1945 Magic Dick*
1950 Danny Kirwan*
1976 Ana Popovich*
2012 Donald Dunn+
John Earl Walker*
WashBone Michel*
Happy Birthday
Ana Popovich *13.05.1976
Ana Popović (* 13. Mai 1976 in Belgrad, Serbien) ist eine serbische Blues-Gitarristin und -Sängerin.
Ana Popović wuchs in einer Familie auf, in der Musik große Bedeutung hatte. Ihr Vater spielte Gitarre und Bass und lud seine Freunde oft zu Jamsessions ein. Ana hörte auch regelmäßig seine Soul- und Bluesplatten. Mit 15 begann sie dann, Gitarre zu spielen. Da Anas Fortschritte bald die Kenntnisse ihres Vaters überstiegen, ermöglichte die Familie private Gitarrestunden. Im Jahr 1999 gründete Ana Popović ihre erste Band „Hush“ und tritt regelmäßig bei allen großen europäischen Bluesfestivals auf. Im selben Jahr unterzeichnete sie einen Vertrag beim deutschen Label Ruf Records. Der endgültige Durchbruch gelang ihr im Jahr 2001 mit dem Album Hush, das positive Medienresonanz zur Folge hatte. 2003 wurde sie für den W. C. Handy Award als beste neue Künstlerin nominiert. Im Jahr 2006 erhielt sie eine Einladung zur "Legendary Blues Cruise". Sie war der erste europäische Künstler, der dazu eingeladen wurde. Die Bühne teilte sie inzwischen mit Künstlern wie Solomon Burke, Walter Trout und Udo Lindenberg.Im Jahr 2007 spielte sie auf dem Sundance Film Festival vor der Aufführung des Films What Love Is. Seit August 2012 lebt sie in Memphis (Tennessee).
http://de.wikipedia.org/wiki/Ana_Popovi%C4%87
Ana Popović (Serbian Cyrillic: Ана Поповић, born May 13, 1976 in Belgrade) is a Memphis, Tennessee-based Serbian blues guitarist and singer.
Biography
Early life
Popović was born in 1976 in Belgrade.[1] Her father introduced her to the blues, and she started to play the guitar when she was fifteen.[1]
Hush (1995 – 1998)
In 1995, she formed the band Hush with Rade Popović (guitar, vocals), Milan Sarić (bass guitar) and Bojan Ivković (drums).[1] Hush performed rhythm and blues, but also incorporated elements of funk and soul into their sound.[1] The band had their first performance in the club Vox in Belgrade. During 1996, Hush performed across FR Yugoslavia, also performing in Greece.[1] Thanks to their performance at the Marsoni Blues Festival in Senta, Hush got the invitation to perform at the Fifth International Blues, Jazz, Rock and Gastronomic Festival in Hungary.[1] A part of their performance was released on a live album which featured recordings from the festival.[1] In 1996, Popović played slide guitar on Piloti album Dan koji prolazi zauvek (The Day that Is Passing Forever).[2]
During 1998, Hush had over 100 performances, playing in blues clubs and blues festivals.[1] During the same year, they released their debut album, Hometown, through PGP-RTS.[1] The album was produced by Aleksandar Radosavljević, and featured Vojno Dizdar (electric piano and Hammond organ), Petar "Pera Joe" Miladinović (harmonica), Aleksandar Tomić (tenor saxophone) and Predrag Krstić (trumpet) as guests.[1] Beside the band's own songs, Hometown also featured covers of blues standards.[1]
In 1998, Popović went to Netherlands to study jazz guitar, and Hush disbanded.[1]
Solo career (1999 – present)
In 1999, Popović formed Ana Popović Band in The Netherlands. In 2000, she appeared, alongside Eric Burdon, Taj Mahal, Buddy Miles, Double Trouble, Eric Gales and others, on Jimi Hendrix tribute album Blue Haze: Songs of Jimi Hendrix with a cover of the song "Belly Button Window".[1] In 2001, she released her solo debut, Hush!, through the German label Ruf Records.[1] The album was recorded in Memphis, with the members of Ana Popović Band,[3] as well as studio musicians.[1] It was produced by Jim Gaines, who previously worked with Carlos Santana, John Lee Hooker, Alexis Korner and others.[1] The album featured Bernard Allison as guest.[1] The album saw large success, so Popović left her guitar studies, and dedicated herself to performing.[1]
In 2003, Popović released her second album, Comfort to the Soul.[1] The album, recorded in Memphis and produced by Gaines, featured a fusion of blues, rock, soul and jazz.[1] During the same year, on the Rhythm & Blues Festival in Belgium, she was invited by Solomon Burke to join him on stage, after which she joined him on the rest of the tour as a guest.[1] In 2005, Popović released live album and DVD entitled Ana!, recorded on January 30, 2005 on her concert in Amsterdam club Melkweg.[1]
In 2007, Popović released the album Still Making History through the American record label Eclecto Groove Records.[4] In 2009, she released the album Blind for Love, and in 2011 the album Unconditional through the same label.[5] Both Still Making History and Unconditional reached number one in the United States Billboard Blues Chart. In 2012, Popović moved to Memphis, Tennessee.
Popović's ninth full-length album, entitled Can You Stand the Heat, was released in April 2013 through ArtisteXclusive records. The album, produced by Tony Coleman, was recorded with John Williams on bass guitar, Harold Smith on rhythm guitar, Frank Ray Jr. on organ and Tony Coleman on drums.[6] Popović performed at the 2013 New Orleans Jazz & Heritage Festival, where she introduced a new project: a nine-piece band under the name Ana Popovic & Mo' Better Love.[6] In September 2013, Popović signed with Monterey International booking agency.
In 2014, she was nominated for a Blues Music Award in the 'Contemporary Blues Female Artist of the Year' category.
Ana Popović (Serbian Cyrillic: Ана Поповић, born May 13, 1976 in Belgrade) is a Memphis, Tennessee-based Serbian blues guitarist and singer.Biography
Early life
Popović was born in 1976 in Belgrade.[1] Her father introduced her to the blues, and she started to play the guitar when she was fifteen.[1]
Hush (1995 – 1998)
In 1995, she formed the band Hush with Rade Popović (guitar, vocals), Milan Sarić (bass guitar) and Bojan Ivković (drums).[1] Hush performed rhythm and blues, but also incorporated elements of funk and soul into their sound.[1] The band had their first performance in the club Vox in Belgrade. During 1996, Hush performed across FR Yugoslavia, also performing in Greece.[1] Thanks to their performance at the Marsoni Blues Festival in Senta, Hush got the invitation to perform at the Fifth International Blues, Jazz, Rock and Gastronomic Festival in Hungary.[1] A part of their performance was released on a live album which featured recordings from the festival.[1] In 1996, Popović played slide guitar on Piloti album Dan koji prolazi zauvek (The Day that Is Passing Forever).[2]
During 1998, Hush had over 100 performances, playing in blues clubs and blues festivals.[1] During the same year, they released their debut album, Hometown, through PGP-RTS.[1] The album was produced by Aleksandar Radosavljević, and featured Vojno Dizdar (electric piano and Hammond organ), Petar "Pera Joe" Miladinović (harmonica), Aleksandar Tomić (tenor saxophone) and Predrag Krstić (trumpet) as guests.[1] Beside the band's own songs, Hometown also featured covers of blues standards.[1]
In 1998, Popović went to Netherlands to study jazz guitar, and Hush disbanded.[1]
Solo career (1999 – present)
In 1999, Popović formed Ana Popović Band in The Netherlands. In 2000, she appeared, alongside Eric Burdon, Taj Mahal, Buddy Miles, Double Trouble, Eric Gales and others, on Jimi Hendrix tribute album Blue Haze: Songs of Jimi Hendrix with a cover of the song "Belly Button Window".[1] In 2001, she released her solo debut, Hush!, through the German label Ruf Records.[1] The album was recorded in Memphis, with the members of Ana Popović Band,[3] as well as studio musicians.[1] It was produced by Jim Gaines, who previously worked with Carlos Santana, John Lee Hooker, Alexis Korner and others.[1] The album featured Bernard Allison as guest.[1] The album saw large success, so Popović left her guitar studies, and dedicated herself to performing.[1]
In 2003, Popović released her second album, Comfort to the Soul.[1] The album, recorded in Memphis and produced by Gaines, featured a fusion of blues, rock, soul and jazz.[1] During the same year, on the Rhythm & Blues Festival in Belgium, she was invited by Solomon Burke to join him on stage, after which she joined him on the rest of the tour as a guest.[1] In 2005, Popović released live album and DVD entitled Ana!, recorded on January 30, 2005 on her concert in Amsterdam club Melkweg.[1]
In 2007, Popović released the album Still Making History through the American record label Eclecto Groove Records.[4] In 2009, she released the album Blind for Love, and in 2011 the album Unconditional through the same label.[5] Both Still Making History and Unconditional reached number one in the United States Billboard Blues Chart. In 2012, Popović moved to Memphis, Tennessee.
Popović's ninth full-length album, entitled Can You Stand the Heat, was released in April 2013 through ArtisteXclusive records. The album, produced by Tony Coleman, was recorded with John Williams on bass guitar, Harold Smith on rhythm guitar, Frank Ray Jr. on organ and Tony Coleman on drums.[6] Popović performed at the 2013 New Orleans Jazz & Heritage Festival, where she introduced a new project: a nine-piece band under the name Ana Popovic & Mo' Better Love.[6] In September 2013, Popović signed with Monterey International booking agency.
In 2014, she was nominated for a Blues Music Award in the 'Contemporary Blues Female Artist of the Year' category.
