1947 Dellie Hoskie Jr.*
1948 Lucille Bogan+
1948 Mick Clarke*
1962 Ras Smaila*
1992 Annisteen Allen+
2015 David Shelley+
2015 Eddie Cusic+
Happy Birthday
Dellie Hoskie Jr. *10.08.1947
The Dellie Hoskie Jr. Story...
Gold record recording artist DELLIE HOSKIE Jr. is a musical master. He has been impressing the World with his Intense soul / funk musical expression for decades. Dellie writes, arranges and plays from his heart and soul with great passion, the way real music is suppose to be.
Dellie Hoskie was born on August 10, 1947, in Newport News, Virginia, the son of a Pentecostal minister who worked in a junkyard and a "stay-at-home mom" named Ardelia. He was one of nine children, and he says that while "a lot of the time we didn't have enough to eat, we always got along together as a family."
Dellie's interest in music started when he was a young man around the age of 12 years old. His father Dellie Hoskie Senior was a musician and played the guitar. When Dellie was growing up at home, he would sneak into his father's bedroom and start playing the guitar because he wanted to be just like his father. Eventually Dellie taught himself how to play chords and he would make up his own songs on the guitar. This is how his passion for music began.
In Newport there was a club called the Motion Theater--Dellie says it is still there--and by the time he was 12 years old, the young Dellie was hanging around, picking up odd jobs, doing the stage stuff. It was heady stuff for a kid: Oh, man! I met them all--Otis Redding, Wilson Pickett, B.B. King and James Brown. The Godfather of Soul, it so happens, would later have a key role in the birth of The Clown. dellie hoskie jr.
By the time he was in his teens, Dellie was itching to get out of Newport News. The church and the junkyard--that wasn't my cup of tea, he says. I took on responsibilities at an early age, got involved with females, and left home when I was 16.
This was after the great post-war migration of African-Americans from the South to the big industrial urban areas of the North, but as Dellie admits with one of his trademark outbursts of self-deprecating humor, Man, I didn't even know the North existed! Me and my brother Joseph just hopped on a boxcar and we just rode; this was in the early '60s, around then.
We got off the boxcar in New Haven--we needed to look for something eat. We was hungry as hell.
Dellie and Joseph knew the junkyard business from Dellie Sr.'s work, and they found work in Tarducci's junkyard, where John Tarducci hired them to cut up junk cars, all the stuff you do in the yard--we used a torch, cut up the cars. The boss, he couldn't put us on the payroll on account of we was too young, so we did piecework.
The brothers had told Tarducci that their parents were also in New Haven, but their fib was put to rest one Sunday when they were playing music in an old Connecticut transit bus they were living in, on the grounds of the junkyard. We'd just get up and sing and play among ourselves, he says. The boss comes in one Sunday, he heard us back there singing in the bus and he wondered where our parents were. We broke down and told him the truth.
He was amazed at the way we were singing. John Tarducci! Man! He bought us our first equipment, and before too long, we started playing in the local clubs.
After Tarducci's generous gift to the young men, Dellie and Joseph put together a band. They were soon gigging all over town. One night in 1969, they were playing a dance at the old American Legion hall on Winchester Avenue, jamming through the James Brown classic I Can't Stand It.
Well, we was just clownin' around, Dellie recalls. We were right in the middle of James' song, and I just stopped and started singing my lyrics. Some of the audience liked it, some didn't. I was just having fun. We went back to the bridge, did some other tunes, and then some people in the audience said, Get on that clown again!'
Before long, Dellie's first manager, one Eddie Noble, paid for the recording of The Clown at New Haven's Dynamic Studios, then released it on his namesake label, Noble Records. From there, it becomes one of those old classic tales of unscrupulous small-label heartbreak: I hooked up with him, signed the contract, says Dellie. That was a big mistake. He did take it all over the airwaves, and there were interviews, and everything was paid for of course, travel and such. But there was no money. The singles "The Clown" & "How much can a man take" were both Gold records sold to fans all over the world in 1971 and made Billboard top 20 for two weeks.
Dellie was still playing music into the 1970s. He played a little with the Five Satins, he says,and toured with the gospel group the Five Blind Boys of Alabama, played guitar and sang withthem for about two years. The thing about gospel groups is that anyone can sit and have fun. Ihad my own group up here in Connecticut for a couple of years. I did a lot of gospel.
But he also endured a failed marriage (he has four children), and the death of his brother Joseph, crushed to death at age 19 by one of those large junkyard magnets, says Dellie. As the years wore on, Dellie began drinking more and more. But he never got into the dope or coke, and he didn't bottom out until the death of his father, about twenty years ago. Aw, the eighties, I hit rock bottom then. I was killing the bottle, just killing it. There was my divorce. I tried to kill myself a couple times back then. It were rough. It were real rough. After my father passed, yes, that's when I hit the bottom. I wouldn't pick up the guitar, I wouldn't sing. I was in really in bad shape then. I lost a lot of weight, and people thought I had some disease. Man, it was the stress, I'm tellin' you.
