1925 Robert Ealey*
1947 Kim Simmonds*
1949 Leadbelly+
1963 Frank Plagge*
1972 Sean Carney*
Sherman Doucette*
1947 Kim Simmonds*
1949 Leadbelly+
1963 Frank Plagge*
1972 Sean Carney*
Sherman Doucette*
Happy Birthday
Kim Simmonds *06.12.1947
Kim Simmonds (* 6. Dezember 1947 in Newbridge, Wales) ist ein britischer Blues- und Rockmusiker (Gitarre, Piano, Gesang). Bekannt wurde er als Gründer und Frontmann der Bluesrock-Formation Savoy Brown.
Mit 13 Jahren begann Simmonds, Gitarre zu spielen. 1966 gründete er die Savoy Brown Blues Band, die später als Savoy Brown vor allem in den USA populär wurde.
Kim Simmonds ist einer der führenden britischen Blues-Gitarristen, gemeinsam mit Kollegen wie Eric Clapton, Mick Taylor und Peter Green. Er prägte die Bluesrock-Szene der 1960er-Jahre in England wesentlich mit und trug entscheidend dazu bei, die Blues-Begeisterung nach Amerika zurückzubringen.
Auch nach 40 Jahren ist Kim Simmonds weiterhin mit Savoy Brown unterwegs. Daneben arbeitet er immer wieder solo, wobei er die akustische Gitarre bevorzugt.
Kim Maiden Simmonds (born 5 December 1947, Newbridge, Caerphilly) is a Welsh guitarist, now residing in New York and best known as leader and founding member of the blues/rock band Savoy Brown.
Career
When still a young teenager Kim Simmonds learned to play from listening to his brother's blues records. Considered one of the architects of British blues, he started playing professionally in 1966 in London, England.
Nineteen-year-old guitarist Kim Simmonds formed Savoy Brown in 1966. Explosive live performances eventually led to Savoy Brown signing with Decca. But it was 1969 before its classic line-up gelled around Simmonds, guitarist "Lonesome" Dave Peverett and monocle and bowler hat-wearing vocalist Chris Youlden. That year's Blue Matter and A Step Further albums conjured up at least three classics heard on The Best Of Savoy Brown: "Train To Nowhere," the live show-stopper "Louisiana Blues" (a Muddy Waters number) and "I'm Tired." Since its first US visit, Savoy Brown has criss-crossed the country, and "I'm Tired" became the group's first hit single across the ocean. The band would find a greater reception in America than in its native England throughout its career.
1970's Raw Sienna followed, featuring A Hard Way To Go and Stay While The Night Is Still Young. When Youlden then departed for a solo career, Lonesome Dave took over the lead vocals. Looking In, also in 1970, featured not only "Poor Girl" and "Money Can't Save Your Soul" but one of the era's memorable LP covers, a troglodyte-like savage staring into an eye socket of a monstrous skull. Later, Peverett, bassist Tony Stevens and drummer Roger Earl left to form the immensely successful but decidedly rock band Foghat. Simmonds soldiered on, recruiting from blues band Chicken Shack keyboardist Paul Raymond, bassist Andy Silvester and drummer Dave Bidwell, and from the Birmingham club circuit the vocalist Dave Walker.
The new line-up was a hit. On stage in America, the group was supported by Rod Stewart and the Faces. On the album Street Corner Talking (1971) and Hellbound Train (1972) launched favorites "Tell Mama", "Street Corner Talking", a cover of the Temptations' Motown standard "I Can't Get Next To You" and the nine-minute epic "Hellbound Train" (decades later Love & Rockets adapted it as "Bound For Hell"). Walker then quit to join Fleetwood Mac, pre-Buckingham/Nicks.
In 1997, Simmonds released his first solo acoustic album, entitled Solitaire. He continues to tour worldwide with various configurations of Savoy Brown - of particular note is the 2004 live set You Should Have Been There, recorded in early 2003 in Vancouver with Simmonds himself handling lead vocals - and also as a solo acoustic act. In 2011 he celebrated 45 years of touring with the Savoy Brown album Voodoo Moon.
As leader of Savoy Brown, he has released over 50 albums. He is also a painter, and the cover of his 2008 solo release, Out of the Blue, featured his original art.
Career
When still a young teenager Kim Simmonds learned to play from listening to his brother's blues records. Considered one of the architects of British blues, he started playing professionally in 1966 in London, England.
Nineteen-year-old guitarist Kim Simmonds formed Savoy Brown in 1966. Explosive live performances eventually led to Savoy Brown signing with Decca. But it was 1969 before its classic line-up gelled around Simmonds, guitarist "Lonesome" Dave Peverett and monocle and bowler hat-wearing vocalist Chris Youlden. That year's Blue Matter and A Step Further albums conjured up at least three classics heard on The Best Of Savoy Brown: "Train To Nowhere," the live show-stopper "Louisiana Blues" (a Muddy Waters number) and "I'm Tired." Since its first US visit, Savoy Brown has criss-crossed the country, and "I'm Tired" became the group's first hit single across the ocean. The band would find a greater reception in America than in its native England throughout its career.
1970's Raw Sienna followed, featuring A Hard Way To Go and Stay While The Night Is Still Young. When Youlden then departed for a solo career, Lonesome Dave took over the lead vocals. Looking In, also in 1970, featured not only "Poor Girl" and "Money Can't Save Your Soul" but one of the era's memorable LP covers, a troglodyte-like savage staring into an eye socket of a monstrous skull. Later, Peverett, bassist Tony Stevens and drummer Roger Earl left to form the immensely successful but decidedly rock band Foghat. Simmonds soldiered on, recruiting from blues band Chicken Shack keyboardist Paul Raymond, bassist Andy Silvester and drummer Dave Bidwell, and from the Birmingham club circuit the vocalist Dave Walker.
The new line-up was a hit. On stage in America, the group was supported by Rod Stewart and the Faces. On the album Street Corner Talking (1971) and Hellbound Train (1972) launched favorites "Tell Mama", "Street Corner Talking", a cover of the Temptations' Motown standard "I Can't Get Next To You" and the nine-minute epic "Hellbound Train" (decades later Love & Rockets adapted it as "Bound For Hell"). Walker then quit to join Fleetwood Mac, pre-Buckingham/Nicks.
