiner gesamten Karriere avancierte. Weitere Hits waren beispielsweise I’m in Love Again, I'm Walking to New Orleans, My Blue Heaven, Blue Monday und Whole Lotta’ Loving. Das auch sehr bekannte Jambalaya war das Cover eines Country-Songs von Hank Williams. Mit Blue Monday trat er in der Hollywood-Komödie The Girl Can’t Help It auf.Fats Domino beim New Orleans Jazz & Heritage Festival (1997)
Weil die aus New Orleans ausgestrahlten Radio-Sendungen mit ihren häufig gespielten Domino-Titeln auch auf Jamaika empfangen werden konnten, hatte Fats Domino erheblichen Einfluss auf jamaikanische Musiker, deren Stil sich damals gerade entwickelte.
Weil die aus New Orleans ausgestrahlten Radio-Sendungen mit ihren häufig gespielten Domino-Titeln auch auf Jamaika empfangen werden konnten, hatte Fats Domino erheblichen Einfluss auf jamaikanische Musiker, deren Stil sich damals gerade entwickelte.
Da sich seine Ausdrucksweise kaum veränderte und Gruppen wie Beatles und Rolling Stones das Geschäft bestimmten, ließ Dominos Schallplatten-Erfolg ab Mitte der 1960er Jahre nach. Letzter erwähnenswerter Erfolg war die Coverversion des Beatles-Stückes Lady Madonna 1968. Als Live-Performer aber war er bis in die 1990er-Jahre gefragt, auch auf Tourneen in Deutschland. Der 1957 herausgebrachte Song I'm Walkin’ wurde 1991 in einer Aral-Werbung verwendet und kam dadurch nochmals in die deutsche Hitparade.
Fats Domino steht in einer Reihe mit Rock-’n’-Roll-Legenden wie Little Richard und Chuck Berry. Domino wurde 1986 in die Rock and Roll Hall of Fame und 2003 in die Blues Hall of Fame aufgenommen.
In den letzten Jahren zog sich Domino zunehmend ins Privatleben zurück. Ausnahme war ein alljährliches Konzert auf dem Musikfestival von New Orleans. Er ließ verlautbaren, seine Heimatstadt nie wieder verlassen zu wollen. Der Hurrikan Katrina vom 29. August 2005 zwang Fats Domino allerdings wieder in den Blick der Öffentlichkeit, als er zuerst als vermisst gemeldet, später aber unter Verlust eines Großteils seines Besitzes aus dem Katastrophengebiet gerettet werden konnte. 2007 erschien das Album Goin’ Home: A Tribute to Fats Domino, an dem verschiedene Rockgrößen mitgewirkt hatten. Teile des Gewinns aus dem Verkauf dieses Albums wurden zum Wiederaufbau des Hauses von Fats Domino in seinem geliebten New Orleans verwendet.[1]
Auch die Musik ließ ihn nicht los: Am 19. Mai 2007 gab Domino eine Vorstellung im Tipitina's, einer der bekanntesten Musikkneipen in New Orleans.[2] Zwei Jahre später, am 30. Mai 2009, zeigte er sich bei dem ihm gewidmeten Festival The Domino Effect, mit dem Geld für vom Hurrikan verwüstete Kinderspielplätze aufgebracht wurde. Auch Little Richard trat dort auf und betete anschließend öffentlich mit Domino und anderen Anwesenden.
Antoine "Fats" Domino Jr. (born February 26, 1928) is an American pianist and singer-songwriter. Domino released five gold (million-copy-selling) records before 1955.[1] He also had 35 Top 40 American hits and has a music style based on traditional rhythm and blues ensembles of bass, piano, electric guitar, drums, and saxophone.[1]
Life
Domino was born and raised in New Orleans, Louisiana. The Domino family were of French Creole background; Louisiana Creole French was his first language. Domino was delivered at home by his midwife grandmother. Like most families in the Lower Ninth Ward, Domino's family were new arrivals from Vacherie, Louisiana.[2]
His father was a well-known violinist, and Domino was inspired to play himself. He eventually learned from his uncle, jazz guitarist Harrison Verrett.[1]
Early career (1947–1948)
Billy Diamond, a New Orleans bandleader, discovered Domino when he accepted an invitation to hear a young pianist perform at a backyard barbecue in the summer of 1947. The pianist impressed Diamond enough that he asked Domino to play in his band, the Solid Senders, at the Hideaway Club in New Orleans. He nicknamed him "Fats" because Domino reminded him of renowned pianists Fats Waller and Fats Pichon.[3]
Imperial Records era (1949–1962)
Domino first attracted national attention with "The Fat Man" in 1950 on Imperial Records. This song is an early rock and roll record, featuring a rolling piano and Domino doing "wah-wah" vocalizing over a strong back beat. "The Fat Man" sold one million copies by 1953.[4] Domino released a series of hit songs with producer and co-writer Dave Bartholomew, saxophonists Herbert Hardesty and Alvin "Red" Tyler and drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader. Domino finally crossed into the pop mainstream with "Ain't That A Shame" (1955), which hit the Top Ten, though Pat Boone characteristically hit No. 1 with a milder cover of the song[5] that received wider radio airplay in a racially-segregated era. Domino eventually had 37 Top 40 singles.
Domino's debut album, Carry On Rockin, was released under the Imperial imprint, No. 9009, in November 1955 and subsequently reissued as Rock and Rollin' with Fats Domino in 1956.[6] Combining a number of his hits along with some tracks that had not yet been released as singles,[6] the album went on under its alternate title to reach No. 17 on the "Pop Albums" chart.[7]
His 1956 version of the 1940 Vincent Rose, Al Lewis and Larry Stock song, "Blueberry Hill" reached No. 2 in the Top 40, was No. 1 on the R&B charts for 11 weeks, and was his biggest hit.[5] "Blueberry Hill" sold more than 5 million copies worldwide in 1956–57. The song had earlier been recorded by Gene Autry, and Louis Armstrong among many others. He had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop No. 14), "I'm Walkin'" (Pop No. 4), "Valley of Tears" (Pop No. 8), "It's You I Love" (Pop No. 6), "Whole Lotta Loving" (Pop No. 6), "I Want to Walk You Home" (Pop No. 8), and "Be My Guest" (Pop No. 8).
Domino appeared in two films released in 1956: Shake, Rattle & Rock![8] and The Girl Can't Help It.[9] On December 18, 1957, his hit "The Big Beat" was featured on Dick Clark's American Bandstand.
On November 2, 1956, a riot broke out at Domino's show in Fayetteville, NC, with police resorting to tear gas to break up the unruly crowd. Domino jumped out of a window to avoid the melee; he and two other band members were slightly injured.[10]
Domino continued to have a steady series of hits for Imperial through early 1962, including "Walkin' to New Orleans" (1960, Pop No. 6), co-written by Bobby Charles, and "My Girl Josephine" (Pop No. 14) from the same year. After Imperial Records was sold to outside interests in early 1963, Domino left the label: "I stuck with them until they sold out," he claimed in 1979. In all, Domino recorded over 60 singles for the label, placing 40 songs in the top 10 on the R&B charts, and scoring 11 top 10 singles on the pop charts. Twenty-two of Domino's Imperial singles were double-sided hits.
Post-Imperial recording career (1963–1970s)
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis); Domino's long-term collaboration with producer/arranger/frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end.
Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. Perhaps as a result of this tinkering with an established formula, Domino's chart career was drastically curtailed. He released 11 singles for ABC-Paramount, but only had one top 40 entry with "Red Sails in the Sunset" (1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for a variety of other labels: Mercury, Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), and Reprise. His final Top 100 chart single was on Reprise, a cover of the Beatles' "Lady Madonna", which peaked at No. 100 in 1968. Domino appeared in The Monkees' 1969 TV special 33⅓ Revolutions per Monkee. He also continued as a popular live act for several decades. He made a cameo appearance in the movie Any Which Way You Can, filmed in 1979 and released in 1980, which resulted in a Country Chart hit, "Whiskey Heaven".
Later career (1980s–2005)
In the 1980s, Domino decided he would no longer leave New Orleans, having a comfortable income from royalties and a dislike for touring, and claiming he could not get any food that he liked any place else. His induction into the Rock and Roll Hall of Fame and an invitation to perform at the White House failed to persuade Domino to make an exception to this policy.
Domino lived in a mansion in a predominantly working-class Lower Ninth Ward neighborhood, where he was a familiar sight in his bright pink Cadillac automobile. He makes yearly appearances at the New Orleans Jazz and Heritage Festival and other local events. Domino was awarded the Grammy Lifetime Achievement Award in 1987. Domino's last tour was a three-week European Tour in 1995.[11] In 1998, President Clinton awarded him the National Medal of Arts.[12] In 2004, Rolling Stone ranked him No. 25 on their list of the "100 Greatest Artists of All Time".[13]
By the end of his career, Domino was credited with more charted rock hits than any other classic rock artist except for Elvis Presley.[4]
Domino and Hurricane Katrina
When Hurricane Katrina was approaching New Orleans in August 2005 Domino chose to stay at home with his family, partly because of his wife Rosemary's poor health. His house was in an area that was heavily flooded.
Someone thought Domino was dead, and spray-painted a message on his home, "RIP Fats. You will be missed", which was shown in news photos. On September 1, talent agent Al Embry announced that he had not heard from the musician since before the hurricane had struck.
Later that day, CNN reported that Domino was rescued by a Coast Guard helicopter. Prior to this, even family members had not heard from Domino since before the storm.[14] Embry confirmed that Domino and his family had been rescued. The Domino family was then taken to a Baton Rouge shelter, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and Fats' granddaughter's boyfriend. He let the Dominos stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.[15]
By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana.