Well, he says, one night, my father, he comes to me in a dream in 2004 nearly 30 plus years later from his hit record, and he was real rough on me. He says, "What the hell you call yourself? What the hell you doin? I gave you all this talent! Go ahead, get your guitar, pick it up".
But I couldn't pick it up. A couple of nights later, he comes to me again in a dream, and he says the same thing. But still, I just couldn't do it. Then he come to me a third time, in a third dream, and he says, No worries, Dellie. Just do it. I'm with you; I never left you.' And I just started playin' when I woke up, and that's when When Real Love's Gone' comes from. I just started playin' it--every day, another song.
There would be another dream, this one with his deceased brother Joseph. As he relates the dream, Dellie lets out one of his trademark chuckles. All right, so I wake up and start smellin' the coffee, you know, and I'm thinkin', What am I gonna do with this music?' Wouldn't you know it but Joe comes to me in a dream one night, and he says, just type in demo' on the internet.
He did that, sent out a couple of dozen demos, and got about 15 responses, one of them from John J, DeGaetano of Arizona's AppolloEarBone Music Enterprises, Inc. My mother, she says to me, Dellie, you tried to kill yourself so many times. There's a reason you're still around. Dellie then recorded the full length CD called "I'm Back, but Real Love is Gone" on AppolloEarBone Music Enterprises, with John J. DeGaetano in 2004. The CD was released in stores and online in all major music outlets worldwide. With little money for promotions, the release had achieved modest success, but had stellar reviews from music publications around the world. The CD also achieved airplay in over 10 countries worldwide.
The songs on I'm Back But Real Love Is Gone reflect both his playful, fun side and his serious one, much as that famous single did, three decades back. It's My Birthday is a bouncy bit recorded in celebration of his 58th birthday this year. I did have a little party that day, he says. I don't hardly drink no more, thank God. I had a couple cocktails that day, and that's when I wrote it. But then there are bluesy soul ballads like Missing You and I'm Sorry, which are nothing if not sober and heartfelt.
Dellie has performed with some of the best entertainers in the gospel and jazz industry, including The Five Blind Boys, Shirley Ceasar and The Five Satins where he was on the road with them for a short time.
Today, Dellie is doing it again! Now in his 60's, Dellie is again on his way to making a monumental come back headed by John J. DeGaetano with his new sound... "The Blues".
Dellie's new Blues release "Junkyard Blues" was released on Feb 7, 2011 under the direction of John J. DeGaetano on AppolloEarBone Music.
http://www.bluesprofiles.com/Bios/Dellie%20Hoskie%20Jr.html
https://www.reverbnation.com/delliesr
http://www.marshalamp.com/bioNF.htm
https://www.reverbnation.com/delliesr
Gone back were I Came From.wmv
Mick Clarke *10.08.1948
(12.07.1950?)
Mick Clarke first attracted attention in 1968, playing guitar in the south London-based duo Killing Floor with Bill Thorndycraft (vocals/harmonica). They made two well-received albums, Killing Floor in 1969 and Out of Uranus the following year. Killing Floor played in London and elsewhere in the U.K., backing American bluesman Freddie King, and also jammed with other visitors, including Howlin' Wolf. In mid-1972 Killing Floor folded, but Clarke played with Daddy Longlegs before forming his own band, Salt, in the mid-'70s, recording the rare EP All Wired Up in 1978.
After a spell in the United States, Clarke returned to the U.K. at the start of the '80s to form the Mick Clarke Band. For the next two decades the band worked extensively, touring the U.K. and Europe, receiving critical acclaim for their live shows and albums. Critics and audiences in the U.S. also reacted very favorably to the band. In 2005 the band included drummer Chris Sharley (drums, ex-Sassafras), Dave Rea (bass), and Dave Lennox (keyboards). Among other musicians who have worked with Clarke over the years are keyboard player Peter Terry; bass players Mick Phillips, Len Davies, Ian Ellis, Eddie Masters, and Russell Prett; blues harpists Stevie Smith, Dave Newman and Mark Feltham; and drummers Ron Berg, Slash, Mike Hirsh, and Wilgar Campbell. An important part of the repertoire of Clarke's bands are his own compositions, which include "Murderers' Home," "Cheap," "Walking in the Dark," "The Killingest Place," "Second Hand Dream," and "New Star Over Texas."