In 1997, Simmonds released his first solo acoustic album, entitled Solitaire. He continues to tour worldwide with various configurations of Savoy Brown - of particular note is the 2004 live set You Should Have Been There, recorded in early 2003 in Vancouver with Simmonds himself handling lead vocals - and also as a solo acoustic act. In 2011 he celebrated 45 years of touring with the Savoy Brown album Voodoo Moon.
As leader of Savoy Brown, he has released over 50 albums. He is also a painter, and the cover of his 2008 solo release, Out of the Blue, featured his original art.
Savoy Brown - Slow Blues
Kitchener Blues Festival, Clocktower Stage, Sunday August 11, 2013, Kim Simmonds vocals & guitar, Pat DeSalvo bass and Garnet Grimm drums
Kitchener Blues Festival, Clocktower Stage, Sunday August 11, 2013, Kim Simmonds vocals & guitar, Pat DeSalvo bass and Garnet Grimm drums
Robert Ealey *06.12.1925
Robert Ealey (December 6, 1925 – March 8, 2001)[2] was an African American electric blues singer, who performed Texas blues. Among other releases, he recorded a couple of albums for Black Top Records in the 1990s, having earlier formed a duo with U.P. Wilson.[3] Ealey also worked with Tone Sommer, Mike Buck, and Mike Morgan.[1]
Ealey's best known work included "One Love One Kiss" and "Turn Out The Lights". He variously worked with the Boogie Chillun Boys, the Juke Jumpers and the Five Careless Lovers.
Robert Daniel Ealey was born in Texarkana, Texas, United States, and in his teens sang in a quartet in his local church.[1]
Following service in the Army in World War II, Ealey moved to Dallas in 1951,[4] having been singing professionally from the age of 20. In Fort Worth, he formed a duo, the Boogie Chillun Boys, with the guitarist U.P. Wilson.[1] The Boogie Chillun Boys provided inspiration to fellow Texan singer and guitarist Ray Sharpe.[3] The Bluebird Club in Fort Worth was Ealey's musical base for more than thirty years.[1] His involvement was such that he co-owned the club from 1977 to 1989.[4] His 1973 live album, Live at the New Bluebird Nightclub, was billed as by Robert Ealey and the Five Careless Lovers, and included contributions from Mike Buck. It was produced by T-Bone Burnett.
By the 1990s Ealey, and his guitarist Tone Sommer, started touring more widely, and their authentic Texas blues found a wider audience in the US and Europe. Television advertisement work also expanded the recognition of Ealey's music. His 1996 album, Turn Out the Lights, issued by Black Top Records, saw Ealey work with blues accompanists including Morgan and Sommer on guitar. The 1997 follow-up, I Like Music When I Party was similarly successful.[1]
Ealey died in Fort Worth on March 8, 2001, of undisclosed causes following an automobile accident the previous December. He was aged 75.[2] He was interred with military honors at the Dallas-Fort Worth National Cemetery.[4]
In 2003, Aristokraft issued the compilation album, Robert Ealey: Blues That Time Forgot.
ALLTEXASMUSIC - Robert Ealey - The Lost Tapes
Frank Plagge *06.12.1963
Ich bin Baujahr ' 63 und mache seit meinem 15.Lebensjahr Musik ( Autodidakt ).
Das Gitarrespielen habe ich mir durch Zuhören, Zusehen und Ausprobieren beigebracht.
Bis Mitte der 80er schrieb ich Stücke mit deutschen Texten und spielte, wo sich die Gelegenheit bot.
1993 kam dann Eric Clapton mit seiner Unplugged CD auf den Markt und für mich war absolut nichts mehr, wie es einmal war.
Seitdem spiele ich Blues & Rootsmusic ( in Kneipen, Straßenmusik in Deutschland + dem Rest der EU !! ) und fast ausschließlich Slide, Dobro bzw. Resonatorgitarre.
Keinen Schimmer, was das ist oder woher die Spielweise kommt ?
Dann besuchen Sie eines meiner Konzerte und stellen die bisher unbeantworteten Fragen an mich!!
Seit 1993 bin ich als Musiker in verschiedenen Formationen und Solo unterwegs gewesen.
Von 2006 an bin ich hauptsächlich als Solist und One Man Band unterwegs.
Dabei habe ich Europa von Italien bis Norwegen bereist und viel erlebt, gesehen und viele interessante Menschen getroffen.
Seit 2008 werde ich mittlerweile schon zu ca. 99% als One Man Band gebucht !!!
Ich spiele Dobro-/Slidegitarre,Mandoline,Ukulele, Bassdrum, HiHat, 2 Snaredrums, ab und zu Kazoo und singe auch noch, wenn ich nicht gerade Mundharmonika spiele .
Mein Programm, welches sich ständig vergrößert, besteht aus einer geballten Ladung tanzbarem Gute Laune Blues und allem, was sonst noch zu einem gelungenen Konzert gehört.
Frank Plagge zeigte was alles möglich ist, wenn einer mit Bluesharp, Bottleneck, Stahlsaiten - Gitarren und seiner Stimme aller Bestens umgehen kann.
Blues - Klassiker und Geheimtipps im Plagge - Gewand.
Das sind ganz gefühlvolle Stücke und radikale Fetzer mit geschätzten 20 Saitenanschlägen pro Sekunde , die klasse klingen und rein optisch überhaupt nicht mehr nachvollziehbar sind!
Von 2006 an bin ich hauptsächlich als Solist und One Man Band unterwegs.
Dabei habe ich Europa von Italien bis Norwegen bereist und viel erlebt, gesehen und viele interessante Menschen getroffen.
Seit 2008 werde ich mittlerweile schon zu ca. 99% als One Man Band gebucht !!!
Ich spiele Dobro-/Slidegitarre,Mandoline,Ukulele, Bassdrum, HiHat, 2 Snaredrums, ab und zu Kazoo und singe auch noch, wenn ich nicht gerade Mundharmonika spiele .
Mein Programm, welches sich ständig vergrößert, besteht aus einer geballten Ladung tanzbarem Gute Laune Blues und allem, was sonst noch zu einem gelungenen Konzert gehört.
Frank Plagge zeigte was alles möglich ist, wenn einer mit Bluesharp, Bottleneck, Stahlsaiten - Gitarren und seiner Stimme aller Bestens umgehen kann.
Blues - Klassiker und Geheimtipps im Plagge - Gewand.