President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Imperial Records catalog owner Capitol Records.[16]
Post-Katrina activity
Domino was the first artist to be announced as scheduled to perform at the 2006 Jazz & Heritage Festival. However, he was too ill to perform when scheduled and was only able to offer the audience an on-stage greeting. He released an album, Alive and Kickin', in early 2006 to benefit Tipitina's Foundation, which supports indigent local musicians. The cuts were from unreleased sessions from the 1990s.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards held at House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented him with a signed declaration. OffBeat publisher Jan Ramsey and WWL-TV's Eric Paulsen presented Domino with the Lifetime Achievement Award. An all-star musical tribute followed with an introduction by the legendary producer Cosimo Matassa. The Lil' Band O' Gold rhythm section, Warren Storm, Kenny Bill Stinson, David Egan and C. C. Adcock, not only anchored the band, but each contributed lead vocals, swamp pop legend Warren Storm leading off with "Let the Four Winds Blow" and "The Prisoner Song", which he proudly introduced by saying, "Fats Domino recorded this in 1958 ... and so did I." The horn section included Lil' Band O' Gold's Dickie Landry, the Iguanas' Derek Huston, and long-time Domino horn men Roger Lewis, Elliot "Stackman" Callier and Herb Hardesty. They were joined by Jon Cleary (who also played guitar in the rhythm section), Al "Carnival Time" Johnson, Irma Thomas, George Porter, Jr. (who, naturally, came up with a funky arrangement for "You Keep on Knocking"), Art Neville, Dr. John and Allen Toussaint, who wrote and debuted a song in tribute of Domino for the occasion. Though Domino did not perform, those near him recall him playing air piano and singing along to his own songs.
Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. A foundation has been formed and a show is being planned for Domino and the restoration of his home, where he intends to return someday. "I like it down there," he said in a February 2006 CBS News interview.[17]
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame. He has also been inducted into the Delta Music Museum Hall of Fame in Ferriday.
In May 2009, Domino made an unexpected appearance in the audience for the Domino Effect, a namesake concert featuring Little Richard and other artists, aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
In October 2012, Domino was featured in season 3 of the television series Treme, playing himself.
Influence
He was an important influence on the music of the 1960s and 1970s and acknowledged as such by some of the top artists of that era. Both John Lennon and Paul McCartney recorded Domino songs. McCartney reportedly wrote the Beatles song "Lady Madonna" in emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues". Domino did manage to return to the "Hot 100" charts one final time in 1968—with his own recording of "Lady Madonna." That recording, as well as covers of two other songs by the Beatles, appeared on his Reprise LP Fats Is Back, produced by Richard Perry and recorded by a band that included New Orleans piano player James Booker; Domino played piano only on one track, "I'm Ready."
John Lennon covered Domino's composition "Ain't That A Shame" on his 1975 album Rock 'n' Roll, his tribute to the musicians who had influenced him.
Jamaican reggae artist Yellowman covered many songs by Domino, including "Be My Guest" and "Blueberry Hill" and more.
He was the influence behind the naming of Jamaican ska band Justin Hinds and the Dominoes in the 1960s, Justin's favorite singer being Domino. In 2007, various artists came together for a tribute to Domino, recording a live session containing only his songs. Guests on the album, Going Home: A Tribute to Fats Domino, include Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John.[18]
Domino's rhythm, accentuating the offbeat as in the song "Be My Guest", was an influence on ska music.
Life
Domino was born and raised in New Orleans, Louisiana. The Domino family were of French Creole background; Louisiana Creole French was his first language. Domino was delivered at home by his midwife grandmother. Like most families in the Lower Ninth Ward, Domino's family were new arrivals from Vacherie, Louisiana.[2]
His father was a well-known violinist, and Domino was inspired to play himself. He eventually learned from his uncle, jazz guitarist Harrison Verrett.[1]
Early career (1947–1948)
Billy Diamond, a New Orleans bandleader, discovered Domino when he accepted an invitation to hear a young pianist perform at a backyard barbecue in the summer of 1947. The pianist impressed Diamond enough that he asked Domino to play in his band, the Solid Senders, at the Hideaway Club in New Orleans. He nicknamed him "Fats" because Domino reminded him of renowned pianists Fats Waller and Fats Pichon.[3]
Imperial Records era (1949–1962)
Domino first attracted national attention with "The Fat Man" in 1950 on Imperial Records. This song is an early rock and roll record, featuring a rolling piano and Domino doing "wah-wah" vocalizing over a strong back beat. "The Fat Man" sold one million copies by 1953.[4] Domino released a series of hit songs with producer and co-writer Dave Bartholomew, saxophonists Herbert Hardesty and Alvin "Red" Tyler and drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader. Domino finally crossed into the pop mainstream with "Ain't That A Shame" (1955), which hit the Top Ten, though Pat Boone characteristically hit No. 1 with a milder cover of the song[5] that received wider radio airplay in a racially-segregated era. Domino eventually had 37 Top 40 singles.
Domino's debut album, Carry On Rockin, was released under the Imperial imprint, No. 9009, in November 1955 and subsequently reissued as Rock and Rollin' with Fats Domino in 1956.[6] Combining a number of his hits along with some tracks that had not yet been released as singles,[6] the album went on under its alternate title to reach No. 17 on the "Pop Albums" chart.[7]
His 1956 version of the 1940 Vincent Rose, Al Lewis and Larry Stock song, "Blueberry Hill" reached No. 2 in the Top 40, was No. 1 on the R&B charts for 11 weeks, and was his biggest hit.[5] "Blueberry Hill" sold more than 5 million copies worldwide in 1956–57. The song had earlier been recorded by Gene Autry, and Louis Armstrong among many others. He had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop No. 14), "I'm Walkin'" (Pop No. 4), "Valley of Tears" (Pop No. 8), "It's You I Love" (Pop No. 6), "Whole Lotta Loving" (Pop No. 6), "I Want to Walk You Home" (Pop No. 8), and "Be My Guest" (Pop No. 8).
Domino appeared in two films released in 1956: Shake, Rattle & Rock![8] and The Girl Can't Help It.[9] On December 18, 1957, his hit "The Big Beat" was featured on Dick Clark's American Bandstand.
On November 2, 1956, a riot broke out at Domino's show in Fayetteville, NC, with police resorting to tear gas to break up the unruly crowd. Domino jumped out of a window to avoid the melee; he and two other band members were slightly injured.[10]
Domino continued to have a steady series of hits for Imperial through early 1962, including "Walkin' to New Orleans" (1960, Pop No. 6), co-written by Bobby Charles, and "My Girl Josephine" (Pop No. 14) from the same year. After Imperial Records was sold to outside interests in early 1963, Domino left the label: "I stuck with them until they sold out," he claimed in 1979. In all, Domino recorded over 60 singles for the label, placing 40 songs in the top 10 on the R&B charts, and scoring 11 top 10 singles on the pop charts. Twenty-two of Domino's Imperial singles were double-sided hits.
Post-Imperial recording career (1963–1970s)
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis); Domino's long-term collaboration with producer/arranger/frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end.
Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. Perhaps as a result of this tinkering with an established formula, Domino's chart career was drastically curtailed. He released 11 singles for ABC-Paramount, but only had one top 40 entry with "Red Sails in the Sunset" (1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for a variety of other labels: Mercury, Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), and Reprise. His final Top 100 chart single was on Reprise, a cover of the Beatles' "Lady Madonna", which peaked at No. 100 in 1968. Domino appeared in The Monkees' 1969 TV special 33⅓ Revolutions per Monkee. He also continued as a popular live act for several decades. He made a cameo appearance in the movie Any Which Way You Can, filmed in 1979 and released in 1980, which resulted in a Country Chart hit, "Whiskey Heaven".
Later career (1980s–2005)
In the 1980s, Domino decided he would no longer leave New Orleans, having a comfortable income from royalties and a dislike for touring, and claiming he could not get any food that he liked any place else. His induction into the Rock and Roll Hall of Fame and an invitation to perform at the White House failed to persuade Domino to make an exception to this policy.
Domino lived in a mansion in a predominantly working-class Lower Ninth Ward neighborhood, where he was a familiar sight in his bright pink Cadillac automobile. He makes yearly appearances at the New Orleans Jazz and Heritage Festival and other local events. Domino was awarded the Grammy Lifetime Achievement Award in 1987. Domino's last tour was a three-week European Tour in 1995.[11] In 1998, President Clinton awarded him the National Medal of Arts.[12] In 2004, Rolling Stone ranked him No. 25 on their list of the "100 Greatest Artists of All Time".[13]
By the end of his career, Domino was credited with more charted rock hits than any other classic rock artist except for Elvis Presley.[4]
Domino and Hurricane Katrina
When Hurricane Katrina was approaching New Orleans in August 2005 Domino chose to stay at home with his family, partly because of his wife Rosemary's poor health. His house was in an area that was heavily flooded.
Someone thought Domino was dead, and spray-painted a message on his home, "RIP Fats. You will be missed", which was shown in news photos. On September 1, talent agent Al Embry announced that he had not heard from the musician since before the hurricane had struck.
Later that day, CNN reported that Domino was rescued by a Coast Guard helicopter. Prior to this, even family members had not heard from Domino since before the storm.[14] Embry confirmed that Domino and his family had been rescued. The Domino family was then taken to a Baton Rouge shelter, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and Fats' granddaughter's boyfriend. He let the Dominos stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.[15]
By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana.