After a spell in the United States, Clarke returned to the U.K. at the start of the '80s to form the Mick Clarke Band. For the next two decades the band worked extensively, touring the U.K. and Europe, receiving critical acclaim for their live shows and albums. Critics and audiences in the U.S. also reacted very favorably to the band. In 2005 the band included drummer Chris Sharley (drums, ex-Sassafras), Dave Rea (bass), and Dave Lennox (keyboards). Among other musicians who have worked with Clarke over the years are keyboard player Peter Terry; bass players Mick Phillips, Len Davies, Ian Ellis, Eddie Masters, and Russell Prett; blues harpists Stevie Smith, Dave Newman and Mark Feltham; and drummers Ron Berg, Slash, Mike Hirsh, and Wilgar Campbell. An important part of the repertoire of Clarke's bands are his own compositions, which include "Murderers' Home," "Cheap," "Walking in the Dark," "The Killingest Place," "Second Hand Dream," and "New Star Over Texas."
http://www.allmusic.com/artist/mick-clarke-mn0000407423/biography
http://www.marshalamp.com/bioNF.htm
http://www.marshalamp.com/bioNF.htm
Ras Smaila *10.08.1962
Ras Smaila: The Soul of Mama Africa
A cross over between Jimi Hendrix, James Brown and Fela Anikulapo Kuti all mixed in a down home Blues and Soul stew. Ras Smaila grew up between Africa, the West Indies and Europe and did most of his schooling between Porto Novo (Republic of Benin), London and Paris. After rocking the 80’s London scene touring ‘round Europe and jamming with some of the greatest he looked up to while still in his teen learning to play his axe well (Luther Allison, John Paul Hammond, Memphis Slim), Smaila released his 1st CD Black Man’s Blues (an ex Night & Day record).
He also wrote the soundtrack for the US version of Med Hondo’s film WATANI shown at the 1999 L.A Pan African Film Festival and at the London Film Festival the same year. His 2nd CD True Story (1rst a Dixiefrog record) is available since Feb 2012. He has kept busy playing radio concerts and festivals to live TV shows and gigs ‘round the globe, also backing other great acts such as Diana Hamilton (WOMAD 06) Boney Fields, Lyricson, Sai Sai Salim Jah Peter or Ras Naya & Free I Land in Angola (Jan 2012). His record SMAILA LIVE as well as all his previous stuff. A drum machine free 100% organicaly grown goove. Meanwhile, keep an ear out on his afro led Freakin’ Funky n’ Kosmic Bluesy Soul. Here comes the next generation !
Down in Missisippi (W&M J B Lenoir) arrangement Ras Smaila & Serial Groovaz
R.I.P.
Annisteen Allen +10.08.1992
Annisteen Allen (* 11. November 1920 in Champaign (Illinois) als Ernestine Letitia Allen; † 10. August 1992 in Harlem, New York City) war eine US-amerikanische Blues- und Rhythm and Blues-Sängerin. Als Solistin nahm sie von 1951 bis 1953 für King, Capitol (1954/55) und Decca (1956/57) auf.
Allen wuchs in Toledo (Ohio) auf und nahm 1945 erste Songs auf, deren Interpretation unter dem Einfluss von Ella Fitzgerald war, „Miss Annie's Blues“ und den Standard „Love for Sale“. Sie sang dann Ende der 1940er Jahre bei Big John Greer, Wynonie Harris und Lucky Millinder, mit denen sie auf Tourneen ging; 1945/46 veröffentlichte für Syd Nathans Label Queen Records unter dem Titel Annisteen Allen & Her Home Town Boys mit Mitgliedern der Millinder Band; es folgten Einspielungen von Songs wie „More, More, More“, „Let It Roll“, „Moanin' The Blues“ und „I'll Never Be Free“ für Decca Records und RCA Victor. 1953 erschien beim King-Label „Baby I'm Doin It“, ein ironischer Antwortsong auf den Hit "Baby Don't Do It" von den 5 Royales. Obwohl diese Single bis auf Platz 8 in den R&B-Verkaufs-Charts kam[1], setzte das King-Label 1954 den Vertrag nicht fort, weil es wegen Urheberrechts-Verletzung bei "Baby, I'm Doin It" verklagrt wurde[2]. Allen wechselte zu Capitol und ging mit Joe Morris and His Blues Cavalcade und The Orioles auf Tour. 1955 brachte sie den Erfolgstitel „Fujiyama Mama“ heraus, der schon bald von Eileen Barton und später auch von Wanda Jackson gecovert wurde. Am Ende der Dekade entstanden einige Single-Veröffentlichungen für kleinere Label wie Todd, Warwick und Wig Records, bevor sie sich aus dem Musikgeschäft zurückzog und eine Anstellung in der Verwaltung eines Krankenhauses annahm. An freien Wochenenden nahm sie 1961 ein Album mit King Curtis und seiner Band für das Label Tru-Sound auf, das unter dem Titel "Let It Roll" unter ihrem Geburtsnamen Ernestine Allen erschien.
http://de.wikipedia.org/wiki/Annisteen_Allen
Annisteen Allen born Ernestine Letitia Allen (November 11, 1920 – August 10, 1992) was an American blues singer.