Danny Kirwan *13.05.1950
Danny Kirwan (* 13. Mai 1950 in Brixton im Süden Londons) ist ein britischer Musiker. Er war von 1969 bis 1972 der Gitarrist, Songwriter und Sänger von Fleetwood Mac.Mit 17 Jahren erregte er die Aufmerksamkeit von Peter Green von Fleetwood Mac, als der ihn mit einer der frühen Bands Kirwans namens Boilerhouse hörte und seine Gitarrentechnik sah. Daufhin begann Boilerhouse einige Konzerte mit den etablierten Fleetwood Mac zu spielen. Obwohl der Rest der Band nicht völlig überzeugt war, bot Mick Fleetwood, Fleetwood Macs Drummer, Kirwan im August 1968 die Mitgliedschaft an. Fleetwood Mac wurden dadurch zu einer Band mit drei Gitarristen, neben Green und Kirwan eben auch der in erster Linie Slidegitarre spielende Jeremy Spencer.
Die erste Aufnahme mit Kirwan war der UK-Nummer 1 Hit Albatross. Auf dem Mitte 1969 veröffentlichten Album Then Play On teilte sich Kirwan fast schon zur Hälfte die Songwriteraufgaben mit Green und war fast genauso häufig als Sänger zu hören. Trotz der musikalischen Nähe kam es zu persönlichen Distanzierungen, die zum Ausstieg Greens aus der Band im Frühjahr 1970 führten.
Während seiner Bandmitgliedschaft bei Fleetwood Mac begab er sich nach Alkohol- und Drogenmissbrauch in psychiatrische Behandlung und wurde 1972 aufgrund dieser Probleme, als auch aufgrund seines Temperaments von der Band durch Mick Fleetwood entlassen, da dieser das einzige Bandmitglied war, das zu diesem Zeitpunkt noch mit ihm sprach. Er brachte danach drei Soloalben heraus. Das erste Album von 1975 hieß "Chapter Two", gefolgt 1976 von "Midnight In San Juan". 1979 kam dann noch das Album "Hello There Big Boy!". Seine geistige Gesundheit verschlechterte sich zu dieser Zeit zunehmend. Einige Quellen machen hierfür die LSD-Drogeneskapaden zusammen mit Green 1970 in München verantwortlich. Andere behaupten Kirwan hätte hieran nicht teilgenommen. Im Gegensatz zu Green konnte Kirwan seine psychischen Probleme auch über Jahre nicht in den Griff bekommen. Daher gab es auch keine weiteren musikalischen Aktivitäten von ihm. In den 1980er und 1990er Jahren war Kirwan bis in die Obdachlosigkeit in London abgerutscht.
Er war zwischen 1971 und 1976 verheiratet und hat einen Sohn.
Wie einige andere britische Bluesrock-Gitarristen aus dieser Zeit, spielte Kirwan bevorzugt einige Modelle einer Gibson Les Paul Standard.
http://de.wikipedia.org/wiki/Danny_Kirwan
Daniel David "Danny" Kirwan (born 13 May 1950) is a British musician whose greatest success came with his role as guitarist, singer and songwriter with the blues rock band Fleetwood Mac between 1968 and 1972.
Biography
Early career
Kirwan was born in Brixton, South London, and his guitar skills started attracting attention at an early age. He was still only 17 when he came to the attention of established British blues band Fleetwood Mac, while he was playing in London with his first band Boilerhouse, with Trevor Stevens on bass guitar and Dave Terrey on drums.[1] He persuaded Mac's producer Mike Vernon to go and watch Boilerhouse rehearse (in a South London basement boiler-room), and Vernon then informed Fleetwood Mac founder Peter Green of his discovery. Green was impressed and Boilerhouse began playing support slots for Fleetwood Mac at London venues like John Gee's Marquee Club in Wardour Street, allowing Kirwan and Green to jam together and get to know each other.
Green took a managerial interest in Boilerhouse but Stevens and Terrey were not prepared to turn professional at the time, so Green put an advert in the Melody Maker to find another rhythm section to back Kirwan. Over 300 applicants replied but after several auditions, none was deemed good enough to replace the pair by the hard to please Green,[2] so another solution was found. Fleetwood Mac had been constituted as a quartet, but Green had been looking for another guitarist to share some of the workload, in view of slide guitarist Jeremy Spencer's unwillingness to contribute much to Green's songs.[3] Drummer Mick Fleetwood, previously a member of John Mayall & the Bluesbreakers, suggested to Green that Kirwan could join Fleetwood Mac, and although neither Green, bassist John McVie (both also former Bluesbreakers), nor Spencer were entirely convinced,[4] Fleetwood asked Kirwan to join the band in August 1968.[5] Kirwan's arrival expanded Fleetwood Mac to a five-piece with three guitarists. He played his first gig with the band on 14 August at the Nag's Head Blue Horizon Club in Battersea, London.[4]
In an interview with Mike Vernon in June 1999, Green described Kirwan as "a clever boy who got ideas for his guitar playing by listening to all that old-fashioned roaring twenties big band stuff." He added that in those early days, Kirwan "was so into it that he cried as he played".[6]
Fleetwood Mac
Kirwan's first recorded work with the band was his contribution to Green's huge instrumental hit single "Albatross". Green later stated that, "I would never have done "Albatross" if it wasn't for Danny. I would never have had a number one hit record."[4] The B-side of the single was Kirwan's first published tune, the instrumental "Jigsaw Puzzle Blues". This was an old clarinet piece, written by Joe Venuti and Adrian Rollini, and recorded by the Joe Venuti / Eddie Lang Blue Five in 1933. Kirwan had adapted the piece for himself and Green to play on guitar, but Green remembered, "I couldn't do it properly... My style wasn't all that satisfactory to Danny, but his style wasn't all that satisfactory to me." So Kirwan played all the guitar parts himself.[4]
Kirwan's skills came further to the forefront on the mid-1969 album Then Play On where he split the songwriting and lead vocal duties almost equally with Green, with many of the performances featuring their dual lead Gibson Les Paul guitars. Since Spencer hardly played on the album, Kirwan had a significant role in the recording. In fact, his "Coming Your Way" opened Side 1, and his varied musical influences are in evidence throughout, from the flowing instrumental "My Dream" to the 1930s-style "When You Say", which Green had earmarked to be a single until his own composition, "Oh Well", took shape and was chosen instead.[4]
The UK release of Then Play On featured two extra, slightly older, Kirwan recordings – the sad blues "Without You", and the heavy "One Sunny Day", which was later covered by American blues musician Tinsley Ellis on his 1997 album Fire It Up. The US-only release English Rose from the same era included these two songs, plus the tense blues "Something Inside of Me" and the aforementioned "Jigsaw Puzzle Blues", both also dating from earlier sessions.
When the US track listing of Then Play On was reordered to allow the inclusion of the full version of Green's hit single "Oh Well", two of Kirwan's songs ("My Dream" and "When You Say") were dropped. Only "Coming Your Way", the wistful "Although the Sun Is Shining", and his duet with Green "Like Crying" appeared on all the later non-UK vinyl releases. On the 1990 CD release, Kirwan's two dropped songs were reinstated, although "One Sunny Day" and "Without You" were now absent from releases in all territories, including the UK. The 2013 CD release restored the original UK track order, with "Without You" and "One Sunny Day" included.
Archival packages from this era, such as the Vaudeville Years and Show-Biz Blues double sets, include many more Kirwan songs, showing blues influences as well as the more arcane tastes that led to songs like "Tell Me from the Start" which could have been mistaken for the 1920s-style group The Temperance Seven. Such unusual musical interests prompted band leader Green to dub Kirwan "Ragtime Cowboy Joe".[4]
Although Fleetwood Mac's hit singles from 1969 to 1970 were all Green-penned tunes, Kirwan's style showed through thanks to Green's increasing desire not to act as the band's main focus. He joined Green in the dual guitar harmonies on "Albatross", and took the solo on "Oh Well Pt. 1". The final hit single from this line-up, "The Green Manalishi", was recorded in a difficult session after Green had announced he was leaving the band. Producer Martin Birch recalls Green growing increasingly frustrated at the results of the session, but that Kirwan reassured him that they would stay there all night until they got it right.[4]
The B-side of "The Green Manalishi" was the instrumental "World in Harmony", the only track ever to receive a "Kirwan/Green" joint songwriting credit. Jeremy Spencer recalled that Kirwan and Green had begun to piece their guitar parts together "almost like orchestrally layered guitar work", something in which Spencer was not interested.[6] Kirwan and Green had already worked on melodic twin guitar demos that sparked rumours in the music press in late 1969 of a duelling guitars project, which ultimately never came to fruition.[4]
Despite the closeness of their musical partnership, Kirwan and Green did not always get on well personally, with Kirwan's short temper being a problem.[6] Although Kirwan had high musical standards and concentrated more on rehearsing than the other members, with Green recalling that Kirwan always had to arrive anywhere an hour early,[4] Green was far more talented when it came to improvisational skills.[6] Roadie Dennis Keane suggested that the success of "Albatross" and the follow-up single "Man of the World" went to Kirwan's head, and he became more confident, to the point of trying to pressure Green and compete with him.[4] However, others, like producer Martin Birch, remember that Kirwan was often seeking reassurance from Green, and that he was always in awe of him: "I often got the impression that Danny was looking for Peter's approval."[4]
After rumours in the music press in early 1970 that Kirwan would leave Fleetwood Mac, it was Green who left in May of that year, and Kirwan later said that he was not surprised at his departure: "We played well together but we didn't get on. I was a bit temperamental you see."[4]
Sessions away from Fleetwood Mac
In January 1969, Kirwan made his first non–Fleetwood Mac appearance when he contributed to Otis Spann's blues album The Biggest Thing Since Colossus, along with Green and McVie. After Then Play On had been completed, Kirwan worked on Christine McVie's first solo album, simply titled Christine Perfect as she was still using her maiden name at that time. She recorded a version of Kirwan's "When You Say" which was chosen as a single, and Kirwan arranged the string section and acted as producer as well.[7]
Kirwan also worked on the first solo album from a then-current member of Fleetwood Mac, when Jeremy Spencer released his eponymously titled album in 1970. Kirwan played rhythm guitar and sang backing vocals throughout. The album was not commercially successful but Spencer discovered that he and Kirwan worked well together without Green: "In retrospect, one of the most enjoyable things was working with Danny on it, as it brought out a side of him I hadn't seen."[8]
Kirwan was also asked to contribute as a session guitarist with the blues band Tramp on their album Tramp (1969). After he left Fleetwood Mac, Kirwan worked with Tramp again on their second album, Put a Record On (1974), and also with Chris Youlden of Savoy Brown on his solo album Nowhere Road (1973).