President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Imperial Records catalog owner Capitol Records.[16]
Post-Katrina activity
Domino was the first artist to be announced as scheduled to perform at the 2006 Jazz & Heritage Festival. However, he was too ill to perform when scheduled and was only able to offer the audience an on-stage greeting. He released an album, Alive and Kickin', in early 2006 to benefit Tipitina's Foundation, which supports indigent local musicians. The cuts were from unreleased sessions from the 1990s.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards held at House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented him with a signed declaration. OffBeat publisher Jan Ramsey and WWL-TV's Eric Paulsen presented Domino with the Lifetime Achievement Award. An all-star musical tribute followed with an introduction by the legendary producer Cosimo Matassa. The Lil' Band O' Gold rhythm section, Warren Storm, Kenny Bill Stinson, David Egan and C. C. Adcock, not only anchored the band, but each contributed lead vocals, swamp pop legend Warren Storm leading off with "Let the Four Winds Blow" and "The Prisoner Song", which he proudly introduced by saying, "Fats Domino recorded this in 1958 ... and so did I." The horn section included Lil' Band O' Gold's Dickie Landry, the Iguanas' Derek Huston, and long-time Domino horn men Roger Lewis, Elliot "Stackman" Callier and Herb Hardesty. They were joined by Jon Cleary (who also played guitar in the rhythm section), Al "Carnival Time" Johnson, Irma Thomas, George Porter, Jr. (who, naturally, came up with a funky arrangement for "You Keep on Knocking"), Art Neville, Dr. John and Allen Toussaint, who wrote and debuted a song in tribute of Domino for the occasion. Though Domino did not perform, those near him recall him playing air piano and singing along to his own songs.
Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. A foundation has been formed and a show is being planned for Domino and the restoration of his home, where he intends to return someday. "I like it down there," he said in a February 2006 CBS News interview.[17]
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame. He has also been inducted into the Delta Music Museum Hall of Fame in Ferriday.
In May 2009, Domino made an unexpected appearance in the audience for the Domino Effect, a namesake concert featuring Little Richard and other artists, aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
In October 2012, Domino was featured in season 3 of the television series Treme, playing himself.
Influence
He was an important influence on the music of the 1960s and 1970s and acknowledged as such by some of the top artists of that era. Both John Lennon and Paul McCartney recorded Domino songs. McCartney reportedly wrote the Beatles song "Lady Madonna" in emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues". Domino did manage to return to the "Hot 100" charts one final time in 1968—with his own recording of "Lady Madonna." That recording, as well as covers of two other songs by the Beatles, appeared on his Reprise LP Fats Is Back, produced by Richard Perry and recorded by a band that included New Orleans piano player James Booker; Domino played piano only on one track, "I'm Ready."
John Lennon covered Domino's composition "Ain't That A Shame" on his 1975 album Rock 'n' Roll, his tribute to the musicians who had influenced him.
Jamaican reggae artist Yellowman covered many songs by Domino, including "Be My Guest" and "Blueberry Hill" and more.
He was the influence behind the naming of Jamaican ska band Justin Hinds and the Dominoes in the 1960s, Justin's favorite singer being Domino. In 2007, various artists came together for a tribute to Domino, recording a live session containing only his songs. Guests on the album, Going Home: A Tribute to Fats Domino, include Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John.[18]
Domino's rhythm, accentuating the offbeat as in the song "Be My Guest", was an influence on ska music.
Mitch Ryder *26.02.1945
.jpg)
Mitch Ryder (* 26. Februar 1945 in Hamtramck, Michigan), eigentlich William S. Levise, Jr., ist ein US-amerikanischer Rockmusiker und Sänger.
Ryder spielte bereits als Schüler R&B in der Band The Tempest. Mit 17 Jahren nahm er die Single That’s What It’s Going To Be/Fool For You auf dem kleinen Detroiter Label Carrie auf und agierte als Frontman für ein schwarzes Vokaltrio namens Peps.
1962 startete er seine eigene Band Billy Lee & The Rivieras. 1965 änderten Billy Lee & The Rivieras, die kurz zuvor aus Detroit nach New York gezogen waren, ihren Namen auf Anraten ihres Manager Bob Crewe in Mitch Ryder & The Detroit Wheels. Grund dafür war ein Namenskonflikt mit einer anderen Band, die sich ebenfalls The Rivieras nannten und die die Single California Sun auf dem Markt hatte.
Mitch Ryder & The Detroit Wheels bildeten die musikalische Brücke zwischen dem Detroiter Motown-Soul, puristischen Soul im Stil James Browns und energiegeladenen Rock and Roll der 1950er Jahre, wie er später von Interpreten wie MC5, Grand Funk Railroad, Ted Nugent und Bob Seger weiterentwickelt wurde.
In der Besetzung Ryder, Jim McCarty & Joe Kubert (Gitarre), Earl Elliott (Bass), und Johnny "Bee" Badanjek (Schlagzeug) hatten sie 1965 mit der Single Jenny Take A Ride! ihren ersten Hit. Es folgten C. C. Rider, Jenny, Jenny, Little Latin Lupe Lu, ein Medley aus Devil With A Blue Dress On und Good Golly Miss Molly, Sock It To Me-Baby! und zuletzt wieder ein Medley aus Too Many Fishes In The Sea und Three Little Fishes.
1967 begann Mitch Ryder ebenfalls auf Anraten von Bob Crewe eine Solokarriere. Seine Auftritte in Las Vegas, mit einer Big Band im Rücken, waren allerdings kommerziell erfolglos. Bevor er nach Detroit zurückkehrte machte er in Memphis Aufnahmen mit Booker T. & the MG's und den Memphis Horns. Nach einem Intermezzo mit der Soulband Liberty spielte Ryder mit der kurzlebigen Supergruppe Detroit - bestehend aus Steve Hunter (Gitarre), Ron Cooke (Bass), Brett Tuggle (Gitarre), Harry Phillipps (Tasteninstrumente), Dirty Ed (Percussion) sowie Detroit Wheels-Schlagzeuger Johnny "Bee" Badanjek - 1971 lediglich ein einziges Album und drei Singles für Paramount Records ein.
Enttäuscht kehrte Ryder dem Musikgeschäft für fünf Jahre den Rücken und lebte in Denver, Colorado. Zurück in Detroit, unterschrieb er einen Vertrag mit Line Records in Hamburg und veröffentlichte Alben, die vor allem in Europa für Aufmerksamkeit sorgten.
Einem breiten europäischen Publikum wurde er durch seinen legendären „Full Moon“-Auftritt in der fünften WDR-Rockpalast-Nacht in der Grugahalle Essen am 6./7. Oktober 1979 bekannt, als er sich, offensichtlich unter Drogeneinfluss, zuerst mit seiner Band, dann in einem Live-Interview mit dem Moderator Alan Bangs und schließlich mit dem Publikum anlegte und dennoch ein Konzert mit hoher atmosphärischer Dichte absolvierte. Alan Bangs beschrieb Ryders folgenden Auftritt als "eine der besten Vorstellungen, die ich je erlebt habe..."[1]
1983 kehrte Ryder mit dem Album Never Kick A Sleeping Dog, produziert von Little Bastard (Pseudonym für John Cougar Mellencamp), in die US-Rockszene zurück. Mit der Prince-Coverversion When You Were Mine gelangte er wieder in die unteren Regionen der US-Hitparaden (#87 Billboard) zurück.
Mit der Jahrtausendwende wird Mitch Ryder hauptsächlich in Europa, speziell in Deutschland populär. Seine Begleitband in Europa ist die deutsche Gruppe Engerling, mit der er seit 1994 sporadisch, seit 2002 alljährlich von Januar bis März auf Tournee geht. Die Band war auch an den CD-Produktionen Rite Of Passage (1994), The Old Man Springs A Boner (2003), A Dark Caucasian Blue (2004) und The Acquitted Idiot (2006) beteiligt.
2008 erschien sein neuestes Werk "You Deserve My Art", Ende 2007 ebenfalls mit Engerling eingespielt. Das Konzert am 13. Februar 2008 im Kesselhaus in der Kulturbrauerei in Berlin widmete Mitch Ryder seiner Schwester, die eine Stunde vor Beginn der Show verstorben war.
2005: Mitch Ryder The Detroit Wheels Michigan Rock and Roll Legends
William S. Levise, Jr (born February 26, 1945), known better by his stage name Mitch Ryder, is an American musician who has recorded more than two dozen albums over more than four decades.[1]
Career
Ryder is noted for his gruff, wailing singing style and his dynamic stage performances. He was influenced by his father, a musician. As a teenager, Ryder sang backup with a black soul-music group known as the Peps, but racial animosities interfered with his continued presence in the group.[2]
Ryder formed his first band, Tempest, when he was in high school, and the group gained some notoriety playing at a Detroit soul music club called The Village.[3] Ryder next appeared fronting a band named Billy Lee & The Rivieras, which had limited success until they met songwriter / record producer Bob Crewe.[3] Crewe renamed the group Mitch Ryder & The Detroit Wheels, and they recorded several hit records for his DynoVoice Records and New Voice labels in the mid to late 1960s, most notably "Devil with a Blue Dress On", their highest-charting single at number 4, as well as "Sock It to Me-Baby!", a number 6 hit in 1967, and "Jenny Take a Ride!", which reached number 10 in 1965. The Detroit Wheels were John Badanjek on drums, Joe Kubert (not to be confused with the comic book illustrator of the same name) on rhythm guitar, Jim McCarty (not to be confused with the Yardbirds drummer of the same name) on lead guitar and Jim McAllister on bass.
Ryder's musical endeavors would see less success after the early 1970s. Ryder's participation with the Detroit Wheels ended just as the counterculture was becoming dominant in 1968. During 1968, Trumpeters Mike Thuroff and John Stefan were hired to tour with his horn section and band. Thuroff and Stefan also recorded the trumpet parts of Ryder's song, "Ring My Bell." This song was not permitted to be played by radio in many states due to its sexual innuendos. Ryder had one hit single from that period, a cover version of "What Now, My Love". His last successful ensemble band was Detroit. The only original Wheel in the group was the drummer John Badanjek; other members were guitarists Steve Hunter, Bob Gillespie, and Brett Tuggle, organist Harry Phillips, and bassist W.R. Cooke. A single album was released by this grouping, a 1971 self-titled LP issued on Paramount Records (US #176 in 1972). They had a hit with their version of the Lou Reed-penned song "Rock & Roll", which Reed liked enough to ask Steve Hunter to join his backing band.