Das sind ganz gefühlvolle Stücke und radikale Fetzer mit geschätzten 20 Saitenanschlägen pro Sekunde , die klasse klingen und rein optisch überhaupt nicht mehr nachvollziehbar sind!
Born on 6.th of December 1963, I've played the guitar since the age of 15.
Raised up in the maintown of Schleswig Holstein, Kiel in the northern part of Germany.
I've played in small clubs around my hometown as a singer/songwriter, with german lyrics.In 1993 comes the point who changed my life.
That was the first time I saw Eric Claptons MTV unplugged concert.
A man and his guitar, picking with his bare fingers and playing with that bottle neck slide real sweet.
Acoustic blues, folk, ragtime and country, played the oldschool way.That was it!!!
I learned by doing, and finally found my way.
Over the years I got more and more into it, but playing music was something I did along with stuff, that somehow always seemed to be more important.
Following the path for years, without any roadmap though.
Since 2006 I am touring around Europe.
Playing on the streets and in small clubs and venues as a One Man Bluesband.
I am playing shows constantly during this never ending tour - every week throughout the year.
In 2007 I've finnished my work on my first live CD „ Good rockin' blue
Raised up in the maintown of Schleswig Holstein, Kiel in the northern part of Germany.
I've played in small clubs around my hometown as a singer/songwriter, with german lyrics.In 1993 comes the point who changed my life.
That was the first time I saw Eric Claptons MTV unplugged concert.
A man and his guitar, picking with his bare fingers and playing with that bottle neck slide real sweet.
Acoustic blues, folk, ragtime and country, played the oldschool way.That was it!!!
I learned by doing, and finally found my way.
Over the years I got more and more into it, but playing music was something I did along with stuff, that somehow always seemed to be more important.
Following the path for years, without any roadmap though.
Since 2006 I am touring around Europe.
Playing on the streets and in small clubs and venues as a One Man Bluesband.
I am playing shows constantly during this never ending tour - every week throughout the year.
In 2007 I've finnished my work on my first live CD „ Good rockin' blue
Frank Plagge Songwriter Slam Hamburg - Please
Frank Plagge live [HD]
Sean Carney *06.12.1972
SEAN CARNEY aus Columbus, Ohio war mit Hubert Sumlin unterwegs und nahm zuletzt Platten mit Duke Robillard auf, so dass man seine gitarristischen Fähigkeiten nicht hoch genug schätzen kann.
„This is real Blues“ schreibt das Rootstime Magazine über die Sean Carney Band, die in den letzten Jahren mit zahlreichen Preisen überhäuft wurde: So gewann sie neben dem Albert King Award und dem International Blues Challenge Award auch die Auszeichnung zur besten Band in Columbus. Sean Carney und seine hervorragenden Band lassen sich kaum in eine Bluesrichtung einordnen. Swamp, Westcoast, Texas- und Chicago-Blues. Alles was die Band anpackt hat Stil! Sean gilt in der Szene als sehr ausdrucksstarker und gefühlsvoller Musiker und Sänger und als einer der besten Newcomer der US-Szene. Hochkarätig und beeindruckend! Dazu heute mit auf Tour Special Guest SHAUN BOOKER
Sean gilt selbst als sehr ausdruckstarker und gefühlvoller Musiker und Sänger.Doch immer wieder präsentiert Sean auf seinen Tourneen einen „special guest“. In diesem Jahr ist dies die Sängerin Shaun Booker, die zum ersten Mal überhaupt in Europa zu sehen sein wird. Ohio‘s führender Bluesexport tat sich mit Shaun Booker im Jahr 2012 zusammen, anlässlich eines Auftritts beim Cali Festival de Blues. Dies führte zu weiteren gemeinsamen Auftritten und zu einer gemeinsamen CD die im Frühjahr 2015 veröffentlicht wird.
Shaun Booker‘s Familie stammt aus Mississippi, so ist es nicht verwunderlich, daß ihre Wurzeln im Gospel liegen. Drei Jahrzehnte auf Tour in den USA machte sie zu einer vielseitigen Sängerin, die nicht zuletzt dafür geschätzt wird, mit dem Publikum zu kommunizieren und es zu bewegen – im doppelten Sinn.
Shaun Booker bringt eine feurige und heißblütige Show voller Soul auf die Bühne, die Erinnerungen an eine frühe Tina Turner wach werden lässt.
It’s no accident that Sean Carney’s career has been arcing steadily upward. The Columbus, Ohio bluesman has it in his family genes, with jazz horn players in the previous two generations. He’s put in at least his share of work and dues laying the foundation as he enters his third decade as a pro. Onstage locally he mastered his craft backing a wide array of local and national R & B greats such as Christine Kittrell and Jimmy “T-99” Nelson and making it known that he was a skilled and tasteful guitarist and vocalist. In 1998 he recorded his debut CD Provisions (re-packaged in 2007 with the inclusion of Kittrell’s last recordings). He gained exposure and experience serving as vocalist Teeny Tucker’s musical director and co-writer. Offstage he was a tireless advocate for those same artists, the blues and jump they represented and the area’s musical heritage, writing articles, being a dj, promoting concerts and serving three terms as President of the Columbus Blues Alliance.
Sean’s profile has gotten a major boost in the last five busy years, and in fact is decidedly international these days when European tours often in the company of major historical figures have become almost routine for him. Drummer Eric Blume, who performed with Sean for over a decade, and Sean founded Nite Owlz Records in 2006 and issued Sean’s CD Life Of Ease. It was a welcome surprise and a triumph of substance when The Sean Carney Band won the Albert King Best Guitarist and took first place at the 2007 International Blues Challenge in Memphis. Opportunities and touring increased dramatically. His 2007 and 2008 Blues For A Cure shows and CDs raised over $50,000 for the cause. In 2009 his 2007 Canadian recording Live Blues On Whyte was released. He has performed worldwide with Big Joe Duskin, Duke Robillard, Charlie Baty, Columbus standby Willie Pooch, Hank Marr, Joe Weaver, Johnnie Bassett, “King Saxe” Gene Walker, Sir Mack Rice and Hal Singer as well as his own group. As his visibility has grown, so has the growing realization that Sean is a noteworthy, sophisticated master of tone and taste with a broad appreciation for the music before him and around him and a knack for turning out interesting songs. His discography has shown a solid, well-considered approach and, as he puts it, “solid songs and tight arrangements.” And his reputation as a talent, a respecter of tradition and a humble and gracious person has become deservedly widespread.