Kiln House
After Green left in 1970, the band considered splitting up,[9] but they continued briefly as a four-piece before recruiting keyboard player Christine McVie. Kirwan and Spencer handled the guitars and vocals together on the Kiln House album, released in the summer of that year, and they were able to continue the working relationship they had started during the recording of Spencer's solo album the previous year.[8]
Kirwan's songs on the album included "Station Man" (co-written with Spencer and John McVie) which became a live staple for some years, stretching into the post-1974 Buckingham-Nicks era. His other songs were "Jewel-Eyed Judy", dedicated to a friend of the band, Judy Wong; the energetic "Tell Me All the Things You Do", and "Earl Gray", an atmospheric instrumental which Kirwan largely composed while Peter Green was still in the band.[4] Kirwan could also be heard providing distinctive backing vocals to some of Spencer's numbers, such as the 1950s-flavoured album opener, "This Is the Rock".
Other Kirwan compositions from the second half of 1970, such as those that eventually surfaced on the 2003 Madison Blues CD box set, included "Down at the Crown", with lyrics centring on a pub down the lane from the communal band house 'Benifold' in Headley, Hampshire. The unsuccessful single "Dragonfly", recorded late in the year, was also written by Kirwan, and included lyrics adapted from a poem by W. H. Davies. Peter Green said of "Dragonfly", "The best thing he ever wrote... that should have been a hit."[5] This was not to be the last time Kirwan used a poem as lyrics for a song, and may have been a solution to Kirwan's apparent occasional lack of inspiration when writing lyrics.[8] The B-side of the single, "The Purple Dancer", was written by Kirwan, Fleetwood and John McVie and uniquely featured Kirwan and Spencer duetting on lead vocals.
Kirwan and Bob Welch
Two tours of the USA followed in support of Kiln House, but the second, in early 1971, was blighted by Spencer's bizarre departure from the group, when he disappeared one afternoon in Los Angeles, and was later discovered to have joined the religious cult the Children of God. After an uncomfortable time finishing the tour, during which Peter Green was asked to come back and help out, Californian Bob Welch was recruited to replace Spencer, without an audition as such, after a brief period getting to know the band.[9] Welch's contrasting attitudes towards Kirwan, on the one hand their difficult personal relationship, and on the other, Welch's respect for Kirwan's musicianship, were a point of focus during the 18 months they were together in Fleetwood Mac. In 1999, Welch stated: "He was a talented, gifted musician, almost equal to Pete Green in his beautiful guitar playing and faultless string bends."[10] In a later interview, Welch said: "Danny wasn't a very lighthearted person, to say the least. He probably shouldn't have been drinking as much as he did, even at his young age... He was always very intense about his work, as I was, but he didn't seem to ever be able to distance himself from it... and laugh about it. Danny was the definition of 'deadly serious'."[11]
The last two Fleetwood Mac albums to feature Kirwan showed an increasing maturity in his songwriting and playing, his songs taking up about half of each album. His guitar work also showed noticeably in several songs written by Welch and McVie, as they developed their own songwriting techniques. Future Games, released in 1971, was a departure from its predecessor with the clear absence of Spencer and his 50s rock 'n' roll parodies. Welch brought a couple of new songs, notably the lengthy title track, which featured both guitarists playing long instrumental sections. Kirwan contributed the opener "Woman of 1000 Years" which, according to one unknown critic at the time, "floated on a languid sea of echo-laden acoustic and electric guitars".[12] His other songs were the melodic "Sands of Time" which was chosen as a single in the USA, and the country-flavoured "Sometimes" which suggested the route he would take during his solo career. Kirwan's influence can also clearly be heard on the two Christine McVie songs, "Morning Rain" and the laid-back and gentle "Show Me a Smile".
The following year, Bare Trees was released, containing five Kirwan songs including another instrumental, "Sunny Side of Heaven", and the album-closer "Dust" with its lyric taken from a romantic poem by British war poet Rupert Brooke, although Brooke was not credited. "Danny's Chant" featured heavy use of the wah-wah guitar effect and was effectively an instrumental piece but for Kirwan's wordless scat vocals. "Bare Trees" and "Child of Mine", the latter touching upon the absence of Kirwan's father during his childhood, opened each side of the LP and showed funk and slight jazz leanings. An unissued Kirwan track, "Trinity", was played live for a period during 1971–1972 and the studio version was eventually released on the 1992 box set 25 Years – The Chain.
Fired from Fleetwood Mac
Kirwan shouldered much of the songwriting responsibility during this troubled and uncertain period for the band, through the changes in both the line-up and in musical style. The pressure showed in his health and he suffered problems with alcoholism; stories abound of Kirwan not eating for several days at a time, subsisting largely on beer. He gradually became estranged from the other band members,[9] and things came to a head during the autumn of 1972. Before a concert on that year's US tour, Kirwan and Welch rowed over tuning and Kirwan flew into a rage, banging his head and fists against the wall, then smashing his Gibson Les Paul guitar and refused to go onstage. Instead he watched while the rest of the band struggled through without him, and offered unwelcome criticism afterwards.[13] Kirwan had to be sacked by Fleetwood, who had hitherto been the only other member still speaking to him. Fleetwood later said: "It was a torment for him, really, to be up there, and it reduced him to someone who you just looked at and thought 'My God'. It was more a thing of, although he was asked to leave, the way I was looking at it was, I hoped, it was almost putting him out of his agony."[9] He later commented, "I don't think he's ever forgiven me really."[14]
Kirwan's reaction was initially one of surprise, and it seemed he had little idea of how alienated from the other band members he had become,[9] but shortly afterwards he met up with his replacement Bob Weston. Weston described the meeting: "He was aware that I was taking over, and rather sarcastically wished me the best of luck – then paused and added, 'You're gonna need it.' I read between the lines that he was pretty angry with the band."[15]
Solo career and beyond
In early 1974, Kirwan and another recently fired member of Fleetwood Mac, Dave Walker, joined forces with keyboardist Paul Raymond, bassist Andy Silvester and drummer Mac Poole to form a short-lived band called Hungry Fighter.[16] This group played only one gig, at the University of Surrey in Guildford, England, which was not recorded. According to Walker, although Kirwan's playing was "superb", the band did not function properly because "perhaps we were not focused enough musically, and in addition, Danny Kirwan's problems were just starting and this made communication extremely difficult."[16]
Guided by ex-Fleetwood Mac manager Clifford Davis, Kirwan later recorded three solo albums for DJM Records, showing a gentler side as opposed to the blues guitar dynamics of his earlier Fleetwood Mac days. The first of these, Second Chapter (1975) was filled with various musical influences, including a style close to that of Paul McCartney late in his Beatles career.[17] Many songs were very simple musically, with little more than infectious melody and basic lyrics to carry them along. Lyrical themes rarely ventured beyond love.
1976's Midnight in San Juan featured a reggae-inspired cover of The Beatles' "Let It Be", which was released as a single in the USA. Otherwise, Kirwan tended towards the simple tunes and dispensed with the heavy production which dominated the previous LP. Lyrically the subject matter still largely dwelt upon love, but apparently less cheerfully than before, with growing themes of loneliness and isolation, such as on the closing track "Castaway". There was also a song, "Look Around You", written by fellow Mac refugee Dave Walker, with whom Kirwan had worked in Hungry Fighter a couple of years previously.
Kirwan's last album, Hello There Big Boy!, featured guitar contributions by his Fleetwood Mac replacement, Bob Weston. Kirwan was not well at this time and it is not clear how much guitar work he contributed to the recording, though he did sing on all the tracks. Far fewer of the songs were self-penned, and there was one song ("Only You") dug up from his Fleetwood Mac days. There were also backing vocalists for the first time, and the musical style was much less distinct. Producer Clifford Davis added the contribution of 87 musicians to the final recording,[18] and later described the album as "so bad".[13]
None of Kirwan's solo releases was commercially successful, which can be largely attributed to his total reluctance to perform live. Kirwan did not play any live gigs after a few shows with Tramp and the single performance with Hungry Fighter, all in 1974, leaving all three of his solo albums completely unsupported by any form of extra exposure or active promotion apart from an irregular string of equally unsuccessful singles. None of his singles saw release in continental Europe, which might have been a source of success given Peter Green's resurgence there, particularly in Germany.
Kirwan was married in 1971, but was divorced a few years later,[18] and he has one son.