Annisteen Allen was born in Champaign, Illinois. Her first recordings were made in 1945, and included "Miss Annie's Blues" and "Love for Sale". She sang with Big John Greer, Wynonie Harris, and Lucky Millinder. In 1951, Federal Records signed her to sing with Millinder's orchestra. She scored other hits with Millinder such as "I'll Never Be Free", "Let It Roll", "Moanin' the Blues", and "More, More, More". Federal's parent company, King Records, acquired her in 1953.
Her single "Baby I'm Doin' It" released in 1953 charted on Billboard R&B chart (#8).[2] After releasing the single, Apollo Records sued King for copyright infringement, and as a result King dropped her from its roster. She then signed with Capitol Records and did tours with Joe Morris and The Orioles. In 1955 she scored a hit in the U.S. with "Fujiyama Mama". She became a solo artist in the 1960s.
Annisteen Allen died in Harlem, New York City at age 71.
Annisteen Allen was born in Champaign, Illinois. Her first recordings were made in 1945, and included "Miss Annie's Blues" and "Love for Sale". She sang with Big John Greer, Wynonie Harris, and Lucky Millinder. In 1951, Federal Records signed her to sing with Millinder's orchestra. She scored other hits with Millinder such as "I'll Never Be Free", "Let It Roll", "Moanin' the Blues", and "More, More, More". Federal's parent company, King Records, acquired her in 1953.
Her single "Baby I'm Doin' It" released in 1953 charted on Billboard R&B chart (#8).[2] After releasing the single, Apollo Records sued King for copyright infringement, and as a result King dropped her from its roster. She then signed with Capitol Records and did tours with Joe Morris and The Orioles. In 1955 she scored a hit in the U.S. with "Fujiyama Mama". She became a solo artist in the 1960s.
Annisteen Allen died in Harlem, New York City at age 71.
ANNISTEEN ALLEN ~ BONGO BOOGIE ~ 1951
Lucille Bogan +10.08.1948
Lucille Bogan zählt zu den klassischen Bluessängerinnen der 1920er und 1930er Jahre. Sie stammte aus Mississippi. Ihre Karriere als Sängerin begann in den 20ern in der Bluesszene von Birmingham (Alabama). 1923 nahm Bogan in New York für Okeh ihre erste Schallplatte auf. Die Titel „Lonesome Daddy Blues“ und „Pawnshop Blues“ waren aber - trotz ihres Namens - eher dem Genre des Vaudeville Blues zuzuordnen. Sie zog dann nach Chicago und kehrte erst Anfang der 1930er Jahre nach New York zurück, wo sie die Zusammenarbeit mit dem Pianisten Walter Roland begann. Bogan und Roland wirkten fortan sowohl als Musiker als auch als Songwriter gemeinsam. Die beiden spielten zusammen über 100 Schallplatten ein, bevor Bogan 1935 ihre Aufnahmekarriere beendete.
Jackson/Bogan änderte schließlich den Stil ihrer Aufführungen und trat fortan nicht als Lucille Bogan auf, obwohl sie noch 1927 als Bogan einen Hit auf dem Markt der sogenannten Race Records mit dem Song „Sweet Petunia“ hatte. Zu ihren bekanntesten Titeln als Songwriterin unter dem Namen Bessie Jackson zählt der „B.D. Woman's Blues“, der 75 Jahre später zum Songmaterial von lesbischen Künstlern wie Holly Near oder den Indigo Girls gehörte. "B.D.", ein Kürzel für bull dykes, begann mit den Zeilen: „Comin' a time/women ain't gonna need no men“.
Sie schrieb dann in ihren späteren Jahren in Kalifornien weitere Songs. Ihre letzte Komposition hieß prophetisch „Gonna Leave Town“. Nach ihrem Tod nahm ihn Smokey Hogg 1949 auf. Weitere von ihr komponierte Titel wurden von Saffire: The Uppity Blues Women eingespielt, ferner von deren Bandmitglied Ann Rabson sowie der Novelty-Band Asylum Street Spankers.
http://de.wikipedia.org/wiki/Lucille_Bogan
Lucille Bogan (April 1, 1897 – August 10, 1948)[1] was an American blues singer, among the first to be recorded. She also recorded under the pseudonym Bessie Jackson. The music critic and sexologist Ernest Borneman stated that Bogan, along with Ma Rainey and Bessie Smith, was in "the big three of the blues".[2]
Life and career
She was born Lucille Anderson in Amory, Mississippi,[3] and raised in Birmingham, Alabama.[2] In 1914, she married Nazareth Lee Bogan, a railwayman, and gave birth to a son, Nazareth Jr., in either 1915 or 1916. Lucille later divorced Nazareth and married James Spencer, who was 22 years younger than herself.