According to allmusic.com (which calls Ryder "the unsung hero" of Michigan rock and roll), Ryder withdrew from music after experiencing throat trouble, moving to Colorado with his wife and taking up writing and painting. In 1983, Ryder returned to a major label with the John Mellencamp-produced album Never Kick a Sleeping Dog. The album featured a cover version of the Prince song "When You Were Mine," which was Ryder's last score on the Billboard Hot 100.
Ryder continues to record and tour, in the United States and Europe.
On February 14, 2012 Ryder released The Promise, his first US release in almost 30 years.[4]
Personal life
Ryder spent his high school years in Warren, Michigan.[5] After many years living in Warren, and later Livonia, Ryder currently resides in South Lyon, Michigan, a small town northwest of Detroit.
Influence
Ryder has influenced the music of such blue collar rock music artists as Bob Seger, John Mellencamp, and also Bruce Springsteen whose version of the song "Devil With a Blue Dress" was part of the No Nukes concert album in the early 1980s. He has also been cited as a primary musical influence by Ted Nugent.[6]
Bruce Springsteen still plays his music on stage. The song titled "Detroit Medley" refers directly to the Detroit Wheels. Included in this medley are the songs, "Devil With a Blue Dress", "Jenny Take a Ride", "Good Golly Miss Molly" and "C.C. Rider". The medley from time to time blends in a variety of other songs, but this remains the core section, often featuring guitar solos from Springsteen and piano solos by Roy Bittan.
Winona Ryder's stage name "Ryder" was inspired by Mitch Ryder's music.
Career
Ryder is noted for his gruff, wailing singing style and his dynamic stage performances. He was influenced by his father, a musician. As a teenager, Ryder sang backup with a black soul-music group known as the Peps, but racial animosities interfered with his continued presence in the group.[2]
Ryder formed his first band, Tempest, when he was in high school, and the group gained some notoriety playing at a Detroit soul music club called The Village.[3] Ryder next appeared fronting a band named Billy Lee & The Rivieras, which had limited success until they met songwriter / record producer Bob Crewe.[3] Crewe renamed the group Mitch Ryder & The Detroit Wheels, and they recorded several hit records for his DynoVoice Records and New Voice labels in the mid to late 1960s, most notably "Devil with a Blue Dress On", their highest-charting single at number 4, as well as "Sock It to Me-Baby!", a number 6 hit in 1967, and "Jenny Take a Ride!", which reached number 10 in 1965. The Detroit Wheels were John Badanjek on drums, Joe Kubert (not to be confused with the comic book illustrator of the same name) on rhythm guitar, Jim McCarty (not to be confused with the Yardbirds drummer of the same name) on lead guitar and Jim McAllister on bass.
Ryder's musical endeavors would see less success after the early 1970s. Ryder's participation with the Detroit Wheels ended just as the counterculture was becoming dominant in 1968. During 1968, Trumpeters Mike Thuroff and John Stefan were hired to tour with his horn section and band. Thuroff and Stefan also recorded the trumpet parts of Ryder's song, "Ring My Bell." This song was not permitted to be played by radio in many states due to its sexual innuendos. Ryder had one hit single from that period, a cover version of "What Now, My Love". His last successful ensemble band was Detroit. The only original Wheel in the group was the drummer John Badanjek; other members were guitarists Steve Hunter, Bob Gillespie, and Brett Tuggle, organist Harry Phillips, and bassist W.R. Cooke. A single album was released by this grouping, a 1971 self-titled LP issued on Paramount Records (US #176 in 1972). They had a hit with their version of the Lou Reed-penned song "Rock & Roll", which Reed liked enough to ask Steve Hunter to join his backing band.
According to allmusic.com (which calls Ryder "the unsung hero" of Michigan rock and roll), Ryder withdrew from music after experiencing throat trouble, moving to Colorado with his wife and taking up writing and painting. In 1983, Ryder returned to a major label with the John Mellencamp-produced album Never Kick a Sleeping Dog. The album featured a cover version of the Prince song "When You Were Mine," which was Ryder's last score on the Billboard Hot 100.
Ryder continues to record and tour, in the United States and Europe.
On February 14, 2012 Ryder released The Promise, his first US release in almost 30 years.[4]
Personal life
Ryder spent his high school years in Warren, Michigan.[5] After many years living in Warren, and later Livonia, Ryder currently resides in South Lyon, Michigan, a small town northwest of Detroit.
Influence
Ryder has influenced the music of such blue collar rock music artists as Bob Seger, John Mellencamp, and also Bruce Springsteen whose version of the song "Devil With a Blue Dress" was part of the No Nukes concert album in the early 1980s. He has also been cited as a primary musical influence by Ted Nugent.[6]
Bruce Springsteen still plays his music on stage. The song titled "Detroit Medley" refers directly to the Detroit Wheels. Included in this medley are the songs, "Devil With a Blue Dress", "Jenny Take a Ride", "Good Golly Miss Molly" and "C.C. Rider". The medley from time to time blends in a variety of other songs, but this remains the core section, often featuring guitar solos from Springsteen and piano solos by Roy Bittan.
Winona Ryder's stage name "Ryder" was inspired by Mitch Ryder's music.
Mitch Ryder - Freezin In Hell
Born in Port Gibson, Mississippi, Short learned to play both the piano and guitar at a young age. He later mastered the harmonica, saxophone, clarinet and drums. Short performed locally in the Mississippi Delta at house parties, but relocated in 1923 to St. Louis, Missouri.[2][5]
Short went on to play along with the Neckbones, Henry Spaulding, David "Honeyboy" Edwards, Douglas Williams, and Big Joe Williams.[6] In the 1930s, Short recorded for the Vocalion label.[1] Henry Townsend in his autobiography, A Blue Life, told of incidents in St. Louis that affected both his and Short's lives. Seemingly due to jealousy of his musical standing, Short attacked and twice stabbed Townsend. Later, by way of revenge, Townsend shot Short in his genitals, which resulted in Short losing both of his testicles.[7] The account was also mentioned in Townsend's obituary in The Guardian.[8] Short continued performing in St. Louis after World War II, often as a one-man band and sometimes with his cousin, Big Joe Williams.[5]
Nevertheless, Short effectively disappeared from the music industry for over two decades, before re-emerging at the start of the blues revival period. He achieved belated national recognition, and went on to record further tracks for Delmark and Folkways.[6] Some of his recordings were later released on Sonet.[1]
Short was featured in the 1963 documentary film, The Blues, singing "Slidin' Delta".[2] However, he had already died in October 1962 of a heart attack, in St. Louis, at the age of 60.
R.I.P.
Buddy Miles +26.02.2008
Buddy Miles (* 5. September 1947 in Omaha, Nebraska; † 26. Februar 2008 in Austin (Texas), eigentlich George Allen Miles) war ein US-amerikanischer Rock-, Blues-, Soul- und Funk-Schlagzeuger und -Sänger.
Bereits mit neun Jahren begann Miles Schlagzeug zu spielen und mit zwölf Jahren trat er der Jazz-Band seines Vaters bei. In den späten 1950er-Jahren spielte er bei verschiedenen Vokalgruppen, darunter die Ink Spots, die Delfonics und Ruby & the Romantics. Als er 1966 mit Wilson Pickett tourte, wurde Michael Bloomfield auf ihn aufmerksam, wodurch Miles Mitglied von The Electric Flag wurde. Bloomfields Ausscheiden 1968 machte ihn sogar kurzzeitig zum Frontmann der Band. Das während dieser Zeit veröffentlichte zweite Album der Band floppte aber, und Miles stieg aus.
Noch im selben Jahr gründete er seine eigene Band namens Buddy Miles Express. Die Band kam bei Mercury Records unter und konnte Jimi Hendrix als Produzenten für ihr Debüt Expressway to Your Skull gewinnen. Miles betätigte sich in der Folge auch als Studiomusiker auf Hendrix’ Electric Ladyland und auf Muddy Waters’ Fathers And Sons.
1969 kam Electric Church, das zweite Album des Buddy Miles Express, auf den Markt. Es wurde wieder von Jimi Hendrix produziert. Nachdem Hendrix Ende des Jahres die Jimi Hendrix Experience auflöste, gründete er mit Miles und dem Bassisten Billy Cox die Band of Gypsys. Doch schon 1970 verließ Miles die Band wieder. Er unterstützte John McLaughlin auf dessen Album Devotion und veröffentlichte 1971 sein bekanntestes Solowerk Them Changes. Zwischen Dezember 1971 und April 1972 tourte Miles dann mit Carlos Santana. Dokumentiert ist die Tournee auf dem im Juni 1972 erschienenen Album Carlos Santana & Buddy Miles! Live!, das im Krater eines untätigen hawaiischen Vulkanes aufgenommen wurde.
Zwischen 1973 und 1976 veröffentlichte Miles insgesamt fünf Alben, dann wurde es vorläufig still um ihn. Eine Ausnahme ist das 1981 auf Atlantic Records erschienene Album Sneak Attack. 1986 wurde Miles zum „Leadsänger“ der California Raisins, einer fiktiven Rhythm-and-Blues-Gruppe aus animierten Rosinenfiguren, die zur Werbung für die kalifornische Rosinenindustrie erfunden worden war. In ihrem bekanntesten Werbespot sang Miles den thematisch passenden Song I Heard It Through the Grapevine von Norman Whitfield und Barrett Strong.
1987 arbeitete Miles, diesmal als Leadsänger, ein weiteres Mal für Carlos Santana. Anfang der 1990er Jahre spielte er mit Bootsy Collins zusammen, und 1994 rief er den Buddy Miles Express ins Leben zurück. Dabei entstanden zwei weitere Alben. 1997 tourte er mit More Experience bei 20 Konzerten durch Italien. 2002 gründete er eine neue Band, die Blues Berries, und tourte mit Mitch Mitchell und Randy Hansen in Europa.