Mental health
During the late 1970s Kirwan's mental health deteriorated significantly and since then he has played no further part in the music industry. During the 1980s and 1990s, he endured a period of homelessness living in London.
In a 2009 BBC TV documentary about Peter Green, Clifford Davis blamed Kirwan's mental deterioration on the same incident that damaged Green's mental stability, i.e. a reaction to LSD taken at a party at a commune in Munich, Germany in late March 1970. Davis stated:
"Peter Green and Danny Kirwan both went together to that house in Munich, both of them took acid as I understand it, [and] both of them, as of that day, became seriously mentally ill."[19]
However, other sources do not concur that Kirwan was present at the commune in Munich. Fleetwood Mac roadie Dinky Dawson remembers that the only two to go to the party were Green and another roadie, Dennis Keane, and that Kirwan did not go. Dawson also states that when Keane returned to the band's hotel to explain that Green would not leave the commune, neither Kirwan nor Davis travelled to the commune to fetch Green, leaving that job to Keane, Dawson and Mick Fleetwood.[20] Keane himself concurs with Dawson, except that he telephoned Davis from the commune and did not physically return to the hotel to fetch help, and that Davis accompanied Dawson and Fleetwood to fetch Green.[21]:110–11 Green also commented, "To my knowledge only Dennis and myself out of the English lot went there."[21]:111 Jeremy Spencer has also stated that he was present at the commune, and has implied that he arrived later with Fleetwood.[22] Neither Keane, Dawson, Green nor Spencer mention Kirwan being present at the commune.
Recent developments
Kirwan was inducted into the Rock and Roll Hall of Fame in 1998 for his work as part of Fleetwood Mac, although he did not travel to the induction ceremony.
His three solo albums were given a belated CD release in February 2006, but only in Japan. A limited edition of 2,500 copies of "Second Chapter" was issued by Repertoire Records in early 2008. The rights and royalties situation regarding these releases is currently such that it is not commonly known if Kirwan will receive any income from them. Prior to this, only Second Chapter had been available on CD, for a brief period in Germany in 1993.
During the mid-2000s, there were rumours of a reunion of the early line-up of Fleetwood Mac, involving Green and Spencer. Although the two guitarists apparently remained unconvinced about a reunion,[8] Kirwan made no comment on the subject. In April 2006, during a question-and-answer session on the Penguin Fleetwood Mac fan website, bass player John McVie said of the reunion idea:
"If we could get Peter and Jeremy to do it, I'd probably, maybe, do it. I know Mick would do it in a flash. Unfortunately, I don't think there's much chance of Danny doing it. Bless his heart."[23]
Equipment
Watkins Rapier 33, 1960s British-made Fender Stratocaster-style guitar, with a chambered body. Kirwan's was red, and he used it when in Boilerhouse, and during early Fleetwood Mac performances (e.g. Hyde Park free concert 1968).
Fender Telecaster Standard Blonde. Used on Like Crying.
1953 Gibson Les Paul Standard, Goldtop, P-90 pickups, no pickguard, later refinished to red.
1959 Gibson Les Paul Standard, Cherry Sunburst, no pickguard.
1959 Gibson Les Paul Standard, Tobacco Sunburst, no pickguard.
1956 Gibson Les Paul Custom, 3 pickup Black Beauty, no pickguard.
Orange Matamp 100W valve amplifier, usually used with two 4 x 12 Orange speaker cabinets (used by the whole band for a period) and separate Orange (valve) spring reverb unit.
Fender Dual Showman amplifier
Biography
Early career
Kirwan was born in Brixton, South London, and his guitar skills started attracting attention at an early age. He was still only 17 when he came to the attention of established British blues band Fleetwood Mac, while he was playing in London with his first band Boilerhouse, with Trevor Stevens on bass guitar and Dave Terrey on drums.[1] He persuaded Mac's producer Mike Vernon to go and watch Boilerhouse rehearse (in a South London basement boiler-room), and Vernon then informed Fleetwood Mac founder Peter Green of his discovery. Green was impressed and Boilerhouse began playing support slots for Fleetwood Mac at London venues like John Gee's Marquee Club in Wardour Street, allowing Kirwan and Green to jam together and get to know each other.
Green took a managerial interest in Boilerhouse but Stevens and Terrey were not prepared to turn professional at the time, so Green put an advert in the Melody Maker to find another rhythm section to back Kirwan. Over 300 applicants replied but after several auditions, none was deemed good enough to replace the pair by the hard to please Green,[2] so another solution was found. Fleetwood Mac had been constituted as a quartet, but Green had been looking for another guitarist to share some of the workload, in view of slide guitarist Jeremy Spencer's unwillingness to contribute much to Green's songs.[3] Drummer Mick Fleetwood, previously a member of John Mayall & the Bluesbreakers, suggested to Green that Kirwan could join Fleetwood Mac, and although neither Green, bassist John McVie (both also former Bluesbreakers), nor Spencer were entirely convinced,[4] Fleetwood asked Kirwan to join the band in August 1968.[5] Kirwan's arrival expanded Fleetwood Mac to a five-piece with three guitarists. He played his first gig with the band on 14 August at the Nag's Head Blue Horizon Club in Battersea, London.[4]
In an interview with Mike Vernon in June 1999, Green described Kirwan as "a clever boy who got ideas for his guitar playing by listening to all that old-fashioned roaring twenties big band stuff." He added that in those early days, Kirwan "was so into it that he cried as he played".[6]
Fleetwood Mac
Kirwan's first recorded work with the band was his contribution to Green's huge instrumental hit single "Albatross". Green later stated that, "I would never have done "Albatross" if it wasn't for Danny. I would never have had a number one hit record."[4] The B-side of the single was Kirwan's first published tune, the instrumental "Jigsaw Puzzle Blues". This was an old clarinet piece, written by Joe Venuti and Adrian Rollini, and recorded by the Joe Venuti / Eddie Lang Blue Five in 1933. Kirwan had adapted the piece for himself and Green to play on guitar, but Green remembered, "I couldn't do it properly... My style wasn't all that satisfactory to Danny, but his style wasn't all that satisfactory to me." So Kirwan played all the guitar parts himself.[4]
Kirwan's skills came further to the forefront on the mid-1969 album Then Play On where he split the songwriting and lead vocal duties almost equally with Green, with many of the performances featuring their dual lead Gibson Les Paul guitars. Since Spencer hardly played on the album, Kirwan had a significant role in the recording. In fact, his "Coming Your Way" opened Side 1, and his varied musical influences are in evidence throughout, from the flowing instrumental "My Dream" to the 1930s-style "When You Say", which Green had earmarked to be a single until his own composition, "Oh Well", took shape and was chosen instead.[4]
The UK release of Then Play On featured two extra, slightly older, Kirwan recordings – the sad blues "Without You", and the heavy "One Sunny Day", which was later covered by American blues musician Tinsley Ellis on his 1997 album Fire It Up. The US-only release English Rose from the same era included these two songs, plus the tense blues "Something Inside of Me" and the aforementioned "Jigsaw Puzzle Blues", both also dating from earlier sessions.
When the US track listing of Then Play On was reordered to allow the inclusion of the full version of Green's hit single "Oh Well", two of Kirwan's songs ("My Dream" and "When You Say") were dropped. Only "Coming Your Way", the wistful "Although the Sun Is Shining", and his duet with Green "Like Crying" appeared on all the later non-UK vinyl releases. On the 1990 CD release, Kirwan's two dropped songs were reinstated, although "One Sunny Day" and "Without You" were now absent from releases in all territories, including the UK. The 2013 CD release restored the original UK track order, with "Without You" and "One Sunny Day" included.
Archival packages from this era, such as the Vaudeville Years and Show-Biz Blues double sets, include many more Kirwan songs, showing blues influences as well as the more arcane tastes that led to songs like "Tell Me from the Start" which could have been mistaken for the 1920s-style group The Temperance Seven. Such unusual musical interests prompted band leader Green to dub Kirwan "Ragtime Cowboy Joe".[4]
Although Fleetwood Mac's hit singles from 1969 to 1970 were all Green-penned tunes, Kirwan's style showed through thanks to Green's increasing desire not to act as the band's main focus. He joined Green in the dual guitar harmonies on "Albatross", and took the solo on "Oh Well Pt. 1". The final hit single from this line-up, "The Green Manalishi", was recorded in a difficult session after Green had announced he was leaving the band. Producer Martin Birch recalls Green growing increasingly frustrated at the results of the session, but that Kirwan reassured him that they would stay there all night until they got it right.[4]
The B-side of "The Green Manalishi" was the instrumental "World in Harmony", the only track ever to receive a "Kirwan/Green" joint songwriting credit. Jeremy Spencer recalled that Kirwan and Green had begun to piece their guitar parts together "almost like orchestrally layered guitar work", something in which Spencer was not interested.[6] Kirwan and Green had already worked on melodic twin guitar demos that sparked rumours in the music press in late 1969 of a duelling guitars project, which ultimately never came to fruition.[4]
Despite the closeness of their musical partnership, Kirwan and Green did not always get on well personally, with Kirwan's short temper being a problem.[6] Although Kirwan had high musical standards and concentrated more on rehearsing than the other members, with Green recalling that Kirwan always had to arrive anywhere an hour early,[4] Green was far more talented when it came to improvisational skills.[6] Roadie Dennis Keane suggested that the success of "Albatross" and the follow-up single "Man of the World" went to Kirwan's head, and he became more confident, to the point of trying to pressure Green and compete with him.[4] However, others, like producer Martin Birch, remember that Kirwan was often seeking reassurance from Green, and that he was always in awe of him: "I often got the impression that Danny was looking for Peter's approval."[4]
After rumours in the music press in early 1970 that Kirwan would leave Fleetwood Mac, it was Green who left in May of that year, and Kirwan later said that he was not surprised at his departure: "We played well together but we didn't get on. I was a bit temperamental you see."[4]
Sessions away from Fleetwood Mac
In January 1969, Kirwan made his first non–Fleetwood Mac appearance when he contributed to Otis Spann's blues album The Biggest Thing Since Colossus, along with Green and McVie. After Then Play On had been completed, Kirwan worked on Christine McVie's first solo album, simply titled Christine Perfect as she was still using her maiden name at that time. She recorded a version of Kirwan's "When You Say" which was chosen as a single, and Kirwan arranged the string section and acted as producer as well.[7]
Kirwan also worked on the first solo album from a then-current member of Fleetwood Mac, when Jeremy Spencer released his eponymously titled album in 1970. Kirwan played rhythm guitar and sang backing vocals throughout. The album was not commercially successful but Spencer discovered that he and Kirwan worked well together without Green: "In retrospect, one of the most enjoyable things was working with Danny on it, as it brought out a side of him I hadn't seen."[8]
Kirwan was also asked to contribute as a session guitarist with the blues band Tramp on their album Tramp (1969). After he left Fleetwood Mac, Kirwan worked with Tramp again on their second album, Put a Record On (1974), and also with Chris Youlden of Savoy Brown on his solo album Nowhere Road (1973).