With recent studio recordings with Duke Robillard and Jimmy Thackery, Sean Carney reaffirms his importance and value as a part of the blues scene he has supported so tirelessly for so long. It’s extra easy to root for him because of all the good he’s done and the road he’s taken. But even someone who knows nothing about him is bound to take notice of this grounded, savvy and rewarding musical affirmation of so many great things about Sean Carney and the blues.
Dick Shurman
November 2010
„This is real Blues“ schreibt das Rootstime Magazine über die Sean Carney Band, die in den letzten Jahren mit zahlreichen Preisen überhäuft wurde: So gewann sie neben dem Albert King Award und dem International Blues Challenge Award auch die Auszeichnung zur besten Band in Columbus. Sean Carney und seine hervorragenden Band lassen sich kaum in eine Bluesrichtung einordnen. Swamp, Westcoast, Texas- und Chicago-Blues. Alles was die Band anpackt hat Stil! Sean gilt in der Szene als sehr ausdrucksstarker und gefühlsvoller Musiker und Sänger und als einer der besten Newcomer der US-Szene. Hochkarätig und beeindruckend! Dazu heute mit auf Tour Special Guest SHAUN BOOKER
Sean gilt selbst als sehr ausdruckstarker und gefühlvoller Musiker und Sänger.Doch immer wieder präsentiert Sean auf seinen Tourneen einen „special guest“. In diesem Jahr ist dies die Sängerin Shaun Booker, die zum ersten Mal überhaupt in Europa zu sehen sein wird. Ohio‘s führender Bluesexport tat sich mit Shaun Booker im Jahr 2012 zusammen, anlässlich eines Auftritts beim Cali Festival de Blues. Dies führte zu weiteren gemeinsamen Auftritten und zu einer gemeinsamen CD die im Frühjahr 2015 veröffentlicht wird.
Shaun Booker‘s Familie stammt aus Mississippi, so ist es nicht verwunderlich, daß ihre Wurzeln im Gospel liegen. Drei Jahrzehnte auf Tour in den USA machte sie zu einer vielseitigen Sängerin, die nicht zuletzt dafür geschätzt wird, mit dem Publikum zu kommunizieren und es zu bewegen – im doppelten Sinn.
Shaun Booker bringt eine feurige und heißblütige Show voller Soul auf die Bühne, die Erinnerungen an eine frühe Tina Turner wach werden lässt.
It’s no accident that Sean Carney’s career has been arcing steadily upward. The Columbus, Ohio bluesman has it in his family genes, with jazz horn players in the previous two generations. He’s put in at least his share of work and dues laying the foundation as he enters his third decade as a pro. Onstage locally he mastered his craft backing a wide array of local and national R & B greats such as Christine Kittrell and Jimmy “T-99” Nelson and making it known that he was a skilled and tasteful guitarist and vocalist. In 1998 he recorded his debut CD Provisions (re-packaged in 2007 with the inclusion of Kittrell’s last recordings). He gained exposure and experience serving as vocalist Teeny Tucker’s musical director and co-writer. Offstage he was a tireless advocate for those same artists, the blues and jump they represented and the area’s musical heritage, writing articles, being a dj, promoting concerts and serving three terms as President of the Columbus Blues Alliance.
Sean’s profile has gotten a major boost in the last five busy years, and in fact is decidedly international these days when European tours often in the company of major historical figures have become almost routine for him. Drummer Eric Blume, who performed with Sean for over a decade, and Sean founded Nite Owlz Records in 2006 and issued Sean’s CD Life Of Ease. It was a welcome surprise and a triumph of substance when The Sean Carney Band won the Albert King Best Guitarist and took first place at the 2007 International Blues Challenge in Memphis. Opportunities and touring increased dramatically. His 2007 and 2008 Blues For A Cure shows and CDs raised over $50,000 for the cause. In 2009 his 2007 Canadian recording Live Blues On Whyte was released. He has performed worldwide with Big Joe Duskin, Duke Robillard, Charlie Baty, Columbus standby Willie Pooch, Hank Marr, Joe Weaver, Johnnie Bassett, “King Saxe” Gene Walker, Sir Mack Rice and Hal Singer as well as his own group. As his visibility has grown, so has the growing realization that Sean is a noteworthy, sophisticated master of tone and taste with a broad appreciation for the music before him and around him and a knack for turning out interesting songs. His discography has shown a solid, well-considered approach and, as he puts it, “solid songs and tight arrangements.” And his reputation as a talent, a respecter of tradition and a humble and gracious person has become deservedly widespread.
With recent studio recordings with Duke Robillard and Jimmy Thackery, Sean Carney reaffirms his importance and value as a part of the blues scene he has supported so tirelessly for so long. It’s extra easy to root for him because of all the good he’s done and the road he’s taken. But even someone who knows nothing about him is bound to take notice of this grounded, savvy and rewarding musical affirmation of so many great things about Sean Carney and the blues.
Dick Shurman
November 2010
Sean Carney Band "What Can I Say?" Gibson ES-175 2007 IBC First Place Champions
Sean Carney Band at The International Blues Challenge in Memphis, TN, February 3, 2007 - The Orpheum Theater
Sean Carney - Vocals and Guitar
Eric Blume - Drums
Steve Perakis - Upright Bass
Sean Carney - Vocals and Guitar
Eric Blume - Drums
Steve Perakis - Upright Bass
"Rock Me, Baby" Sean Carney, Shaun Booker & Mark May at Hot Times
"Rock Me Baby" live at Hot Times on Olde Town
Shaun Booker - Vocal
Mark May - Guitar
Sean Carney - Guitar
Chuck Moore - Saxophone
Jim Godin - Trumpet
Dave West - Drums
Sam Williams - Bass
Shaun Booker - Vocal
Mark May - Guitar
Sean Carney - Guitar
Chuck Moore - Saxophone
Jim Godin - Trumpet
Dave West - Drums
Sam Williams - Bass
Sherman Doucette *06.12.
Sherman (Tank) Doucette, Bluesman Singer / Harmonica player. Born December 6, 1953, North Battleford, Saskatchewan, Canada. Sherman's natural ear for music began developing at an early age. There were many musical nights of singing and dancing at the Doucette's home when he was a young boy. Family, friends and neighbours would come to join in the fun. His father played the guitar and the banjo, his brother played the guitar and his grandfather played the fiddle & harmonica. His mother, sisters and aunts all sang and danced.