Miles starb im sechzigsten Lebensjahr an Herzinsuffizienz.
George Allen Miles, Jr. (September 5, 1947 – February 26, 2008), known professionally as Buddy Miles, was an American rock and funk drummer, vocalist, composer, and producer. He was a founding member of The Electric Flag (1967), a member of Jimi Hendrix's Band of Gypsys (1969-1970), founder and leader of the Buddy Miles Express and later, the Buddy Miles Band. In addition to Jimi Hendrix, Miles played and recorded with Carlos Santana, Mike Bloomfield, and others. In a lighter vein, he sang lead vocals on the popular "California Raisins" claymation TV commercials and recorded two California Raisins R&B albums.
Biography and career
Early life
Miles was born in Omaha, Nebraska on September 5, 1947. Buddy's father played upright bass for the likes of Duke Ellington, Count Basie, Charlie Parker, and Dexter Gordon and by age 12, Miles Jr had joined Miles sr in his touring band, The Bebops. Given the nickname "Buddy" by his aunt after the drummer Buddy Rich, he was often seen as a teenager, hanging out and recording at Universal Promotions Corporation recording studios, which later became Rainbow Recording Studios.[1]
1960s: Early career
Miles played with a variety of rhythm and blues and soul acts as a teenager, including Ruby & the Romantics, the Delfonics, and Wilson Pickett. In 1964, at the age of 16, Miles met Jimi Hendrix at a show in Canada, where both were performing as sidemen for other artists.
In 1967, Miles joined Hendrix in a jam session at the Malibu home of Stephen Stills. They also went on to play together again in 1968 in both Los Angeles and New York. In the same year, Miles moved to Chicago where he teamed with guitarist Mike Bloomfield and vocalist Nick Gravenites to form The Electric Flag, a blues/soul/rock band. In addition to playing drums, Miles sometimes sang lead vocals for the band, which made its live debut at the Monterey Pop Festival in mid-1967.
In early 1968, the band released A Long Time Comin', its first album for Columbia. The Electric Flag's second album, An American Music Band, followed late the same year. Shortly after that release, though, the group disbanded. In the same year, Hendrix used several guest artists, including Miles, during the recording of the album, Electric Ladyland. Miles played drums on one long jam that was eventually split into two album cuts, "Rainy Day, Dream Away" and "Still Raining, Still Dreaming", with a different song, "1983 a Merman I Should Turn To Be", edited in between.
At age 21, after the breakup of The Electric Flag, Miles put together a new band with Jim McCarty, who later became the guitarist for Cactus. This new group performed and recorded as the Buddy Miles Express. In 1969, Hendrix wrote a short poem as a liner note for Expressway To Your Skull, the first studio album recorded by the Buddy Miles Express. Hendrix went on to produce four of the tracks on the group's follow-up album, Electric Church. The title of the latter LP was taken from Hendrix's poem on the first.
1970s: More bands and collaborations
In 1970, after the Buddy Miles Express split up, Miles began a collaboration with Hendrix and bassist Billy Cox. Together, they formed Band of Gypsys, producing one self-titled live album before disbanding.
Later in 1970, while recording the album We Got To Live Together, Buddy Miles learned of the death of Hendrix, which he mentions on the inner cover of the album. Released in 1971, We Got To Live Together was produced by Miles and Robin McBride. It comprises five songs, including the instrumental "Easy Greasy". The other cuts on the album were "Runaway Child (Little Miss Nothin)", "Walking Down the Highway", "We Got To Live Together" and "Take It Off Him and Put It On Me". All the songs were written by Miles with C. Karp except for the latter. With its high energy drumming, funky overtones and big horns, this album was described as quintessential Buddy Miles.
Also in 1971, though The Electric Flag had been inactive for nearly three years, Columbia released a greatest hits album. Three years later, in 1974, Miles and The Electric Flag re-formed briefly and released another album, The Band Kept Playing, on the Atlantic label.
Miles went on to produce other records as the Buddy Miles Band. One song he had written and recorded with the Band of Gypsys, "Them Changes", was again recorded by Miles with his own band and released by Mercury Records soon after Hendrix's death. Miles' former Band Of Gypsys sideman, Billy Cox, performed bass guitar on this track. The band also included bassist David Hull (who would go on to work with Joe Perry of Aerosmith), as well as guitarist Charlie Karp, of the bands Farrenheit and The James Montgomery Blues Band. When the Buddy Miles Band released its live album, it again included "Them Changes", which had become Miles' signature song.
Miles would see the song released yet a fourth time on a collaborative live record he made with Carlos Santana. This particular version was particularly notable for its intense energy, horn lines, and the blazing guitar work supplied by a very young and energetic Santana. Yet again in 1973, Miles recorded an album with The Gun's Adrian Gurvitz called Chapter VII. The album cover included photos of Miles and his family along with some shots of Carlos Santana, Jimi Hendrix, and Sly Stone.
Miles would then go on to be signed by the 70s-80s era record label, Casablanca Records, best known for its rock act, KISS. Miles' work for the label included the album released under his own name, Bicentennial Gathering Of The Tribes. It would include on its liner notes a quote from President John F. Kennedy concerning the American Indians.[Note 1]
1980s: The Club Fed Sessions
In late 1984 and early 1985 while living in a halfway house in Oakland, California, Miles commuted almost every single day to Marin County to collaborate with a handful of musicians and songwriters at the Ice House Studios in San Rafael. The list of collaborators included David Jenkins of Pablo Cruise, Pat Craig and Dave Carlson with Tazmanian Devils, Robbie Long, Bill Craig, Tony Marty, and Tony Saunders. First recorded as a demo, the result was an album's worth of material. The project was soon moved to the Record Plant in Sausalito, where Jim Gaines of Huey Lewis and the News fame came in to take over production chores.
The group produced over 15 songs ranging from funky, soulful grooves to R&B ballads. One cut, "When The Train Leaves the Station", featured solos by both Carlos Santana and Neal Schon from Journey. "Anna", the title song of the proposed album, helped Miles land his next recording job with the California Raisins. However, during the album's production, the Record Plant was seized by the United States Government when its owner was indicted on drug trafficking charges. The musicians and employees working there began calling the studio "Club Fed"; hence the name "The Club Fed Sessions". Unfortunately, the album was never released, and the masters remain in the can, in the hands of Miles' former manager. Years later, Pat Craig digitized some of the mixes and has been known to offer the album from time to time on eBay as a collector's item under the title Buddy and Me. The songs included on the tracklist were "Anna", "Forever in a Moment", "Tonight", "Next to You" and "This Could Be An Everlasting Love".
In 1986, Miles performed vocals for the "California Raisins" claymation ad campaign, most notably singing "I Heard It Through the Grapevine", and also performed lead vocals on two California Raisins albums featuring 1960s R&B covers. In 1986 and 1987, he rejoined Carlos Santana as a vocalist on Santana's album Freedom. In 1987–1988, Miles moved to Southern California and formed the lineup of Marlo Henderson on guitar, Derek Sherinian on keyboards, and Michael BeHolden on bass. The band toured the California coast, then eventually did a tour of the Chitlin' Circuit in the deep south before disbanding in early 1989.
1990s: Tours and remembering Hendrix
While residing in Chicago in 1990, Miles, along with guitarists Kevon Smith and Joe Thomas, formed MST. They recorded Hell and Back in 1994 and toured the U.S. and Europe until 1997. They were also featured in the DVD, Tribute to Jimi Hendrix - CAS (1997), directed by Patrick Savey.
From 1994 to 2007, Buddy Miles formulated his new version of the Buddy Miles Express in the New York City area, with Charlie Torres on bass guitar and vocals, Rod Kohn on guitar and vocals, the then-longest-standing Buddy Miles Express member and band leader Mark "Muggie Doo" Leach on Hammond B3, background vocals, and keyboards, and Kenn Moutenot on drums and vocals and handling management. They toured nearly nonstop in the United States and overseas, with nearly one thousand concerts and festivals to their credit.
In 1996, he sat in with rock band Phish at Madison Square Garden. He also did several dates with Frank Damelio's NJ-based blues band, Rock'n Daddy, which also included former TV Toy guitarist Bob "Big Bud" Solberg, drummer Paul "Fergy" Ferguson, and bassist Phil "Catfish" Endean, who, after developing arthritis in his left hand, now has an online music store at "http://www.endeanmusic.com". Endean, after one rehearsal, gave Miles one of his prized Fender Stratocaster guitars, which Miles played at times in their shows. Through the late 1990s, Miles' band played pro bono at several annual tribute concerts for their local friend and fan, Linda Gillespie, who had been killed in a car accident in the spring of 1994 in Winthrop Harbor.
In 1997, Miles relocated to Fort Worth, Texas. Soon, he began collaborating with a young guitarist from Dallas named Lance Lopez. The former Band Of Gypsys legend would go on to mentor Lopez, co-producing Lopez's debut album, First Things First, with Grammy-winning producer Jay Newland/Norah Jones. The Lopez album was released independently in 1999.
Miles was also seen in the Hendrix-family-owned official video release, The Making of Electric Ladyland on Rhino Records. The video featured interviews with the majority of players who were involved in recording the legendary Hendrix album. The video includes footage of Miles playing his drum tracks in the studio against the original multi-track recordings of Hendrix. In 1999, Miles performed on the late Bruce Cameron's album, Midnight Daydream, which included other Hendrix alumni Billy Cox, Mitch Mitchell, Jack Bruce, and others.