Kiln House
After Green left in 1970, the band considered splitting up,[9] but they continued briefly as a four-piece before recruiting keyboard player Christine McVie. Kirwan and Spencer handled the guitars and vocals together on the Kiln House album, released in the summer of that year, and they were able to continue the working relationship they had started during the recording of Spencer's solo album the previous year.[8]
Kirwan's songs on the album included "Station Man" (co-written with Spencer and John McVie) which became a live staple for some years, stretching into the post-1974 Buckingham-Nicks era. His other songs were "Jewel-Eyed Judy", dedicated to a friend of the band, Judy Wong; the energetic "Tell Me All the Things You Do", and "Earl Gray", an atmospheric instrumental which Kirwan largely composed while Peter Green was still in the band.[4] Kirwan could also be heard providing distinctive backing vocals to some of Spencer's numbers, such as the 1950s-flavoured album opener, "This Is the Rock".
Other Kirwan compositions from the second half of 1970, such as those that eventually surfaced on the 2003 Madison Blues CD box set, included "Down at the Crown", with lyrics centring on a pub down the lane from the communal band house 'Benifold' in Headley, Hampshire. The unsuccessful single "Dragonfly", recorded late in the year, was also written by Kirwan, and included lyrics adapted from a poem by W. H. Davies. Peter Green said of "Dragonfly", "The best thing he ever wrote... that should have been a hit."[5] This was not to be the last time Kirwan used a poem as lyrics for a song, and may have been a solution to Kirwan's apparent occasional lack of inspiration when writing lyrics.[8] The B-side of the single, "The Purple Dancer", was written by Kirwan, Fleetwood and John McVie and uniquely featured Kirwan and Spencer duetting on lead vocals.
Kirwan and Bob Welch
Two tours of the USA followed in support of Kiln House, but the second, in early 1971, was blighted by Spencer's bizarre departure from the group, when he disappeared one afternoon in Los Angeles, and was later discovered to have joined the religious cult the Children of God. After an uncomfortable time finishing the tour, during which Peter Green was asked to come back and help out, Californian Bob Welch was recruited to replace Spencer, without an audition as such, after a brief period getting to know the band.[9] Welch's contrasting attitudes towards Kirwan, on the one hand their difficult personal relationship, and on the other, Welch's respect for Kirwan's musicianship, were a point of focus during the 18 months they were together in Fleetwood Mac. In 1999, Welch stated: "He was a talented, gifted musician, almost equal to Pete Green in his beautiful guitar playing and faultless string bends."[10] In a later interview, Welch said: "Danny wasn't a very lighthearted person, to say the least. He probably shouldn't have been drinking as much as he did, even at his young age... He was always very intense about his work, as I was, but he didn't seem to ever be able to distance himself from it... and laugh about it. Danny was the definition of 'deadly serious'."[11]
The last two Fleetwood Mac albums to feature Kirwan showed an increasing maturity in his songwriting and playing, his songs taking up about half of each album. His guitar work also showed noticeably in several songs written by Welch and McVie, as they developed their own songwriting techniques. Future Games, released in 1971, was a departure from its predecessor with the clear absence of Spencer and his 50s rock 'n' roll parodies. Welch brought a couple of new songs, notably the lengthy title track, which featured both guitarists playing long instrumental sections. Kirwan contributed the opener "Woman of 1000 Years" which, according to one unknown critic at the time, "floated on a languid sea of echo-laden acoustic and electric guitars".[12] His other songs were the melodic "Sands of Time" which was chosen as a single in the USA, and the country-flavoured "Sometimes" which suggested the route he would take during his solo career. Kirwan's influence can also clearly be heard on the two Christine McVie songs, "Morning Rain" and the laid-back and gentle "Show Me a Smile".
The following year, Bare Trees was released, containing five Kirwan songs including another instrumental, "Sunny Side of Heaven", and the album-closer "Dust" with its lyric taken from a romantic poem by British war poet Rupert Brooke, although Brooke was not credited. "Danny's Chant" featured heavy use of the wah-wah guitar effect and was effectively an instrumental piece but for Kirwan's wordless scat vocals. "Bare Trees" and "Child of Mine", the latter touching upon the absence of Kirwan's father during his childhood, opened each side of the LP and showed funk and slight jazz leanings. An unissued Kirwan track, "Trinity", was played live for a period during 1971–1972 and the studio version was eventually released on the 1992 box set 25 Years – The Chain.
Fired from Fleetwood Mac
Kirwan shouldered much of the songwriting responsibility during this troubled and uncertain period for the band, through the changes in both the line-up and in musical style. The pressure showed in his health and he suffered problems with alcoholism; stories abound of Kirwan not eating for several days at a time, subsisting largely on beer. He gradually became estranged from the other band members,[9] and things came to a head during the autumn of 1972. Before a concert on that year's US tour, Kirwan and Welch rowed over tuning and Kirwan flew into a rage, banging his head and fists against the wall, then smashing his Gibson Les Paul guitar and refused to go onstage. Instead he watched while the rest of the band struggled through without him, and offered unwelcome criticism afterwards.[13] Kirwan had to be sacked by Fleetwood, who had hitherto been the only other member still speaking to him. Fleetwood later said: "It was a torment for him, really, to be up there, and it reduced him to someone who you just looked at and thought 'My God'. It was more a thing of, although he was asked to leave, the way I was looking at it was, I hoped, it was almost putting him out of his agony."[9] He later commented, "I don't think he's ever forgiven me really."[14]
Kirwan's reaction was initially one of surprise, and it seemed he had little idea of how alienated from the other band members he had become,[9] but shortly afterwards he met up with his replacement Bob Weston. Weston described the meeting: "He was aware that I was taking over, and rather sarcastically wished me the best of luck – then paused and added, 'You're gonna need it.' I read between the lines that he was pretty angry with the band."[15]
Solo career and beyond
In early 1974, Kirwan and another recently fired member of Fleetwood Mac, Dave Walker, joined forces with keyboardist Paul Raymond, bassist Andy Silvester and drummer Mac Poole to form a short-lived band called Hungry Fighter.[16] This group played only one gig, at the University of Surrey in Guildford, England, which was not recorded. According to Walker, although Kirwan's playing was "superb", the band did not function properly because "perhaps we were not focused enough musically, and in addition, Danny Kirwan's problems were just starting and this made communication extremely difficult."[16]
Guided by ex-Fleetwood Mac manager Clifford Davis, Kirwan later recorded three solo albums for DJM Records, showing a gentler side as opposed to the blues guitar dynamics of his earlier Fleetwood Mac days. The first of these, Second Chapter (1975) was filled with various musical influences, including a style close to that of Paul McCartney late in his Beatles career.[17] Many songs were very simple musically, with little more than infectious melody and basic lyrics to carry them along. Lyrical themes rarely ventured beyond love.
1976's Midnight in San Juan featured a reggae-inspired cover of The Beatles' "Let It Be", which was released as a single in the USA. Otherwise, Kirwan tended towards the simple tunes and dispensed with the heavy production which dominated the previous LP. Lyrically the subject matter still largely dwelt upon love, but apparently less cheerfully than before, with growing themes of loneliness and isolation, such as on the closing track "Castaway". There was also a song, "Look Around You", written by fellow Mac refugee Dave Walker, with whom Kirwan had worked in Hungry Fighter a couple of years previously.
Kirwan's last album, Hello There Big Boy!, featured guitar contributions by his Fleetwood Mac replacement, Bob Weston. Kirwan was not well at this time and it is not clear how much guitar work he contributed to the recording, though he did sing on all the tracks. Far fewer of the songs were self-penned, and there was one song ("Only You") dug up from his Fleetwood Mac days. There were also backing vocalists for the first time, and the musical style was much less distinct. Producer Clifford Davis added the contribution of 87 musicians to the final recording,[18] and later described the album as "so bad".[13]
None of Kirwan's solo releases was commercially successful, which can be largely attributed to his total reluctance to perform live. Kirwan did not play any live gigs after a few shows with Tramp and the single performance with Hungry Fighter, all in 1974, leaving all three of his solo albums completely unsupported by any form of extra exposure or active promotion apart from an irregular string of equally unsuccessful singles. None of his singles saw release in continental Europe, which might have been a source of success given Peter Green's resurgence there, particularly in Germany.