Sherman left home at fifteen with a harmonica and a twenty dollar bill in his pocket bound for the west coast to Vancouver, British Columbia. It was there that he discovered the Chicago blues style on an album featuring Muddy Waters, Junior Wells and James Cotton. He soon began singing and playing in a series of local blues bands. By the age of seventeen, he had developed a style of playing greatly influenced by the late great Paul Butterfield.
It wasn't long before he was performing with the best bands in Vancouver. On numerous occasions he had the great privilege of sharing the stage with such greats as legendary players as John Lee Hooker, Albert Collins, Sonny Land Slim ( Andrew Luandrew ), Pinetop Perkins, and several shows with old friends Jim Byrnes, Long John Baldry. Powder Blues Band
In 1977, he amazingly survived a massive explosion in a lumber mill which left him in the hospital for six months recovering from burns to over 50% of his body. Sherman really earned the name "Tank" after this fight for life. Now more determined than ever, he embraced his true calling and began focusing all of his time and energy on his music.
Three years later, Tank formed his own blues band, "Incognito". The band was at the forefront of the Vancouver music scene. They released three independent CD recordings toured extensively across Canada. Sherman also began making guest appearances with other groups, composing and recording jingles in the recording studio, and collecting harmonicas.
Notably, he possess quite an impressive antique harmonica collection with over seven hundred antique harmonicas all shapes & sizes with bells and trumpets, many of which date back to circa 1910. Some of his treasured instruments can be seen on his On-line Harptown Harmonica Museum.which he proudly displays in beautiful show cases in his home office.
Today proudly calls the Okanagan home with his band, TANKful of Blues - performing / recording - captured live and on CDs.- the Tank continues to perform with all the passion and conviction few can deliver - anyone who has seen him perform will agree he puts on an incredible show..
http://www.shermandoucette.com/index.php/bio.htmlSherman left home at fifteen with a harmonica and a twenty dollar bill in his pocket bound for the west coast to Vancouver, British Columbia. It was there that he discovered the Chicago blues style on an album featuring Muddy Waters, Junior Wells and James Cotton. He soon began singing and playing in a series of local blues bands. By the age of seventeen, he had developed a style of playing greatly influenced by the late great Paul Butterfield.
It wasn't long before he was performing with the best bands in Vancouver. On numerous occasions he had the great privilege of sharing the stage with such greats as legendary players as John Lee Hooker, Albert Collins, Sonny Land Slim ( Andrew Luandrew ), Pinetop Perkins, and several shows with old friends Jim Byrnes, Long John Baldry. Powder Blues Band
In 1977, he amazingly survived a massive explosion in a lumber mill which left him in the hospital for six months recovering from burns to over 50% of his body. Sherman really earned the name "Tank" after this fight for life. Now more determined than ever, he embraced his true calling and began focusing all of his time and energy on his music.
Three years later, Tank formed his own blues band, "Incognito". The band was at the forefront of the Vancouver music scene. They released three independent CD recordings toured extensively across Canada. Sherman also began making guest appearances with other groups, composing and recording jingles in the recording studio, and collecting harmonicas.
Notably, he possess quite an impressive antique harmonica collection with over seven hundred antique harmonicas all shapes & sizes with bells and trumpets, many of which date back to circa 1910. Some of his treasured instruments can be seen on his On-line Harptown Harmonica Museum.which he proudly displays in beautiful show cases in his home office.
Today proudly calls the Okanagan home with his band, TANKful of Blues - performing / recording - captured live and on CDs.- the Tank continues to perform with all the passion and conviction few can deliver - anyone who has seen him perform will agree he puts on an incredible show..
Sherman Doucette TANKful of BLUES
There is only one Tank in the blues world - the real deal and has the scars and badges to prove it. A former thirty year veteran of the Vancouver music scene - Yale Hotel host & house band for several years a very colorful past sharing the stage with blues legends such as John Lee Hooker / Albert Collins / Long John Baldry & many more.
A soulful singer - harmonica virtuoso - with a hot new band and a tank full of energy mixing blues classics and original songs with the passion and conviction few can deliver - any one who has seen him perform will agree he puts on an unforgettable show.
CD's are available - Harp & Soul - Blowin Through Town -plus more info. at home page at http://shermandoucette.com/
There is only one Tank in the blues world - the real deal and has the scars and badges to prove it. A former thirty year veteran of the Vancouver music scene - Yale Hotel host & house band for several years a very colorful past sharing the stage with blues legends such as John Lee Hooker / Albert Collins / Long John Baldry & many more.
A soulful singer - harmonica virtuoso - with a hot new band and a tank full of energy mixing blues classics and original songs with the passion and conviction few can deliver - any one who has seen him perform will agree he puts on an unforgettable show.
CD's are available - Harp & Soul - Blowin Through Town -plus more info. at home page at http://shermandoucette.com/
Sherman Doucette "Cajun Mud" - www.streamingcafe.net
Sherman (Tank) Doucette, harmonica player, vocalist and songwriter from Kelowna,BC.
Sherman "Tank" has performed with the some of the best bands in Vancouver. On numerous occasions he had the great privilege of sharing the stage with such greats as legendary players as John Lee Hooker, Albert Collins, Sony Land Slim, Pinetop Perkins, Jim Byrnes and Long John Baldry.
Sherman "Tank" has performed with the some of the best bands in Vancouver. On numerous occasions he had the great privilege of sharing the stage with such greats as legendary players as John Lee Hooker, Albert Collins, Sony Land Slim, Pinetop Perkins, Jim Byrnes and Long John Baldry.
Sherman Tank Doucette ... On The Road Again.
R.I.P.
Leadbelly +06.12.1949
Leadbelly [ˈlɛdbɛli] (auch: Lead Belly[1]) (* 20. Januar 1889 als Hudson „Huddie“ William Ledbetter in Mooringsport, Louisiana; † 6. Dezember 1949 in New York[2]) war ein US-amerikanischer Bluessänger. Leadbelly spielte verschiedene Instrumente wie Akkordeon, Mandoline, Klavier und Mundharmonika; sein Lieblingsinstrument war eine zwölfsaitige Gitarre.