2000s: Final albums and unreleased songs
In 2000, Miles and Leach collaborated with Stevie Ray Vaugan's "Double Trouble" rhythm section, creating the Buddy Miles Blues Berries album which featured Rocky Athas of Black Oak Arkansas. This lineup also contributed a spirited version of Jimi Hendrix's "Wind Cries Mary" on the Blue Haze, Songs of Jimi Hendrix album in 2001. In addition, Miles also composed and recorded many songs with this new version of the Buddy Miles Express that are yet to be released. It was Miles' most enduring live band. In fact, this touring lineup continued for six years with the same members.
The band continued on with Miles and Leach and a host of other players until Buddy's passing. The Miles/Leach duo, along with sax man Patrick Gage and bassist Dave Blackerby, also released the Buddy Miles Express' final album, Road to Sturgis, a benefit CD for the Children's Craniofacial Foundation. Miles and Leach continued writing new but unreleased music until just days before Miles' passing.
In 2004, Miles reunited yet again with Billy Cox of the Band of Gypsys to re-record songs from the original 1970 live album with guitarists Eric Gales, Kenny Olsen, Sheldon Reynolds, Andy Aledortt and Gary Serkin. The album, titled The Band Of Gypsys Return was released in 2006. Until his death, Miles continued to be active musically and performed many shows with proceeds going to help support victims of natural disasters and other charitable causes.
Miles is credited on sessions with George Clinton/Parliament/Funkadelic.
In 2005, Miles began collaborating with Florida-based guitar virtuoso Tony Smotherman, and the two toured the Southeast with a blues-rock band performing various pieces from Miles' collaborations with Jimi Hendrix. Miles and Smotherman last performed at the Austin Convention Center at the 2007 Summer NAMM Show with Vernon Reid of Living Colour.
Biography and career
Early life
Miles was born in Omaha, Nebraska on September 5, 1947. Buddy's father played upright bass for the likes of Duke Ellington, Count Basie, Charlie Parker, and Dexter Gordon and by age 12, Miles Jr had joined Miles sr in his touring band, The Bebops. Given the nickname "Buddy" by his aunt after the drummer Buddy Rich, he was often seen as a teenager, hanging out and recording at Universal Promotions Corporation recording studios, which later became Rainbow Recording Studios.[1]
1960s: Early career
Miles played with a variety of rhythm and blues and soul acts as a teenager, including Ruby & the Romantics, the Delfonics, and Wilson Pickett. In 1964, at the age of 16, Miles met Jimi Hendrix at a show in Canada, where both were performing as sidemen for other artists.
In 1967, Miles joined Hendrix in a jam session at the Malibu home of Stephen Stills. They also went on to play together again in 1968 in both Los Angeles and New York. In the same year, Miles moved to Chicago where he teamed with guitarist Mike Bloomfield and vocalist Nick Gravenites to form The Electric Flag, a blues/soul/rock band. In addition to playing drums, Miles sometimes sang lead vocals for the band, which made its live debut at the Monterey Pop Festival in mid-1967.
In early 1968, the band released A Long Time Comin', its first album for Columbia. The Electric Flag's second album, An American Music Band, followed late the same year. Shortly after that release, though, the group disbanded. In the same year, Hendrix used several guest artists, including Miles, during the recording of the album, Electric Ladyland. Miles played drums on one long jam that was eventually split into two album cuts, "Rainy Day, Dream Away" and "Still Raining, Still Dreaming", with a different song, "1983 a Merman I Should Turn To Be", edited in between.
At age 21, after the breakup of The Electric Flag, Miles put together a new band with Jim McCarty, who later became the guitarist for Cactus. This new group performed and recorded as the Buddy Miles Express. In 1969, Hendrix wrote a short poem as a liner note for Expressway To Your Skull, the first studio album recorded by the Buddy Miles Express. Hendrix went on to produce four of the tracks on the group's follow-up album, Electric Church. The title of the latter LP was taken from Hendrix's poem on the first.
1970s: More bands and collaborations
In 1970, after the Buddy Miles Express split up, Miles began a collaboration with Hendrix and bassist Billy Cox. Together, they formed Band of Gypsys, producing one self-titled live album before disbanding.
Later in 1970, while recording the album We Got To Live Together, Buddy Miles learned of the death of Hendrix, which he mentions on the inner cover of the album. Released in 1971, We Got To Live Together was produced by Miles and Robin McBride. It comprises five songs, including the instrumental "Easy Greasy". The other cuts on the album were "Runaway Child (Little Miss Nothin)", "Walking Down the Highway", "We Got To Live Together" and "Take It Off Him and Put It On Me". All the songs were written by Miles with C. Karp except for the latter. With its high energy drumming, funky overtones and big horns, this album was described as quintessential Buddy Miles.
Also in 1971, though The Electric Flag had been inactive for nearly three years, Columbia released a greatest hits album. Three years later, in 1974, Miles and The Electric Flag re-formed briefly and released another album, The Band Kept Playing, on the Atlantic label.
Miles went on to produce other records as the Buddy Miles Band. One song he had written and recorded with the Band of Gypsys, "Them Changes", was again recorded by Miles with his own band and released by Mercury Records soon after Hendrix's death. Miles' former Band Of Gypsys sideman, Billy Cox, performed bass guitar on this track. The band also included bassist David Hull (who would go on to work with Joe Perry of Aerosmith), as well as guitarist Charlie Karp, of the bands Farrenheit and The James Montgomery Blues Band. When the Buddy Miles Band released its live album, it again included "Them Changes", which had become Miles' signature song.
Miles would see the song released yet a fourth time on a collaborative live record he made with Carlos Santana. This particular version was particularly notable for its intense energy, horn lines, and the blazing guitar work supplied by a very young and energetic Santana. Yet again in 1973, Miles recorded an album with The Gun's Adrian Gurvitz called Chapter VII. The album cover included photos of Miles and his family along with some shots of Carlos Santana, Jimi Hendrix, and Sly Stone.
Miles would then go on to be signed by the 70s-80s era record label, Casablanca Records, best known for its rock act, KISS. Miles' work for the label included the album released under his own name, Bicentennial Gathering Of The Tribes. It would include on its liner notes a quote from President John F. Kennedy concerning the American Indians.[Note 1]
1980s: The Club Fed Sessions
In late 1984 and early 1985 while living in a halfway house in Oakland, California, Miles commuted almost every single day to Marin County to collaborate with a handful of musicians and songwriters at the Ice House Studios in San Rafael. The list of collaborators included David Jenkins of Pablo Cruise, Pat Craig and Dave Carlson with Tazmanian Devils, Robbie Long, Bill Craig, Tony Marty, and Tony Saunders. First recorded as a demo, the result was an album's worth of material. The project was soon moved to the Record Plant in Sausalito, where Jim Gaines of Huey Lewis and the News fame came in to take over production chores.
The group produced over 15 songs ranging from funky, soulful grooves to R&B ballads. One cut, "When The Train Leaves the Station", featured solos by both Carlos Santana and Neal Schon from Journey. "Anna", the title song of the proposed album, helped Miles land his next recording job with the California Raisins. However, during the album's production, the Record Plant was seized by the United States Government when its owner was indicted on drug trafficking charges. The musicians and employees working there began calling the studio "Club Fed"; hence the name "The Club Fed Sessions". Unfortunately, the album was never released, and the masters remain in the can, in the hands of Miles' former manager. Years later, Pat Craig digitized some of the mixes and has been known to offer the album from time to time on eBay as a collector's item under the title Buddy and Me. The songs included on the tracklist were "Anna", "Forever in a Moment", "Tonight", "Next to You" and "This Could Be An Everlasting Love".
In 1986, Miles performed vocals for the "California Raisins" claymation ad campaign, most notably singing "I Heard It Through the Grapevine", and also performed lead vocals on two California Raisins albums featuring 1960s R&B covers. In 1986 and 1987, he rejoined Carlos Santana as a vocalist on Santana's album Freedom. In 1987–1988, Miles moved to Southern California and formed the lineup of Marlo Henderson on guitar, Derek Sherinian on keyboards, and Michael BeHolden on bass. The band toured the California coast, then eventually did a tour of the Chitlin' Circuit in the deep south before disbanding in early 1989.
1990s: Tours and remembering Hendrix
While residing in Chicago in 1990, Miles, along with guitarists Kevon Smith and Joe Thomas, formed MST. They recorded Hell and Back in 1994 and toured the U.S. and Europe until 1997. They were also featured in the DVD, Tribute to Jimi Hendrix - CAS (1997), directed by Patrick Savey.
From 1994 to 2007, Buddy Miles formulated his new version of the Buddy Miles Express in the New York City area, with Charlie Torres on bass guitar and vocals, Rod Kohn on guitar and vocals, the then-longest-standing Buddy Miles Express member and band leader Mark "Muggie Doo" Leach on Hammond B3, background vocals, and keyboards, and Kenn Moutenot on drums and vocals and handling management. They toured nearly nonstop in the United States and overseas, with nearly one thousand concerts and festivals to their credit.
In 1996, he sat in with rock band Phish at Madison Square Garden. He also did several dates with Frank Damelio's NJ-based blues band, Rock'n Daddy, which also included former TV Toy guitarist Bob "Big Bud" Solberg, drummer Paul "Fergy" Ferguson, and bassist Phil "Catfish" Endean, who, after developing arthritis in his left hand, now has an online music store at "http://www.endeanmusic.com". Endean, after one rehearsal, gave Miles one of his prized Fender Stratocaster guitars, which Miles played at times in their shows. Through the late 1990s, Miles' band played pro bono at several annual tribute concerts for their local friend and fan, Linda Gillespie, who had been killed in a car accident in the spring of 1994 in Winthrop Harbor.
In 1997, Miles relocated to Fort Worth, Texas. Soon, he began collaborating with a young guitarist from Dallas named Lance Lopez. The former Band Of Gypsys legend would go on to mentor Lopez, co-producing Lopez's debut album, First Things First, with Grammy-winning producer Jay Newland/Norah Jones. The Lopez album was released independently in 1999.