Kirwan was married in 1971, but was divorced a few years later,[18] and he has one son.
Mental health
During the late 1970s Kirwan's mental health deteriorated significantly and since then he has played no further part in the music industry. During the 1980s and 1990s, he endured a period of homelessness living in London.
In a 2009 BBC TV documentary about Peter Green, Clifford Davis blamed Kirwan's mental deterioration on the same incident that damaged Green's mental stability, i.e. a reaction to LSD taken at a party at a commune in Munich, Germany in late March 1970. Davis stated:
"Peter Green and Danny Kirwan both went together to that house in Munich, both of them took acid as I understand it, [and] both of them, as of that day, became seriously mentally ill."[19]
However, other sources do not concur that Kirwan was present at the commune in Munich. Fleetwood Mac roadie Dinky Dawson remembers that the only two to go to the party were Green and another roadie, Dennis Keane, and that Kirwan did not go. Dawson also states that when Keane returned to the band's hotel to explain that Green would not leave the commune, neither Kirwan nor Davis travelled to the commune to fetch Green, leaving that job to Keane, Dawson and Mick Fleetwood.[20] Keane himself concurs with Dawson, except that he telephoned Davis from the commune and did not physically return to the hotel to fetch help, and that Davis accompanied Dawson and Fleetwood to fetch Green.[21]:110–11 Green also commented, "To my knowledge only Dennis and myself out of the English lot went there."[21]:111 Jeremy Spencer has also stated that he was present at the commune, and has implied that he arrived later with Fleetwood.[22] Neither Keane, Dawson, Green nor Spencer mention Kirwan being present at the commune.
Recent developments
Kirwan was inducted into the Rock and Roll Hall of Fame in 1998 for his work as part of Fleetwood Mac, although he did not travel to the induction ceremony.
His three solo albums were given a belated CD release in February 2006, but only in Japan. A limited edition of 2,500 copies of "Second Chapter" was issued by Repertoire Records in early 2008. The rights and royalties situation regarding these releases is currently such that it is not commonly known if Kirwan will receive any income from them. Prior to this, only Second Chapter had been available on CD, for a brief period in Germany in 1993.
During the mid-2000s, there were rumours of a reunion of the early line-up of Fleetwood Mac, involving Green and Spencer. Although the two guitarists apparently remained unconvinced about a reunion,[8] Kirwan made no comment on the subject. In April 2006, during a question-and-answer session on the Penguin Fleetwood Mac fan website, bass player John McVie said of the reunion idea:
"If we could get Peter and Jeremy to do it, I'd probably, maybe, do it. I know Mick would do it in a flash. Unfortunately, I don't think there's much chance of Danny doing it. Bless his heart."[23]
Equipment
Watkins Rapier 33, 1960s British-made Fender Stratocaster-style guitar, with a chambered body. Kirwan's was red, and he used it when in Boilerhouse, and during early Fleetwood Mac performances (e.g. Hyde Park free concert 1968).
Fender Telecaster Standard Blonde. Used on Like Crying.
1953 Gibson Les Paul Standard, Goldtop, P-90 pickups, no pickguard, later refinished to red.
1959 Gibson Les Paul Standard, Cherry Sunburst, no pickguard.
1959 Gibson Les Paul Standard, Tobacco Sunburst, no pickguard.
1956 Gibson Les Paul Custom, 3 pickup Black Beauty, no pickguard.
Orange Matamp 100W valve amplifier, usually used with two 4 x 12 Orange speaker cabinets (used by the whole band for a period) and separate Orange (valve) spring reverb unit.
Fender Dual Showman amplifier
DANNY KIRWAN/fm - Sweetest solo ever - Live in Örebro - Sweden
Magic Dick *13.05.1945
Magic Dick (* 13. Mai 1945 in New London, Connecticut, USA bürgerlich Richard Salwitz) ist ein US-amerikanischer Musiker. Er wurde als Mundharmonikaspieler der J. Geils Band bekannt. Neben der Mundharmonika spielt er auch Trompete und Saxophon.
1967 gründete er mit John Geils (Gesang, Gitarre) und Danny Klein (Bass) die J. Geils Band, die als akustisches klassisches Bluestrio begannen. Später kamen Peter Wolf (Gesang), Seth Justman (Keyboard) und Stephen Jo Bladd (Schlagzeug) dazu und entwickelten sich zu einer Rockband. 1986 lösten sie sich auf.
Salwitz startete eine eigene Band mit Steve Ramsey (Schlagzeug) und Jerry Miller (Gitarre). Im Jahr 2006 gab es eine Reunion-Tour der J. Geils Band, bei der alle sechs Mitglieder ein Wiedervereinigungskonzert gaben.
http://de.wikipedia.org/wiki/Magic_Dick
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http://www.washbone-and-slide.com/
Donald „Duck“ Dunn (* 24. November 1941 in Memphis, Tennessee; † 13. Mai 2012 in Tokio, Japan[1]) war ein US-amerikanischer Bassist, Musikproduzent und Songwriter. Er war unter anderem Mitglied der Rhythm-and-Blues-Band The Blues Brothers und wurde dabei vor allem durch seine Auftritte in den Filmen Blues Brothers und Blues Brothers 2000 einem breiten Publikum bekannt.
In seiner Biographie[2] erzählt Dunn, dass der Spitzname "Duck" von seinem Vater stamme und dann an ihm einfach hängengeblieben sei. Seine Karriere begann er zusammen mit seinem Jugendfreund, dem Gitarristen Steve Cropper, in der Band The Royal Spades. Dann spielte er zunächst als Bassist bei Ben Branch, später bei den Stax Studios. Er erreichte in den 1960er und 1970er Jahren viele Chartplatzierungen mit den Bands Booker T. & the M.G.’s und den Mar-Keys. Nach seinem Ausstieg
Dunn wurde 1992 mit der Band Booker T. & the M.G.’s in die Rock and Roll Hall of Fame aufgenommen und 2007 mit dem Grammy Lifetime Achievement Award ausgezeichnet.
Richard "Magic Dick" Salwitz (born May 13, 1945) is an American musician, and the harmonica player for The J. Geils Band. In addition to the harmonica, Salwitz plays the trumpet (the first instrument he learned) and saxophone.
Early life
Born in New London, Connecticut, he attended Worcester Polytechnic Institute in Worcester, Massachusetts, where he met John "J" Geils and Danny Klein and became a founding member of The J. Geils Band in 1968.
In The J. Geils Band
Salwitz's harmonica playing became a major and distinctive element in the J. Geils Band's sound during their hard-rocking 1970s heyday. His performance of "Whammer Jammer" on the J. Geils Band's live album Full House has been particularly noted.[1][2] In The Rolling Stone Record Guide series music critic Dave Marsh has described Salwitz as possibly the best white musician to ever play blues harmonica.[citation needed]
After the J. Geils Band parted ways in 1985, Salwitz spent time working on a harmonica design of his own, which he labelled the "Magic Harmonica", a co-invention with Pierre Beauregard.
Bluestime
In 1992, Salwitz re-united with his old friend and band mate J. Geils and formed the band Bluestime. Bluestime featured Steve Ramsey on drums, Jerry Miller on guitar, and Roy McCloud on bass. McCloud was later replaced by Michael "Mudcat" Ward, who played with the band for several years before leaving to pursue other interests. Ward was subsequently replaced by bassist John Turner. The band was a fusion of Chicago blues and classic jazz.
The band released two records on the Rounder Records label:
Bluestime (1994)
Little Car Blues (1996)
Bluestime toured heavily up to at least 2002, as both a solo act and as part of B.B. King's Bluesfest.
Magic Dick contributed his harmonica playing and some vocals as part of a live recording called "Command Performance" by the Legendary Rhythm & Blues Revue featuring The Tommy Castro Band, Deanna Bogart, Ronnie Baker Brooks, and others. He toured as part of the Legendary Rhythm & Blues Revue on different Blues Cruises, and again on land-based shows during 2007-2008.
Early life
Born in New London, Connecticut, he attended Worcester Polytechnic Institute in Worcester, Massachusetts, where he met John "J" Geils and Danny Klein and became a founding member of The J. Geils Band in 1968.
In The J. Geils Band
Salwitz's harmonica playing became a major and distinctive element in the J. Geils Band's sound during their hard-rocking 1970s heyday. His performance of "Whammer Jammer" on the J. Geils Band's live album Full House has been particularly noted.[1][2] In The Rolling Stone Record Guide series music critic Dave Marsh has described Salwitz as possibly the best white musician to ever play blues harmonica.[citation needed]
After the J. Geils Band parted ways in 1985, Salwitz spent time working on a harmonica design of his own, which he labelled the "Magic Harmonica", a co-invention with Pierre Beauregard.
Bluestime
In 1992, Salwitz re-united with his old friend and band mate J. Geils and formed the band Bluestime. Bluestime featured Steve Ramsey on drums, Jerry Miller on guitar, and Roy McCloud on bass. McCloud was later replaced by Michael "Mudcat" Ward, who played with the band for several years before leaving to pursue other interests. Ward was subsequently replaced by bassist John Turner. The band was a fusion of Chicago blues and classic jazz.
The band released two records on the Rounder Records label:
Bluestime (1994)
Little Car Blues (1996)
Bluestime toured heavily up to at least 2002, as both a solo act and as part of B.B. King's Bluesfest.