Seinen kräftigen Vortragsstil lernte Leadbelly, während er sich einige Jahre in den rauen Rotlichtbezirken von Shreveport und Dallas mit seinem Gesang sein Brot verdiente. 1916 wurde er das erste Mal wegen Körperverletzung zu einer Haftstrafe verurteilt und 1918 in Texas wegen Mordes zu 30 Jahren Zwangsarbeit. Gouverneur Pat Neff soll Leadbelly begnadigt haben, nachdem ihm dieser bei einem Gefängnisbesuch seine Bitte in Form eines Liedes vorgetragen habe. Tatsächlich wurde Leadbelly 1925 wegen guter Führung vorzeitig aus der Haft entlassen.
Fünf Jahre später wurde er erneut wegen Raubes und Mordversuchs in Louisiana inhaftiert. 1933 zog der Folklore-Forscher John Lomax mit seinem Sohn Alan durch die Haftanstalten Louisianas, um die Musik der Afro-Amerikaner für die Library of Congress aufzunehmen. Ein Jahr nachdem die beiden erste Aufnahmen mit Leadbelly gemacht hatten, wurde dieser auf den Wunsch von John Lomax hin begnadigt.
1935 kam Leadbelly nach New York und machte sich innerhalb der weißen, linksintellektuellen Künstlerszene rasch einen Namen. Hier kam er in Kontakt mit weißen Folkmusikern wie Woody Guthrie und Pete Seeger. Trotz seines großen Einflusses auf die weiße Folkmusik der 40er und 50er Jahre blieb ihm finanzieller Erfolg versagt. Ende der 40er Jahre versuchte er sein Glück in Frankreich und verbrachte einige Zeit in Paris. Auf seiner ersten Europatournee im Jahr 1949 erkrankte er an amyotropher Lateralsklerose und starb wenige Monate später in New York.
Die Aufnahmen von Leadbelly umfassen rund 170 Songs und Shouts.[3] Lieder von Leadbelly wurden immer wieder von verschiedensten Künstlern aufgegriffen und interpretiert wie Cotton Fields von Creedence Clearwater Revival auf ihrem 1969 veröffentlichten Album Willy and the Poor Boys. Einige seiner Kompositionen wurden zu erfolgreichen Top-10-Hits wie Goodnight Irene in der Interpretation der Weavers (1950), Rock Island Line von Lonnie Donegan (1956) oder Black Betty von Ram Jam (1977). Where Did You Sleep Last Night, das auf dem Volkslied In the Pines beruht, wurde von Nirvana bei ihrem Konzert MTV Unplugged in New York gecovert.
Leadbelly interpretierte auch zahlreiche, bereits als Traditionals einzustufende Lieder. Ein solcher, zum Standard dieses Musikgenres gewordener und vielfach interpretierter Song ist etwa Midnight Special, das Lied eines Häftlings, das im Refrain einen Zug nennt, der um Mitternacht sein Gefängnis passiert. Midnight Special wurde von den Musikforschern Lomax fälschlicherweise Leadbelly zugeschrieben. Tatsächlich aber existieren schon Textaufzeichnungen aus anderen Quellen aus dem Jahr 1905 bzw. frühere Tonaufzeichnungen mit anderen Interpreten.[4]
1980 wurde Leadbelly in die Nashville Songwriters Hall of Fame aufgenommen, 1986 folgte die Aufnahme in die Blues Hall of Fame und 1988 in die Rock and Roll Hall of Fame.
Ab 1993 kam seinem Werk noch einmal größere Aufmerksamkeit zugute: die Band Nirvana, USA, veröffentlichte in diesem Jahr ihr MTV Album Unplugged in New York, das letzte Stück auf dem Album mit dem Titel Where Did You Sleep Last Night wurde von Huddie „Leadbelly“ Ledbetter geschrieben und komponiert.
Huddie William Ledbetter (January 20, 1888 – December 6, 1949) was an American folk and blues musician notable for his strong vocals, virtuosity on the twelve-string guitar, and the songbook of folk standards he introduced.
He is best known as Lead Belly. Though many releases list him as "Leadbelly", he himself wrote it as "Lead Belly". This is also the spelling on his tombstone,[1][2] as well as of the Lead Belly Foundation.[3] In 1994 the Lead Belly Foundation contacted an authority on the history of popular music, Colin Larkin, editor of the Encyclopedia of Popular Music, to ask if the name "Leadbelly" could be altered to "Lead Belly" in the hope that other authors would follow suit and use the artist's correct appellation.[citation needed]
Although Lead Belly usually played the twelve-string guitar, he could also play the piano, mandolin, harmonica, violin, and Cajun accordion ("windjammer").[4] In some of his recordings, such as in one of his versions of the folk ballad "John Hardy", he performs on the accordion. In other recordings he sings while clapping his hands or stomping his foot.
The topics of Lead Belly's music covered a wide range, including gospel; blues about women, liquor, prison life, and racism; and folk songs about cowboys, prison, work, sailors, cattle herding, and dancing. He also wrote songs about people in the news, such as Franklin D. Roosevelt, Adolf Hitler, Jean Harlow, the Scottsboro Boys, and Howard Hughes.
Lead Belly was inducted into the Rock and Roll Hall of Fame in 1988 in the "Early Influence" category. In 2008, he was inducted into the Louisiana Music Hall of Fame.
Biography
Early life
Lead Belly was born Huddie William Ledbetter on the Jeter Plantation near Mooringsport, Louisiana in either January 1888 or 1889. The 1900 United States Census lists "Hudy William Ledbetter" as 12 years old, born January 1888, while the 1910 United States Census and the 1930 United States Census also gives his birth year as 1888. However, in April 1942, Ledbetter filled out his World War II draft registration with a birth date of January 23, 1889 and a birthplace of Freeport, Louisiana. His grave marker has the date on his draft registration.
Ledbetter was the younger of two children born to Wesley Ledbetter and Sallie Brown, preceded by a sister named Australia. The pronunciation of his name is purported to be "HYEW-dee" or "HUGH-dee."[5] However, Ledbetter can be heard pronouncing his name as "HUH-dee" on the track "Boll Weevil," from the Smithsonian Folkways album Lead Belly Sings for Children.[6] His parents had cohabited for several years, but they legally married on February 26, 1888. When Huddie was five years old, the family settled in Bowie County, Texas.
By 1903, Huddie was already a "musicianer,"[7] a singer and guitarist of some note. He performed for nearby Shreveport audiences in St. Paul's Bottoms, a notorious red-light district there. He began to develop his own style of music after exposure to a variety of musical influences on Shreveport's Fannin Street, a row of saloons, brothels, and dance halls in the Bottoms, now referred to as Ledbetter Heights.