Miles was also seen in the Hendrix-family-owned official video release, The Making of Electric Ladyland on Rhino Records. The video featured interviews with the majority of players who were involved in recording the legendary Hendrix album. The video includes footage of Miles playing his drum tracks in the studio against the original multi-track recordings of Hendrix. In 1999, Miles performed on the late Bruce Cameron's album, Midnight Daydream, which included other Hendrix alumni Billy Cox, Mitch Mitchell, Jack Bruce, and others.
2000s: Final albums and unreleased songs
In 2000, Miles and Leach collaborated with Stevie Ray Vaugan's "Double Trouble" rhythm section, creating the Buddy Miles Blues Berries album which featured Rocky Athas of Black Oak Arkansas. This lineup also contributed a spirited version of Jimi Hendrix's "Wind Cries Mary" on the Blue Haze, Songs of Jimi Hendrix album in 2001. In addition, Miles also composed and recorded many songs with this new version of the Buddy Miles Express that are yet to be released. It was Miles' most enduring live band. In fact, this touring lineup continued for six years with the same members.
The band continued on with Miles and Leach and a host of other players until Buddy's passing. The Miles/Leach duo, along with sax man Patrick Gage and bassist Dave Blackerby, also released the Buddy Miles Express' final album, Road to Sturgis, a benefit CD for the Children's Craniofacial Foundation. Miles and Leach continued writing new but unreleased music until just days before Miles' passing.
In 2004, Miles reunited yet again with Billy Cox of the Band of Gypsys to re-record songs from the original 1970 live album with guitarists Eric Gales, Kenny Olsen, Sheldon Reynolds, Andy Aledortt and Gary Serkin. The album, titled The Band Of Gypsys Return was released in 2006. Until his death, Miles continued to be active musically and performed many shows with proceeds going to help support victims of natural disasters and other charitable causes.
Miles is credited on sessions with George Clinton/Parliament/Funkadelic.
In 2005, Miles began collaborating with Florida-based guitar virtuoso Tony Smotherman, and the two toured the Southeast with a blues-rock band performing various pieces from Miles' collaborations with Jimi Hendrix. Miles and Smotherman last performed at the Austin Convention Center at the 2007 Summer NAMM Show with Vernon Reid of Living Colour.
Buddy Miles and Michael Powes at Terra Blues, NY. 1999 "Little Wing"
Bukka White +26.02.1977
Booker T. Washington „Bukka“ White, (* 12. November 1906 in Aberdeen, Mississippi; † 26. Februar 1977 in Memphis, Tennessee), war ein US-amerikanischer Bluesmusiker.
Die in älterer Literatur und auf Tonträgern meist angegebene Schreibweise Bukka, die keinen Spitznamen darstellt, sondern auf die Intonation seines Vornamens in seiner Heimat zurückgeht, wurde von ihm nicht gewünscht und wird daher in moderner Fachliteratur nicht mehr verwendet.
Über das Jahr und den Ort seiner Geburt gibt es unterschiedliche Aussagen: so werden als Geburtsdatum der 12. November 1902, 1906 oder 1909 genannt. Der Geburtsort wird mit Houston, Chikasaw oder Aberdeen im Bundesstaat Mississippi angegeben. Neben Charley Patton, Son House und Robert Johnson gehört er zu den bekanntesten Musikern des Delta Blues. Ein Song von Bukka White aus dem Jahr 1930 gilt als Namensgeber für die Panama Limited Jug Band.
Booker T. Washington White wurde als Sohn musikalischer Eltern geboren. Sein Vater war ein Multiinstrumentalist, der Mandoline, Piano, Schlagzeug und Saxophon spielte. Seine Mutter hatte ebenfalls großen Einfluss auf die Musikalität ihres Sohnes. Sie war die Tochter eines Predigers, und das Singen von Kirchenliedern gehörte im Haushalt der Whites zum musikalischen Standardrepertoire.
Mit neun Jahren bekam Bukka seine erste Gitarre, eine „Stella“ geschenkt. Sein Vater brachte ihm auf der Gitarre die ersten Griffe bei. Bukka White lernte, indem er die Lieder, die er hörte, auf der Gitarre nachspielte. Eine oft erzählte Geschichte sagt, dass Bukka diese Gitarre seinem kleinen Vetter Riley Ben King (aka B. B. King) schenkte. Später ist Bukka auf Bilddokumenten fast ausschließlich mit National Steel Guitars zu sehen, die er offen stimmte und mit einem Bottleneck spielte.
Am 26. Mai 1930 machte White für das Label Victor in Memphis seine ersten Schallplattenaufnahmen, die noch unter seinem bürgerlichen Namen Washington White veröffentlicht wurden. Bis dahin hatte er seine musikalischen Erfahrungen in Juke Joints und kleinen Clubs in St. Louis gesammelt. Die Aufnahmen waren damals kommerziell nicht sehr erfolgreich. In den Jahren der Wirtschaftsdepression wanderte White bis Chicago, wo er seinen Lebensunterhalt unter anderem als Boxer verdiente. In Chicago hatte er Kontakt mit Memphis Minnie, Tampa Red und Big Bill Broonzy.
In den Jahren 1937 und 1940 wurde Bukka White für das seinerzeit zu Columbia Records gehörende Schallplattenlabel Vocalion unter Vertrag genommen. Diese Aufnahmen, die auf den Labels Vocalion und (nachdem Columbia 1940 die Rechte an Vocalion verloren hatte) Okeh veröffentlicht wurden, gehören heute zu den Klassikern: Aberdeen Mississippi Blues, Fixin' to Die, Sic'em Dogs on Me, Bukkas Jitterburg Swing oder Parchman Farm.
Einen großen Teil der vierziger Jahre verbrachte White nach einem Tötungsdelikt im Mississippi State Penitentiary in Parchman. Im Titel Parchman Farm erzählt Bukka White von dieser Haftzeit. Dort traf ihn im Jahr 1937 auch der Volkskundler Alan Lomax an. Alan Lomax nahm in dem Straflager die Lieder der einsitzenden Gefangenen für die Library of Congress auf, Bukka White gehörte dazu. Nach seiner Entlassung aus dem Straflager nahm ihn Vocalion, begleitet von Washboard Sam, noch einmal im März 1940 auf, aber Bukka White musste feststellen, dass er seinen Lebensunterhalt damit nicht verdienen konnte, da der Country Blues mittlerweile aus der Mode gekommen war. So nahm er den Beruf eines Altwarenhändlers auf.
Durch die Wiederaufnahme des Titels Fixin' to Die von Bob Dylan auf dessen Debütalbum 1962, kam der Folkmusiker John Fahey - zusammen mit seinem Freund ED Denson - auf die Idee, den Aufenthaltsort von Bukka White zu ermitteln, er war inzwischen nach Memphis umgezogen. Die Nachforschungen hatten Erfolg, er traf einen 53-jährigen Mann an, dem es immer noch Spaß machte, den Delta Blues zu spielen.
Die Begegnung mit Fahey wurde der erneute Start zu einer musikalischen Karriere. Tourneen führten Bukka White sowohl quer durch die USA, als auch im Rahmen des American Folk Blues Festival in den Jahren 1967, 1970 und 1972 nach Europa. Dieser Erfolg ermöglichte ihm neue Aufnahmen bei Takoma Records und Sonet.
White starb 1977 in Memphis an Krebs. 1990 wurde er postum in die Blues Hall of Fame aufgenommen.
Booker T. Washington "Bukka" White (November 12, 1909 – February 26, 1977)[1] was an American Delta blues guitarist and singer. "Bukka" is a phonetic spelling of White's first name.
Biography
Born between Aberdeen and Houston, Mississippi, White was a first cousin of B.B. King's mother (White's mother and King's grandmother were sisters).[2] White himself is remembered as a player of National steel guitars. He also played, but was less adept at, the piano.
White started his career playing the fiddle at square dances. He claims to have met Charlie Patton early on, although some doubt has been cast upon this;[3] Regardless, Patton was a large influence on White. White typically played slide guitar, in an open tuning. He was one of the few, along with Skip James, to use a crossnote tuning in E minor, which he may have learned, as James did, from Henry Stuckey.
He first recorded for Victor Records in 1930. His recordings for Victor, like those of many other bluesmen, fluctuated between country blues and gospel numbers. Victor published his photograph in 1930. His gospel songs were done in the style of Blind Willie Johnson, with a female singer accentuating the last phrase of each line.[4]
Nine years later, while serving time for assault, he recorded for folklorist John Lomax. The few songs he recorded around this time became his most well-known: "Shake 'Em On Down," and "Po' Boy."
Bob Dylan covered his song "Fixin' to Die Blues", which aided a "rediscovery" of White in 1963 by guitarist John Fahey and Ed Denson, which propelled him onto the folk revival scene of the 1960s. White had recorded the song simply because his other songs had not particularly impressed the Victor record producer. It was a studio composition of which White had thought little until it re-emerged thirty years later.[5]
White was at one time managed by experienced blues manager Arne Brogger. Fahey and Denson found White easily enough: Fahey wrote a letter to "Bukka White (Old Blues Singer), c/o General Delivery, Aberdeen, Mississippi." Fahey had assumed, given White's song, "Aberdeen, Mississippi", that White still lived there, or nearby. The postcard was forwarded to Memphis, Tennessee, where White worked in a tank factory. Fahey and Denson soon traveled to meet White, and White and Fahey remained friends through the remainder of White's life.[6] He recorded a new album for Denson and Fahey's Takoma Records, whilst Denson became his manager.
White was, later in life, also friends with fellow musician Furry Lewis. The two recorded, mostly in Lewis' Memphis apartment, an album together, Furry Lewis, Bukka White & Friends: Party! At Home.