She first recorded vaudeville songs for Okeh Records in New York in 1923, with pianist Henry Callens.[3] Later that year she recorded "Pawn Shop Blues" in Atlanta, Georgia, which was the first time a black blues singer had been recorded outside New York or Chicago.[4] In 1927 she began recording for Paramount Records in Grafton, Wisconsin, where she recorded her first big success, "Sweet Petunia", which was covered by Blind Blake. She also recorded for Brunswick Records, backed by Tampa Red and Cow Cow Davenport.[citation needed]
By 1930 her recordings had begun to concentrate on drinking and sex, with songs such as "Sloppy Drunk Blues" (covered by Leroy Carr and others) and "Tricks Ain't Walkin' No More" (later recorded by Memphis Minnie). She also recorded the original version of "Black Angel Blues", which (as "Sweet Little Angel") was covered by B.B. King and many others. Trained in the rowdier juke joints of the 1920s, many of Bogan's songs, most of which she wrote herself, have thinly-veiled humorous sexual references. The theme of prostitution, in particular, featured prominently in several of her recordings. In 1933 she returned to New York, and, apparently to conceal her identity, began recording as Bessie Jackson for the Banner (ARC) label. She was usually accompanied on piano by Walter Roland, with whom she recorded over 100 songs between 1933 and 1935, including some of her biggest commercial successes including "Seaboard Blues", "Troubled Mind", and "Superstitious Blues".[2]
Her other songs included "Stew Meat Blues", "Coffee Grindin' Blues", "My Georgia Grind", "Honeycomb Man", "Mr. Screw Worm In Trouble", and "Bo Hog Blues". Her final recordings with Roland and Josh White included two takes of "Shave 'Em Dry", recorded in New York on Tuesday March 5, 1935. The unexpurgated alternate take is notorious for its explicit sexual references, a unique record of the lyrics sung in after-hours adult clubs.[4] Another of her songs, "B.D. Woman's Blues", takes the position of a "bull dyke" ("B.D."), with the line "Comin' a time, B.D. women, they ain't gonna need no men" "They got a head like a sweet angel and they walk just like a natural man." "They can lay their jive just like a natural man."[3]
She appears not to have recorded after 1935, and spent some time managing her son's jazz group, Bogan's Birmingham Busters, before moving to Los Angeles shortly before her death from coronary sclerosis in 1948.[1] She is interred at the Lincoln Memorial Park, Compton, California.
Life and career
She was born Lucille Anderson in Amory, Mississippi,[3] and raised in Birmingham, Alabama.[2] In 1914, she married Nazareth Lee Bogan, a railwayman, and gave birth to a son, Nazareth Jr., in either 1915 or 1916. Lucille later divorced Nazareth and married James Spencer, who was 22 years younger than herself.
She first recorded vaudeville songs for Okeh Records in New York in 1923, with pianist Henry Callens.[3] Later that year she recorded "Pawn Shop Blues" in Atlanta, Georgia, which was the first time a black blues singer had been recorded outside New York or Chicago.[4] In 1927 she began recording for Paramount Records in Grafton, Wisconsin, where she recorded her first big success, "Sweet Petunia", which was covered by Blind Blake. She also recorded for Brunswick Records, backed by Tampa Red and Cow Cow Davenport.[citation needed]
By 1930 her recordings had begun to concentrate on drinking and sex, with songs such as "Sloppy Drunk Blues" (covered by Leroy Carr and others) and "Tricks Ain't Walkin' No More" (later recorded by Memphis Minnie). She also recorded the original version of "Black Angel Blues", which (as "Sweet Little Angel") was covered by B.B. King and many others. Trained in the rowdier juke joints of the 1920s, many of Bogan's songs, most of which she wrote herself, have thinly-veiled humorous sexual references. The theme of prostitution, in particular, featured prominently in several of her recordings. In 1933 she returned to New York, and, apparently to conceal her identity, began recording as Bessie Jackson for the Banner (ARC) label. She was usually accompanied on piano by Walter Roland, with whom she recorded over 100 songs between 1933 and 1935, including some of her biggest commercial successes including "Seaboard Blues", "Troubled Mind", and "Superstitious Blues".[2]
Her other songs included "Stew Meat Blues", "Coffee Grindin' Blues", "My Georgia Grind", "Honeycomb Man", "Mr. Screw Worm In Trouble", and "Bo Hog Blues". Her final recordings with Roland and Josh White included two takes of "Shave 'Em Dry", recorded in New York on Tuesday March 5, 1935. The unexpurgated alternate take is notorious for its explicit sexual references, a unique record of the lyrics sung in after-hours adult clubs.[4] Another of her songs, "B.D. Woman's Blues", takes the position of a "bull dyke" ("B.D."), with the line "Comin' a time, B.D. women, they ain't gonna need no men" "They got a head like a sweet angel and they walk just like a natural man." "They can lay their jive just like a natural man."[3]
She appears not to have recorded after 1935, and spent some time managing her son's jazz group, Bogan's Birmingham Busters, before moving to Los Angeles shortly before her death from coronary sclerosis in 1948.[1] She is interred at the Lincoln Memorial Park, Compton, California.