Magic Dick contributed his harmonica playing and some vocals as part of a live recording called "Command Performance" by the Legendary Rhythm & Blues Revue featuring The Tommy Castro Band, Deanna Bogart, Ronnie Baker Brooks, and others. He toured as part of the Legendary Rhythm & Blues Revue on different Blues Cruises, and again on land-based shows during 2007-2008.
WashBone Michel *13.05.
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http://www.washbone-and-slide.com/
Michel: Percussion .......
Cajon, Washboard, Bones, Maultrommel Gesang
Aus der Zusammenarbeit bei der Country-Blues-Band „Wilder Wein“ die mit
Unterbrechungen seit 1983 viele Erfolge nicht nur im Thüringer Raum einspielte
www.wilder-wein-band
wuchs bald die Lust als Duo eine Plattform zu finden. Frei nach dem Motto
Man muss nicht aus dem Mississippi Delta kommen, um die Genehmigung für den Blues zu erlangen. Der Blues, er lebt überall auf der Welt, auch in den Baumwollplantagen zwischen Weimar und Hannover.
Dem Spannungsfeld zwischen Anspruch und Kommerz, den Stimmungsschwankungen eines launischen Publikums und den Höhen und Tiefen im Proberaum ausgeliefert, immer auf der Suche nach dem eigenen Stil. So ist " WashBone & Slide "
Ob „Water of Love“ / „Layla“ / “Donegan's gone” es klingt ......eben wie WashBone & Slide. Mit einem Augenzwinkern unkonventionell auf der Blechgitarre gepickt. Unterstützt von der Klangwelt eines Washboard / Cajon oder anderen Rhythmusinstrumenten.
Und genau das lassen die Beiden jeden spüren, der sie live erlebt !
Cajon, Washboard, Bones, Maultrommel Gesang
Aus der Zusammenarbeit bei der Country-Blues-Band „Wilder Wein“ die mit
Unterbrechungen seit 1983 viele Erfolge nicht nur im Thüringer Raum einspielte
www.wilder-wein-band
wuchs bald die Lust als Duo eine Plattform zu finden. Frei nach dem Motto
Man muss nicht aus dem Mississippi Delta kommen, um die Genehmigung für den Blues zu erlangen. Der Blues, er lebt überall auf der Welt, auch in den Baumwollplantagen zwischen Weimar und Hannover.
Dem Spannungsfeld zwischen Anspruch und Kommerz, den Stimmungsschwankungen eines launischen Publikums und den Höhen und Tiefen im Proberaum ausgeliefert, immer auf der Suche nach dem eigenen Stil. So ist " WashBone & Slide "
Ob „Water of Love“ / „Layla“ / “Donegan's gone” es klingt ......eben wie WashBone & Slide. Mit einem Augenzwinkern unkonventionell auf der Blechgitarre gepickt. Unterstützt von der Klangwelt eines Washboard / Cajon oder anderen Rhythmusinstrumenten.
Und genau das lassen die Beiden jeden spüren, der sie live erlebt !
WashBone and Slide
R.I.P.
Donald Dunn +13.05.2012
Donald „Duck“ Dunn (* 24. November 1941 in Memphis, Tennessee; † 13. Mai 2012 in Tokio, Japan[1]) war ein US-amerikanischer Bassist, Musikproduzent und Songwriter. Er war unter anderem Mitglied der Rhythm-and-Blues-Band The Blues Brothers und wurde dabei vor allem durch seine Auftritte in den Filmen Blues Brothers und Blues Brothers 2000 einem breiten Publikum bekannt.
In seiner Biographie[2] erzählt Dunn, dass der Spitzname "Duck" von seinem Vater stamme und dann an ihm einfach hängengeblieben sei. Seine Karriere begann er zusammen mit seinem Jugendfreund, dem Gitarristen Steve Cropper, in der Band The Royal Spades. Dann spielte er zunächst als Bassist bei Ben Branch, später bei den Stax Studios. Er erreichte in den 1960er und 1970er Jahren viele Chartplatzierungen mit den Bands Booker T. & the M.G.’s und den Mar-Keys. Nach seinem Ausstieg
bei Stax spielte Dunn als Studio- und Livebassist für Musiker wie Muddy Waters, Freddie King, Albert King, Neil Young, Jerry Lee Lewis und Rod Stewart. Ebenfalls war er Bassist von Eric Clapton, unter anderem bei Live Aid.
Am Abend vor seinem Tod hatte er seinen letzten Auftritt mit Eddie Floyd und Steve Cropper, mit dem er sein Leben lang am engsten zusammenarbeitete. Dunn verstarb am 13. Mai 2012 in Tokio.
Equipment
Donald Dunns erster E-Bass war 1958 ein Modell der Firma Kay,[3] er erwarb später im selben Jahr seinen ersten Precision Bass (P-Bass) des Herstellers Fender[4] und spielte auch danach hauptsächlich Bässe vom P-Bass-Typ, unter anderem auch im Film Blues Brothers. 1998 erschien von Fender ein Signature-Modell in "Candy Apple Red", das technisch an die Precision-Bässe der späten 1950er Jahre angelehnt war.
1999 wechselte er zu P-Bässen des Herstellers Lakland, der ebenfalls ein Signature-Modell auf den Markt brachte. Eine Besonderheit des Lakland Duck Dunn Signature Bass liegt in dem schlankeren Hals, dessen Sattelbreite dem Fender-Jazz-Bass-Hals entspricht und auf einen klassischen Precision-Korpus geschraubt ist.[5][6]
Dunn war weiterhin Endorser bei der Firma Ampeg und spielte SVT-4PRO-Verstärker und SVT-810E-Boxen.
http://de.wikipedia.org/wiki/Donald_Dunn
Donald "Duck" Dunn (November 24, 1941 – May 13, 2012)[1][2] was an American bass guitarist, session musician, record producer, and songwriter. Dunn was notable for his 1960s recordings with Booker T. & the M.G.'s and as a session bassist for Stax Records. At Stax, Dunn played on thousands of records including hits by Otis Redding, Sam & Dave, Rufus Thomas, Carla Thomas, William Bell, Eddie Floyd, Johnnie Taylor, Albert King, Elvis Presley and many others. In 1992, he was inducted in the Rock and Roll Hall of Fame.
Early life
Dunn was born in Memphis, Tennessee. His father nicknamed him "Duck" while watching Disney cartoons with him one day. Dunn grew up playing sports and riding his bike with fellow future professional musician Steve Cropper. After Cropper began playing guitar with mutual friend Charlie Freeman, Dunn decided to pick up the bass guitar. Eventually, along with drummer Terry Johnson, the four became "The Royal Spades". The Messick High School group picked up keyboardist Jerry "Smoochy" Smith, singer Ronnie Angel (also known as Stoots), and a budding young horn section in baritone saxophone player Don Nix, tenor saxophone player Charles "Packy" Axton, and trumpeter (and future co-founder of The Memphis Horns) Wayne Jackson.
Career
1960s: First bands
Cropper has noted how the self-taught Dunn started out playing along with records, filling in what he thought should be there. "That's why Duck Dunn's bass lines are very unique", Cropper said, "They're not locked into somebody's schoolbook somewhere". Axton's mother Estelle and her brother Jim Stewart owned Satellite Records and signed the band, who had a national hit with "Last Night" in 1961 under their new name "The Mar-Keys".[3] The bassist on "Last Night" was Donald "Duck" Dunn, but he left the Mar-Keys in 1962 to join Ben Branch's big band.
The Booker T and the M.G.s group was founded by Steve Cropper and Booker T. Jones in 1962; Al Jackson, Jr. served as the band's drummer.[4] The original bassist, on early hits such as "Green Onions", was Lewie Steinberg; Dunn replaced him in 1964.[5]
Late 1960s–1970s: Session musician
Stax became known for Jackson's drum sound, the sound of The Memphis Horns, and Duck Dunn's grooves. The MGs and Dunn's bass lines on songs like Otis Redding's "Respect" and "I Can't Turn You Loose", Sam & Dave's "Hold On, I'm Comin'", and Albert King's "Born Under a Bad Sign" influenced musicians everywhere.
As an instrumental group, they continued to experiment with McLemore Avenue (their reworking of The Beatles' Abbey Road) and on their final outing, 1971's Melting Pot, which featured basslines that to this day serve as a source of inspiration for hip-hop artists. In the 1970s, Jones and Cropper left Stax, but Dunn and Jackson stayed with the label. He worked with Elvis Presley on his 1973 RCA Album Raised On Rock.
In 1971, when rhythm guitarist Tom Fogerty left Creedence Clearwater Revival, the remaining members discussed with Dunn the possibility of his joining the group, with current CCR bassist Stu Cook moving to guitar. However, it was ultimately decided by CCR to remain a trio from that point on. Booker T and the MGs had performed in concert and jammed in the studio with CCR in the past, and Dunn in particular had become good friends with the band members.
1980s–2000s
Dunn went on to play for Muddy Waters, Freddie King, and Jerry Lee Lewis, as well as Eric Clapton and Rod Stewart. He was the featured bass player for Stevie Nicks and Tom Petty's "Stop Draggin' My Heart Around" single from Nicks' 1981 debut solo album Bella Donna, as well as other Petty tracks between 1976 and 1981. He reunited with Cropper as a member of Levon Helm's RCO All Stars and also displayed his quirky Southern humor making two movies with Cropper, former Stax drummer Willie Hall, and Dan Aykroyd, as a member of The Blues Brothers band. Dunn was the bassist in Eric Clapton's band for Clapton's appearance at Live Aid in 1985.