One of his most famous songs, "Parchman Farm Blues", about the Mississippi State Penitentiary (also known as Parchman Farm) in Sunflower County, Mississippi, was released on Harry Smith's fourth volume of the Anthology of American Folk Music, Vol. 4. His 1937 version of the oft-recorded song,[7] "Shake 'Em On Down," is considered definitive, and became a hit while White was serving time in Parchman.[8]
White died in February 1977 from cancer, at the age of 67, in Memphis, Tennessee.[1][9][10] In 1990 he was posthumously inducted into the Blues Hall of Fame (along with Blind Blake and Lonnie Johnson). On November 21, 2011, The Recording Academy announced that "Fixin' to Die Blues" was to be added to its 2012 list of Grammy Hall of Fame Award recipients.[11]
Legacy
The Led Zeppelin song "Hats Off to (Roy) Harper", on the band's 1970 album Led Zeppelin III was based in large part on White's "Shake 'Em on Down."[12] "Custard Pie", a song on Led Zeppelin's 1975 album Physical Graffiti, also references "Shake 'Em on Down."[12]
The 1963 recordings of White's song "Shake 'em on Down" and spoken-word piece "Remembrance of Charlie Patton" were both sampled by electronic artist Recoil (mostly a one-man effort by Alan Wilder of Depeche Mode) for the track "Electro Blues For Bukka White" on the 1992 album Bloodline. The song was reworked and re-released on the 2000 EP, "Jezebel".
On January 26, 2010, Eric Bibb released Booker's Guitar (TEL 31756 02) through Telarc International Corporation after becoming inspired by the hidden stories Bibb felt through holding White's famous guitar.
White's song "Parchman Farm Blues" was recorded by Jeff Buckley, which was released posthumously on the bonus disc of Buckley's album, Grace: Legacy Edition.
Othar Turner +26.02.2003
Othar Turner (* 2. Juni 1908 in Rankin County, Mississippi; † 26. Februar 2003 in Gravel Springs, Mississippi), bisweilen auch Otha Turner geschrieben, war ein US-amerikanischer Musiker, einer der letzten Meister auf der Fife (deutsch: Schwegel), einem Vorläufer der Querflöte. Der traditionelle Musikstil Fife and Drum gilt als einer der Ursprünge des Blues.
Turner lebte in Gravel Springs, nicht weit von seinem Geburtsort, als Farmer und Musiker. Bereits als Kind hatte er Mundharmonika gespielt. Mit 16 Jahren hörte er zum ersten Mal die Fife, gespielt von einem Nachbarn namens R. E. Williams. Gegen den Willen seiner Mutter erlernte er das Instrument und schnitt sich seine Flöten selbst aus Schilfrohr. Zu seinen musikalischen Weggefährten gehörten Sid Hemphill und Napolian Strickland, die ebenfalls die Fife spielten.
Mit seiner Band "The Rising Star Fife and Drum Band", der Freunde und Verwandte angehörten, trat Turner bei lokalen Festen auf. In den 1960ern machten sie erste Aufnahmen, die in verschiedenen Anthologien erschienen. 1978 nahm sie Alan Lomax für seine Dokumentation Land Where the Blues Began auf.
Mit der Zeit verbreitete sich der Ruf Turners und seiner Musik. Anfang der 1970er spielte er erstmals auf Blues- und Folk-Festivals und machte in einer Fernsehsendung für Kinder mit. Seit den 1950ern hatte Turner sein eigenes jährliches Festival zum Labor Day, das sich vom Familien-Picknick zum Geheimtipp einer wachsenden Fangemeinde entwickelte. Bei diesem Ereignis schlachtete Turner jedes Mal selbst eine Ziege, deren Fleisch er anschließend in einem großen Kessel kochte.
1998 erschien Turners erstes Album Everybody Hollerin' Goat, das begeistert aufgenommen und vom Magazin Rolling Stone als eines der wesentlichen Alben des Jahrzehnts ausgewählt wurde. 1999 folgte das Album From Senegal to Senatobia, das den afrikanischen Ursprüngen der Fife-and-Drum-Musik nachspürte. Der Song Shimmy She Wobble vom Album Everybody Hollerin' Goat war 2002 in Martin Scorseses Film Gangs of New York zu hören.
Othar Turner erhielt in seinen späten Jahren zahlreiche Auszeichnungen. Er starb im Februar 2003 an den Folgen einer Lungenentzündung. Am gleichen Tag starb seine Tochter Bernice an Krebs. Bei der Totenfeier für die beiden spielte Turners Enkelin Sharde Thomas die Fife, so wie sie es von ihrem Großvater gelernt hatte.
Othar "Otha" Turner (June 2, 1907 – February 26, 2003)[1] was one of the last well-known fife players in the vanishing American fife and drum blues tradition.[2] He was born in Madison County, Mississippi, and lived his entire life in northern Mississippi as a farmer, where in 1923, aged 16, he learned to play fifes fashioned out of rivercanes.
Turner's Rising Star Fife and Drum Band (which consisted of friends and relatives) primarily played at farm parties.[2] Turner, along with bandmates Mae Hemphill and Abe Young, performed as the "Mississippi Fife and Drum Corps" on an episode of Mr. Rogers' Neighborhood that aired on November 18, 1982.[3] They began to receive wider recognition in the 1990s. They appeared on Mississippi Blues in Memphis Vol. 1 in 1993, followed by inclusion in many other blues collections. They released their own critically acclaimed album Everybody Hollerin' Goat in 1998. This was followed by From Senegal to Senatobia in 1999, which combined bluesy fife and drum music with musicians credited as "the Afrossippi Allstars".
The title, Everybody Hollerin' Goat, refers to a tradition Turner began in the late 1950s of hosting Labor Day picnics where he would personally butcher and cook a goat in an iron kettle, and his band would provide musical entertainment. The picnics began as a neighborhood and family gathering; it grew over the years to attract musical fans, first from Memphis, Tennessee, and later from all over the world.
The song, "Shimmy She Wobble", from Everybody Hollerin' Goat was featured in the 2002 film, Gangs of New York. Martin Scorsese, the film's director, featured Turner in his 2003 PBS mini-series The Blues as a link between African rhythms and American blues. The concept was continued on the 2003 album Mississippi to Mali by Corey Harris. The album was dedicated to Turner, who died a week before he was scheduled to record for the album. His granddaughter and protégé Shardé Thomas, then 12 years old, filled in for the recording sessions.
Othar Turner died in Gravel Springs, Mississippi, aged 95, on February 26, 2003.[1] His daughter, Bernice Turner Pratcher, who had been living in a nursing home for some time suffering from breast cancer, died the same day, aged 48. A joint funeral service was held on March 4, 2003, in Como, Mississippi. A procession leading to the cemetery was led by the Rising Star and Fife Band, with Shardé Thomas, then 13 years old, at its head playing the fife.
http://en.wikipedia.org/wiki/Othar_TurnerTurner's Rising Star Fife and Drum Band (which consisted of friends and relatives) primarily played at farm parties.[2] Turner, along with bandmates Mae Hemphill and Abe Young, performed as the "Mississippi Fife and Drum Corps" on an episode of Mr. Rogers' Neighborhood that aired on November 18, 1982.[3] They began to receive wider recognition in the 1990s. They appeared on Mississippi Blues in Memphis Vol. 1 in 1993, followed by inclusion in many other blues collections. They released their own critically acclaimed album Everybody Hollerin' Goat in 1998. This was followed by From Senegal to Senatobia in 1999, which combined bluesy fife and drum music with musicians credited as "the Afrossippi Allstars".
The title, Everybody Hollerin' Goat, refers to a tradition Turner began in the late 1950s of hosting Labor Day picnics where he would personally butcher and cook a goat in an iron kettle, and his band would provide musical entertainment. The picnics began as a neighborhood and family gathering; it grew over the years to attract musical fans, first from Memphis, Tennessee, and later from all over the world.
The song, "Shimmy She Wobble", from Everybody Hollerin' Goat was featured in the 2002 film, Gangs of New York. Martin Scorsese, the film's director, featured Turner in his 2003 PBS mini-series The Blues as a link between African rhythms and American blues. The concept was continued on the 2003 album Mississippi to Mali by Corey Harris. The album was dedicated to Turner, who died a week before he was scheduled to record for the album. His granddaughter and protégé Shardé Thomas, then 12 years old, filled in for the recording sessions.
Othar Turner died in Gravel Springs, Mississippi, aged 95, on February 26, 2003.[1] His daughter, Bernice Turner Pratcher, who had been living in a nursing home for some time suffering from breast cancer, died the same day, aged 48. A joint funeral service was held on March 4, 2003, in Como, Mississippi. A procession leading to the cemetery was led by the Rising Star and Fife Band, with Shardé Thomas, then 13 years old, at its head playing the fife.
Otha Turner "My Babe" with Luther Dickinson .mp4
Howlin' Wolf Come Back Home (1952)
Composed by Chester Burnett
Chester Burnett (Howlin' Wolf):Vocals & Harmonica
Willie Johnson:Guitar
Either L.C. Hubert or Bill Johnson:Piano
Unknown:Bass
Willie Steel:Drums
Recorded in Memphis, TN. October 7, 1952
Unissued until 1977
Originally issued on the 1977 album "The Legendary Sun Recordings" (Charly LP 30134) (LP) (U.K.)
This recording taken from the 1997 CD "Big Bad Blues:25 Sun Blues Classics"
Chester Burnett (Howlin' Wolf):Vocals & Harmonica
Willie Johnson:Guitar
Either L.C. Hubert or Bill Johnson:Piano
Unknown:Bass
Willie Steel:Drums
Recorded in Memphis, TN. October 7, 1952
Unissued until 1977
Originally issued on the 1977 album "The Legendary Sun Recordings" (Charly LP 30134) (LP) (U.K.)
This recording taken from the 1997 CD "Big Bad Blues:25 Sun Blues Classics"
Keine Kommentare:
Kommentar veröffentlichen