David Shelley +10.08.2015
"David Shelley and Bluestone" is an eclectic fusion of blues, rock and world rhythms with well crafted songs and smoking hot guitar playing. The band is based out of south Florida where the music scene has embraced their non-traditional style voting David Shelley and Bluestone best blues band in 2010, and 2013.
David Shelley draws the audience in with soulful vocals to articulate deep meaningful lyrics. David is a timeless artist, a multi talented singer, songwriter, guitarist and percussionist as well as a producer. He sings from his soul and projects his passion onto the audience as David’s band Bluestone breathes life into the songs and together they have become one of the top bands in the region.
David Shelley comes from a long line of performers, as the son of a jazz singer/ actress Martha Stewart (‘”Dollface”) and grandson of Buddy De Sylva, songwriter of classics like” the Birth of the Blues’, ‘Sunny Boy’ and ‘the Best things in life are free’. David Shelley’s break happened in the 90’s when his songs were chosen for a movie soundtrack. He was cast as actor in the movie ‘And God Created Women’ starring Rebecca DeMornay. This led to David becoming Cher’s guitar player for the ‘Heart of Stone’ tour, which included 66 shows worldwide and many memorable appearances in Cher’s videos, including the famous aircraft carrier scene of 'If I Could Turn Back Time.'
David has recently performed with renowned artists such as Government Mule (2010 and 2014), Devon Allman and Tommy Castro.
Currently with 2 internationally known original albums and a new album underway that the band will be debuting live in Europe in 2015, David Shelley and Bluestone are ready for the world stage. The band has made their mark in Europe where they have been awarded best studio album on a UK blues radio awards and perform in Canada's largest festivals annually.
“ With a high-voltage sound and incredible solos, David Shelley and his group Bluestone promise a concert bristling with energy, attitude… and a blues-rock sound that blows the doors out!”- International festival de Jazz de Montreal.
avid Shelley, an uncommonly skilled guitarist and bandleader whose reliable presence on the South Florida blues scene belied a wildly eclectic journey to near stardom and back, reached the end of that road on Monday morning.
Shelley died in hospice care at the Fort Lauderdale home of his daughter Daylin after a long battle with cancer. He was 57.
Per David Shelley's wishes, there will be no funeral service, his daughter said on Monday, but a memorial service is being planned for Aug. 23 on Fort Lauderdale beach near the B Ocean Hotel Fort Lauderdale, once known as the Yankee Clipper Hotel. Another appreciation of his life and music is being arranged at the Funky Biscuit in September, she said.
David Shelley and Cher
Fort Lauderdale guitarist David Shelley toured with Cher in the early 1990s and appeared in her iconic battleship video for the song "If I Could Turn Back Time." (Upfront Marketing Group/Courtesy)
Shelley, a California native who made his debut on the South Florida music scene more than three decades ago, lately could be found with his band Bluestone, with whom he released two albums, "That's My Train" (2012) and "Trick Bag" (2013).
Under a trademark cowboy hat, usually slung low over his face, embraced by a halo of rock-star blond hair, Shelley and band were a fixture at some of the area's top blues venues from Miami to Lake Worth, as well as a popular act at signature outdoor events, including the Riverwalk Blues & Music Festival in Fort Lauderdale and SunFest in West Palm Beach.
Such was the respect for Shelley that when the revered O'Hara's Jazz & Blues Café closed on Las Olas Boulevard in 2008, it was his band that played the last edition of its popular Sunday-night shows. Five years later, when the Riverside Hotel introduced the inaugural Las Olas Blues Festival, it asked Shelley to be among the first performers on the grassy void left by O'Hara's demolition.
"He was a major talent, one that people were just starting to get what he was about," says Fort Lauderdale jazz guitarist Randy Bernsen, a friend of Shelley since the 1970s. "He's also one of the funniest people I've ever met, with a heart of gold."
In November, when organizers of the Jazz and Blues Festival in San Miguel de Allende, Mexico, asked Bernsen to help find a blues guitarist, it did not take long.
"I told them, 'I've got the man,'" Bernsen recalls. "Dave was a super blues guitarist, also versed in some jazz. He just had a love for all music. He could play guitar, then switch to the bongos, and then kick ass on a song vocally. He was finally coming into his own, right about the time he got sick."
A multitalented singer-songwriter and guitarist, Shelley was born with music in his blood: His mother, performing as Martha Stewart, sang with Glenn Miller's band and acted in films and television. His grandfather Buddy DeSylva founded Capitol Records with Johnny Mercer and Glenn Wallichs.
DeSylva was the lyricist for such standards as "Button Up Your Overcoat," "Sonny Boy," "California Here I Come" and "The Best Things in Life Are Free." Shelley covered his grandfather's "The Birth of the Blues" on his album "Trick Bag."