Dunn played himself in the 1980 feature The Blues Brothers, where he famously uttered the line, "We had a band powerful enough to turn goat piss into gasoline!" and was frequently shown smoking a pipe whilst playing. He appeared in the 1998 sequel Blues Brothers 2000, once again playing himself. Dunn & the MGs were the house band for Bob Dylan's 30th anniversary in the music business concert at Madison Square Garden playing behind Dylan, George Harrison, Eric Clapton, Tom Petty, Stevie Wonder, Sinéad O'Connor, Eddie Vedder, and Neil Young who recruited the MGs to tour with him and recorded with Dunn several times since.
In the 2000s Dunn was in semi-retirement, although he still performed occasionally with Booker T & the MGs at clubs and music festivals.
In June 2004, Dunn, Cropper, and Jones served as the house band for Eric Clapton's Crossroads Guitar Festival. The group backed such guitarists as Joe Walsh and David Hidalgo on the main stage at the Cotton Bowl in Dallas, Texas.[6]
In 2008, Dunn worked with Australian soul singer Guy Sebastian touring The Memphis Album. Dunn and Steve Cropper arrived in Australia on February 20, 2008, to be Sebastian's backing band for an 18-date concert tour, The Memphis Tour.[7]
Dunn is credited with performing on a version of the standard "I Ain't Got Nobody" alongside Booker T Jones, Steve Cropper and Michel Gondry in Michel Gondry's 2008 film Be Kind Rewind.
Death
On the morning of May 13, 2012, Dunn died in his sleep after finishing his fifth double show[8] at the Blue Note night club in Tokyo with Steve Cropper the night before. He had been in the country as part of an ongoing tour with Cropper and Eddie Floyd.[9] He is survived by his wife, June; a son, Jeff; and a grandson, Michael.[10]
Musical equipment
When he was 16, he acquired his first Fender Precision Bass, a 1958 model with sunburst body, 1-piece maple neck and gold anodized pickguard, an instrument he owned until his death.[11] During the 1960s, he used a 1959 model, which was identical to his 1958, but with a rosewood fretboard. He was an avid user of thick La Bella flatwound strings, as was James Jamerson.[12] While filming The Blues Brothers, Dunn used a sunburst mid-sixties Fender Precision bass with a rosewood fretboard and a tortoise pickguard. In 1998, Dunn collaborated with Fender to produce a signature Precision Bass, a candy apple red-colored model based on the late 1950s style, with a gold anodized pickguard, a split-coil humbucking pickup and vintage hardware. The Duck Dunn P-Bass became the basis for a Lakland Skyline Series signature bass made by Chicago bass company Lakland a few years later.[13]
Dunn used an Ampeg SVT-4PRO head and SVT-810E 8×10 cabinet through his endorsement deal with Ampeg.[13][14]
Awards
In 1992, Dunn was inducted into The Rock and Roll Hall of Fame as a member of Booker T & the MG's.[15]
In 2007 Dunn[16] and several Booker T & the MG's members (Lewie Steinberg, Booker T. Jones, Steve Cropper, and Barbara Jackson, the widow of Al Jackson) were given a "Lifetime Achievement" Grammy award for their contributions to popular music.
Early life
Dunn was born in Memphis, Tennessee. His father nicknamed him "Duck" while watching Disney cartoons with him one day. Dunn grew up playing sports and riding his bike with fellow future professional musician Steve Cropper. After Cropper began playing guitar with mutual friend Charlie Freeman, Dunn decided to pick up the bass guitar. Eventually, along with drummer Terry Johnson, the four became "The Royal Spades". The Messick High School group picked up keyboardist Jerry "Smoochy" Smith, singer Ronnie Angel (also known as Stoots), and a budding young horn section in baritone saxophone player Don Nix, tenor saxophone player Charles "Packy" Axton, and trumpeter (and future co-founder of The Memphis Horns) Wayne Jackson.
Career
1960s: First bands
Cropper has noted how the self-taught Dunn started out playing along with records, filling in what he thought should be there. "That's why Duck Dunn's bass lines are very unique", Cropper said, "They're not locked into somebody's schoolbook somewhere". Axton's mother Estelle and her brother Jim Stewart owned Satellite Records and signed the band, who had a national hit with "Last Night" in 1961 under their new name "The Mar-Keys".[3] The bassist on "Last Night" was Donald "Duck" Dunn, but he left the Mar-Keys in 1962 to join Ben Branch's big band.
The Booker T and the M.G.s group was founded by Steve Cropper and Booker T. Jones in 1962; Al Jackson, Jr. served as the band's drummer.[4] The original bassist, on early hits such as "Green Onions", was Lewie Steinberg; Dunn replaced him in 1964.[5]
Late 1960s–1970s: Session musician
Stax became known for Jackson's drum sound, the sound of The Memphis Horns, and Duck Dunn's grooves. The MGs and Dunn's bass lines on songs like Otis Redding's "Respect" and "I Can't Turn You Loose", Sam & Dave's "Hold On, I'm Comin'", and Albert King's "Born Under a Bad Sign" influenced musicians everywhere.
As an instrumental group, they continued to experiment with McLemore Avenue (their reworking of The Beatles' Abbey Road) and on their final outing, 1971's Melting Pot, which featured basslines that to this day serve as a source of inspiration for hip-hop artists. In the 1970s, Jones and Cropper left Stax, but Dunn and Jackson stayed with the label. He worked with Elvis Presley on his 1973 RCA Album Raised On Rock.
In 1971, when rhythm guitarist Tom Fogerty left Creedence Clearwater Revival, the remaining members discussed with Dunn the possibility of his joining the group, with current CCR bassist Stu Cook moving to guitar. However, it was ultimately decided by CCR to remain a trio from that point on. Booker T and the MGs had performed in concert and jammed in the studio with CCR in the past, and Dunn in particular had become good friends with the band members.
1980s–2000s
Dunn went on to play for Muddy Waters, Freddie King, and Jerry Lee Lewis, as well as Eric Clapton and Rod Stewart. He was the featured bass player for Stevie Nicks and Tom Petty's "Stop Draggin' My Heart Around" single from Nicks' 1981 debut solo album Bella Donna, as well as other Petty tracks between 1976 and 1981. He reunited with Cropper as a member of Levon Helm's RCO All Stars and also displayed his quirky Southern humor making two movies with Cropper, former Stax drummer Willie Hall, and Dan Aykroyd, as a member of The Blues Brothers band. Dunn was the bassist in Eric Clapton's band for Clapton's appearance at Live Aid in 1985.
Dunn played himself in the 1980 feature The Blues Brothers, where he famously uttered the line, "We had a band powerful enough to turn goat piss into gasoline!" and was frequently shown smoking a pipe whilst playing. He appeared in the 1998 sequel Blues Brothers 2000, once again playing himself. Dunn & the MGs were the house band for Bob Dylan's 30th anniversary in the music business concert at Madison Square Garden playing behind Dylan, George Harrison, Eric Clapton, Tom Petty, Stevie Wonder, Sinéad O'Connor, Eddie Vedder, and Neil Young who recruited the MGs to tour with him and recorded with Dunn several times since.
In the 2000s Dunn was in semi-retirement, although he still performed occasionally with Booker T & the MGs at clubs and music festivals.
In June 2004, Dunn, Cropper, and Jones served as the house band for Eric Clapton's Crossroads Guitar Festival. The group backed such guitarists as Joe Walsh and David Hidalgo on the main stage at the Cotton Bowl in Dallas, Texas.[6]
In 2008, Dunn worked with Australian soul singer Guy Sebastian touring The Memphis Album. Dunn and Steve Cropper arrived in Australia on February 20, 2008, to be Sebastian's backing band for an 18-date concert tour, The Memphis Tour.[7]
Dunn is credited with performing on a version of the standard "I Ain't Got Nobody" alongside Booker T Jones, Steve Cropper and Michel Gondry in Michel Gondry's 2008 film Be Kind Rewind.
Death
On the morning of May 13, 2012, Dunn died in his sleep after finishing his fifth double show[8] at the Blue Note night club in Tokyo with Steve Cropper the night before. He had been in the country as part of an ongoing tour with Cropper and Eddie Floyd.[9] He is survived by his wife, June; a son, Jeff; and a grandson, Michael.[10]
Musical equipment
When he was 16, he acquired his first Fender Precision Bass, a 1958 model with sunburst body, 1-piece maple neck and gold anodized pickguard, an instrument he owned until his death.[11] During the 1960s, he used a 1959 model, which was identical to his 1958, but with a rosewood fretboard. He was an avid user of thick La Bella flatwound strings, as was James Jamerson.[12] While filming The Blues Brothers, Dunn used a sunburst mid-sixties Fender Precision bass with a rosewood fretboard and a tortoise pickguard. In 1998, Dunn collaborated with Fender to produce a signature Precision Bass, a candy apple red-colored model based on the late 1950s style, with a gold anodized pickguard, a split-coil humbucking pickup and vintage hardware. The Duck Dunn P-Bass became the basis for a Lakland Skyline Series signature bass made by Chicago bass company Lakland a few years later.[13]
Dunn used an Ampeg SVT-4PRO head and SVT-810E 8×10 cabinet through his endorsement deal with Ampeg.[13][14]
Awards
In 1992, Dunn was inducted into The Rock and Roll Hall of Fame as a member of Booker T & the MG's.[15]
In 2007 Dunn[16] and several Booker T & the MG's members (Lewie Steinberg, Booker T. Jones, Steve Cropper, and Barbara Jackson, the widow of Al Jackson) were given a "Lifetime Achievement" Grammy award for their contributions to popular music.
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