The 1910 census of Harrison County, Texas, shows "Hudy" Ledbetter living next door to his parents with his first wife, Aletha "Lethe" Henderson. Aletha, then seventeen, had been 15 when they married two years earlier. It was in Texas that Ledbetter received his first instrument, an accordion, from his uncle Terrell. By his early 20s, having fathered at least two children, Ledbetter left home to make his living as a guitarist and occasional laborer.
Influenced by the sinking of the RMS Titanic in April 1912, Huddie wrote the song "The Titanic",[8] the first composed on the 12-string guitar later to become his signature instrument. Initially played when performing with Blind Lemon Jefferson (1897–1929) in and around Dallas, Texas, the song is about champion African-American boxer Jack Johnson's being denied passage on the Titanic. While Johnson had in fact been denied passage on a ship for being Black, it had not been the Titanic[9] Still, the verse sang: "Jack Johnson tried to get on board. The Captain, he says, 'I ain't haulin' no coal!' Fare thee, Titanic! Fare thee well!" a passage Ledbetter noted he had to leave out when playing in front of white audiences.[10]
Prison years
Ledbetter's volatile temper sometimes led him into trouble with the law. In 1915, he was convicted of carrying a pistol and sentenced to time on the Harrison County chain gang. He escaped, finding work in nearby Bowie County under the assumed name of Walter Boyd. In January 1918 he was imprisoned at the Imperial Farm (now Central Unit)[11] in Sugar Land, Texas, after killing one of his own relatives, Will Stafford, in a fight over a woman. While there he may have first heard the traditional prison song "Midnight Special".[12][page needed] In 1925 he was pardoned and released after writing a song to Governor Pat Morris Neff seeking his freedom, having served the minimum seven years of a 7-to-35-year sentence. Combined with his good behavior (which included entertaining the guards and fellow prisoners), his appeal to Neff's strong religious beliefs proved sufficient. It was a testament to his persuasive powers, as Neff had run for governor on a pledge not to issue pardons (the only recourse for prisoners, since in most Southern prisons there was no provision for parole).[citation needed] According to Charles K. Wolfe and Kip Lornell's book, The Life and Legend of Leadbelly (1999), Neff had regularly brought guests to the prison on Sunday picnics to hear Ledbetter perform.
In 1930 Ledbetter was sentenced to Louisiana's Angola Prison Farm, after a summary trial for attempted homicide for stabbing a white man in a fight. He was "discovered" there three years later during a visit by folklorists John Lomax and his son Alan Lomax.[13]
Deeply impressed by Ledbetter's vibrant tenor and extensive repertoire, the Lomaxes recorded him in 1933 on portable aluminum disc recording equipment for the Library of Congress. They returned with new and better equipment in July 1934, recording hundreds of his songs. On August 1, Ledbetter was released after having again served nearly all of his minimum sentence, following a petition the Lomaxes had taken to Louisiana Governor Oscar K. Allen at his urgent request. It was on the other side of a recording of his signature song, "Goodnight Irene."
A prison official later wrote John Lomax denying that Ledbetter's singing had anything to do with his release from Angola (state prison records confirm he was eligible for early release due to good behavior). However, both Ledbetter and the Lomaxes believed that the record they had taken to the governor had hastened his release from prison.
Moniker
There are several conflicting stories about how Ledbetter acquired the nickname "Lead Belly", though it was probably while in prison. Some claim his fellow inmates called him "Lead Belly" as a play on his family name and his physical toughness. It is recounted that during his second prison term, another inmate stabbed him in the neck (leaving him with a fearsome scar he subsequently covered with a bandana); Ledbetter nearly killed his attacker with his own knife.[14] Others say he earned the name after being wounded in the stomach with buckshot.[14] Another theory is that the name refers to his ability to drink moonshine, the home-made liquor which Southern farmers, black and white, made to supplement their incomes. Blues singer Big Bill Broonzy thought it came from a supposed tendency to lay about as if "with a stomach weighted down by lead" in the shade when the chain gang was supposed to be working.[15] Or it may be simply a corruption of his last name pronounced with a southern accent. Whatever its origin, he adopted the nickname as a pseudonym while performing.
Life after prison
By the time Lead Belly was released from prison the United States was deep in the Great Depression and jobs were very scarce. In September 1934, in need of regular work in order to avoid having his release canceled, Lead Belly met with John A. Lomax and asked him to take him on as a driver. For three months he assisted the 67-year-old in his folk song collecting abroad the South. (Son Alan was ill and did not accompany his father on this trip.)
In December Lead Belly participated in a "smoker" (group sing) at a Modern Language Association meeting at Bryn Mawr College in Pennsylvania, where the senior Lomax had a prior lecturing engagement. He was written up in the press as a convict who had sung his way out of prison. On New Year's Day, 1935, the pair arrived in New York City, where Lomax was scheduled to meet with his publisher, Macmillan, about a new collection of folk songs. The newspapers were eager to write about the "singing convict" and Time magazine made one of its first filmed March of Time newsreels about him. Lead Belly attained fame (although not fortune).
The following week, he began recording for the American Record Corporation, but these recordings achieved little commercial success. Of the over 40 sides he recorded for ARC (intended to be released on their Banner, Melotone, Oriole, Perfect, and Romeo labels, and their very short-lived Paramount series), only five sides were actually issued. Part of the reason for the poor sales may have been because ARC insisted on releasing only his blues songs rather than the folk songs for which he would later become better known. In any case, Lead Belly continued to struggle financially. Like many performers, what income he made during his lifetime would come from touring, not from record sales.
In February 1935, he married his girlfriend, Martha Promise, who came north from Louisiana to join him.
The month of February was spent recording his and other African-American repertoire and interviews about his life with Alan Lomax for their forthcoming book, Negro Folk Songs as Sung by Lead Belly (1936). Concert appearances were however slow to materialize. In March 1935 Lead Belly accompanied John Lomax on a previously scheduled two-week lecture tour of colleges and universities in the Northeast, culminating at Harvard.