Guitarist Albert Castiglia, a friend since they played together in the Alligator Alley Allstars more than a dozen years ago, says that Shelley never brought up his glamorous background. But it did find its way into Shelley's well-known sense of humor.
"He was really good at impersonations," Castiglia recalls. "He did a great Bert Lahr, the Cowardly Lion from 'The Wizard of Oz,' and a great Oprah Winfrey. He was really funny that way."
Shelley moved from California to Fort Lauderdale in 1979, opened a small recording studio and found quick success with a popular rock-reggae band, Ti'shan. Later, with the David Shelley Band, he released a handful of songs that hit South Florida radio stations, including "She's Only Rock 'n' Roll" and "Battle of the Sexes."
In 1984, MCA Records decided they could turn the soft-spoken Shelley's songs and rock-god looks into stardom, and beckoned him to Los Angeles. The album he recorded for MCA was never released, but the trip wasn't a total loss: Shelley caught the eye of talent scouts, and he scored a role in the remake of "And God Created Woman" with Rebecca De Mornay (his songs also were on the soundtrack) and dabbled in network soap operas, including "The Guiding Light" and "General Hospital."
In 1990, Shelley was the lead guitarist on Cher's Heart of Stone world tour, and is seen in one of her best-known music videos, "If I Could Turn Back Time."
The following year, he was named music director of Fox TV's "The Ron Reagan Show," hosted by the son of the former president. The show did not last long, but Reagan's memories of Shelley endure.
"I have often thought about the mistakes I made and what I might have done better to ensure the success of our show," Reagan wrote in an email to Shelley last week. "I have never, however, regretted for an instant my association with you and your bandmates. You were the one undeniably wonderful aspect of our endeavor. … Over the years, through your music, you have brought tremendous joy to many. You have shared your great gift and made a positive difference in the lives of others. This is a form of loving, and love is the most valuable thing in life."
Castiglia says he was touring Europe a couple of years ago when he heard Shelley's music come over the PA in the concert hall. The promoter told him he was a big fan of Shelley and had been trying to get the guitarist over to tour.
Last year, Shelley got an offer from a European record label, but an hour later received his cancer diagnosis, and the record deal didn't happen.
Shelley died in hospice care at the Fort Lauderdale home of his daughter Daylin after a long battle with cancer. He was 57.
Per David Shelley's wishes, there will be no funeral service, his daughter said on Monday, but a memorial service is being planned for Aug. 23 on Fort Lauderdale beach near the B Ocean Hotel Fort Lauderdale, once known as the Yankee Clipper Hotel. Another appreciation of his life and music is being arranged at the Funky Biscuit in September, she said.
David Shelley and Cher
Fort Lauderdale guitarist David Shelley toured with Cher in the early 1990s and appeared in her iconic battleship video for the song "If I Could Turn Back Time." (Upfront Marketing Group/Courtesy)
Shelley, a California native who made his debut on the South Florida music scene more than three decades ago, lately could be found with his band Bluestone, with whom he released two albums, "That's My Train" (2012) and "Trick Bag" (2013).
Under a trademark cowboy hat, usually slung low over his face, embraced by a halo of rock-star blond hair, Shelley and band were a fixture at some of the area's top blues venues from Miami to Lake Worth, as well as a popular act at signature outdoor events, including the Riverwalk Blues & Music Festival in Fort Lauderdale and SunFest in West Palm Beach.
Such was the respect for Shelley that when the revered O'Hara's Jazz & Blues Café closed on Las Olas Boulevard in 2008, it was his band that played the last edition of its popular Sunday-night shows. Five years later, when the Riverside Hotel introduced the inaugural Las Olas Blues Festival, it asked Shelley to be among the first performers on the grassy void left by O'Hara's demolition.
"He was a major talent, one that people were just starting to get what he was about," says Fort Lauderdale jazz guitarist Randy Bernsen, a friend of Shelley since the 1970s. "He's also one of the funniest people I've ever met, with a heart of gold."
In November, when organizers of the Jazz and Blues Festival in San Miguel de Allende, Mexico, asked Bernsen to help find a blues guitarist, it did not take long.
"I told them, 'I've got the man,'" Bernsen recalls. "Dave was a super blues guitarist, also versed in some jazz. He just had a love for all music. He could play guitar, then switch to the bongos, and then kick ass on a song vocally. He was finally coming into his own, right about the time he got sick."
A multitalented singer-songwriter and guitarist, Shelley was born with music in his blood: His mother, performing as Martha Stewart, sang with Glenn Miller's band and acted in films and television. His grandfather Buddy DeSylva founded Capitol Records with Johnny Mercer and Glenn Wallichs.
DeSylva was the lyricist for such standards as "Button Up Your Overcoat," "Sonny Boy," "California Here I Come" and "The Best Things in Life Are Free." Shelley covered his grandfather's "The Birth of the Blues" on his album "Trick Bag."
Guitarist Albert Castiglia, a friend since they played together in the Alligator Alley Allstars more than a dozen years ago, says that Shelley never brought up his glamorous background. But it did find its way into Shelley's well-known sense of humor.
"He was really good at impersonations," Castiglia recalls. "He did a great Bert Lahr, the Cowardly Lion from 'The Wizard of Oz,' and a great Oprah Winfrey. He was really funny that way."
Shelley moved from California to Fort Lauderdale in 1979, opened a small recording studio and found quick success with a popular rock-reggae band, Ti'shan. Later, with the David Shelley Band, he released a handful of songs that hit South Florida radio stations, including "She's Only Rock 'n' Roll" and "Battle of the Sexes."
In 1984, MCA Records decided they could turn the soft-spoken Shelley's songs and rock-god looks into stardom, and beckoned him to Los Angeles. The album he recorded for MCA was never released, but the trip wasn't a total loss: Shelley caught the eye of talent scouts, and he scored a role in the remake of "And God Created Woman" with Rebecca De Mornay (his songs also were on the soundtrack) and dabbled in network soap operas, including "The Guiding Light" and "General Hospital."
In 1990, Shelley was the lead guitarist on Cher's Heart of Stone world tour, and is seen in one of her best-known music videos, "If I Could Turn Back Time."
The following year, he was named music director of Fox TV's "The Ron Reagan Show," hosted by the son of the former president. The show did not last long, but Reagan's memories of Shelley endure.
"I have often thought about the mistakes I made and what I might have done better to ensure the success of our show," Reagan wrote in an email to Shelley last week. "I have never, however, regretted for an instant my association with you and your bandmates. You were the one undeniably wonderful aspect of our endeavor. … Over the years, through your music, you have brought tremendous joy to many. You have shared your great gift and made a positive difference in the lives of others. This is a form of loving, and love is the most valuable thing in life."
Castiglia says he was touring Europe a couple of years ago when he heard Shelley's music come over the PA in the concert hall. The promoter told him he was a big fan of Shelley and had been trying to get the guitarist over to tour.
Last year, Shelley got an offer from a European record label, but an hour later received his cancer diagnosis, and the record deal didn't happen.
David Shelley Band Trois Rivières 2014
David Shelley & Bluestone Live @ Hard Rock Café Memphis 2014
Eddie Cusic +11.08.2015
Eddie Cusic (January 4, 1926 – August 11, 2015) was an American Mississippi blues guitarist, singer, and songwriter.[2] His small quantity of recorded work included him being mislabelled as Eddie Quesie and Eddie Cusie. Cusic had musical connections with both Little Milton[1] and James "Son" Thomas.[2]
Life and career
Eddie Cusic was born on the Kinlock Plantation, near Wilmot, due south of Leland, Mississippi, United States in 1926.[3] Growing up in a farming community, he was inspired to play the blues after hearing adults playing at local family gatherings. He graduated from playing the diddley bow to a Sears electric guitar. He formed the Rhythm Aces in the early part of the 1950s, a three piece band who played throughout the Mississippi Delta area.[3] One of the group was Little Milton whom Cusic taught to play the guitar.[1][4] Following service in the United States Army, which began in 1952, Cusic later settled in Stoneville, Mississippi, and found employment in a Ford automobile plant and a USDA meatpacking plant.[5] In the 1970s, Cusic played alongside James "Son" Thomas at regular engagements. Together they recorded "Once I Had a Car", which appeared on the compilation album, Mississippi Delta & South Tennessee Blues (1977).[2] Cusic needed to supplement his income and started working at a quarry and reduced his playing commitments. He retired from full-time work in 1989, and returned to performing with an acoustic guitar.[3] He has variously appeared at the Mississippi Delta Blues and Heritage Festival in Greenville, Mississippi,[6] as well as at the Sunflower River Blues Festival, the Smithsonian Folklife Festival and at the Chicago Blues Festival.[3]
In 1998, Cusic made a 'field recording' at his own house in Leland, Mississippi, and delivered versions of several blues standards in his own pure Mississippi blues styling. The recording included cover versions of songs such as "Good Morning Little Schoolgirl", "Big Boss Man", "(I'm Your) Hoochie Coochie Man" and "Catfish Blues". AllMusic noted that the resultant album, I Want to Boogie, was "a strong debut that also makes the first new 'blues discovery' since the halcyon days of the 1960s".[1] It was released by HighTone Records.[3] A reworked version, containing several different tracks, was released in 2012, billed as Leland Mississippi Blues.[7]
C2C sampled the vocals from Cusic's, “You Don't Have to Go” for their own 2012 track, "Down The Road".[8][9]
On August 11, 2015, Cusic died from prostate cancer, aged 89.
https://en.wikipedia.org/wiki/Eddie_Cusic
Eddie Cusic - Leland, Mississippi (1994)
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