At the end of the month John Lomax decided he could no longer work with Lead Belly and gave him and Martha money to go back to Louisiana by bus. He gave Martha the money her husband had earned during three months of performing, but in installments, on the pretext Lead Belly would drink it all if given a lump sum. From Louisiana Lead Belly successfully sued Lomax both for the full amount and release from his management contract. The quarrel was very bitter with hard feelings on both sides. Curiously, in the midst of the legal wrangling, Lead Belly wrote to Lomax proposing they team up again. It was not to be. Further, the book about Lead Belly published by the Lomaxes in the fall of the following year proved a commercial failure.
In January 1936, Lead Belly returned to New York on his own without John Lomax in an attempted comeback. He performed twice a day at Harlem's Apollo Theater during the Easter season in a live dramatic recreation of the Time Life newsreel (itself a recreation) about his prison encounter with John A. Lomax, where he had worn stripes, though by this time he was no longer associated with Lomax.
Life magazine ran a three-page article titled, "Lead Belly - Bad Nigger Makes Good Minstrel," in its April 19, 1937 issue. It included a full-page, color (rare in those days) picture of him sitting on grain sacks playing his guitar and singing.[16] Also, included was a striking picture of Martha Promise (identified in the article as his manager); photos showing Lead Belly's hands playing the guitar (with the caption "these hands once killed a man"); Texas Governor Pat M. Neff; and the "ramshackle" Texas State Penitentiary. The article attributes both of his pardons to his singing of his petitions to the governors, who were so moved that they pardoned him. The article's text ends with "he... may well be on the brink of a new and prosperous period."
Lead Belly failed to stir the enthusiasm of Harlem audiences. Instead, he attained success playing at concerts and benefits for an audience of leftist folk music aficionados. He developed his own style of singing and explaining his repertoire in the context of Southern black culture, taking the hint from his previous participation in John A. Lomax's college lectures. He was especially successful with his repertoire of children's game songs (as a younger man in Louisiana he had sung regularly at children's birthday parties in the black community). He was written up as a heroic figure by the black novelist, Richard Wright, then a member of the Communist Party, in the columns of the Daily Worker, of which Wright was the Harlem editor. The two men became personal friends, though Lead Belly himself was apolitical — if anything he was a supporter of Wendell Willkie, the centrist Republican candidate, for whom he wrote a campaign song.
In 1939, Lead Belly was back in jail for assault, after stabbing a man in a fight in Manhattan. Alan Lomax, then 24, took him under his wing and helped raise money for his legal expenses, dropping out of graduate school to do so. After his release (in 1940-41), Lead Belly appeared as a regular on Alan Lomax and Nicholas Ray's groundbreaking CBS radio show, Back Where I Come From, broadcast nationwide. He also appeared in night clubs with Josh White, becoming a fixture in New York City's surging folk music scene and befriending the likes of Sonny Terry, Brownie McGhee, Woody Guthrie, and a young Pete Seeger, all fellow performers on Back Where I Come From. During the first half of the decade he recorded for RCA, the Library of Congress, and for Moe Asch (future founder of Folkways Records), and in 1944 headed to California, where he recorded strong sessions for Capitol Records. Lead Belly was the first American country blues musician to see success in Europe.[14]
In 1949, Lead Belly had a regular radio broadcast on station WNYC in New York on Sunday nights on Henrietta Yurchenco's show. Later in the year he began his first European tour with a trip to France, but fell ill before its completion, and was diagnosed with amyotrophic lateral sclerosis (ALS), or Lou Gehrig's disease.[13] His final concert was at the University of Texas at Austin in a tribute to his former mentor, John A. Lomax, who had died the previous year. Martha also performed at that concert, singing spirituals with her husband.
Lead Belly died later that year in New York City, and was buried in the Shiloh Baptist Church cemetery in Mooringsport, 8 miles (13 km) west of Blanchard, in Caddo Parish. He is honored with a statue across from the Caddo Parish Courthouse in Shreveport.
Technique
Lead Belly styled himself "King of the 12-string guitar," and despite his use of other instruments like the accordion, the most enduring image of Lead Belly as a performer is wielding his unusually large Stella twelve-string.[17] This guitar had a slightly longer scale length than a standard guitar, slotted tuners, ladder bracing, and a trapeze-style tailpiece to resist bridge lifting.[citation needed]
Lead Belly played with finger picks much of the time, using a thumb pick to provide a walking bass line and occasionally to strum.[citation needed] This technique, combined with low tunings and heavy strings, gives many of his recordings a piano-like sound. Lead Belly's tuning is debated,[by whom?] but appears to be a downtuned variant of standard tuning; more than likely he tuned his guitar strings relative to one another, so that the actual notes shifted as the strings wore. Lead Belly's playing style was popularized by Pete Seeger, who adopted the twelve-string guitar in the 1950s and released an instructional LP and book using Lead Belly as an exemplar of technique.
In some of the recordings where Lead Belly accompanied himself, he would make an unusual type of grunt between his verses, best described as "Haah!" in many of his songs such as "Looky Looky Yonder," "Take this Hammer,"[13] "Linin' Track" and "Julie Ann Johnson" feature this unusual vocalization. In the song, "Take this Hammer," Lead Belly explained, "Every time the men say 'haah,' the hammer falls. The hammer rings, and we swing, and we sing."[18] The "haah" sound can be heard in the work chants sung by Southern railroad section workers, "gandy dancers," where it was used to coordinate the crews as they laid and maintained the tracks before modern machinery was available.
Legacy
Lead Belly's work has been widely covered by subsequent musical acts, including Brian Wilson, Delaney Davidson, Tom Russell, Lonnie Donegan, Bryan Ferry ("Goodnight Irene"), The Beach Boys ("Cotton Fields"), Creedence Clearwater Revival ("Midnight Special", "Cotton Fields"), Elvis Presley,[19] Abba, Pete Seeger, The Weavers,[20] Harry Belafonte, Frank Sinatra, Ram Jam, The Animals, Jay Farrar, Johnny Cash, Bob Dylan, Tom Petty, Dr. John, Ry Cooder, Davy Graham, Maria Muldaur, Rory Block, Grateful Dead, Gene Autry, Odetta, Billy Childish (who named his son Huddie), Mungo Jerry, Paul King, Led Zeppelin ("Gallows Pole"), Van Morrison, Michelle Shocked, Tom Waits ("Goodnight, Irene"), Scott H. Biram, Ron Sexsmith, British Sea Power, Rod Stewart, Ernest Tubb, Nick Cave and the Bad Seeds ("Black Betty"), The White Stripes ("Boll Weevil"), The Fall, Hole, Smog, Old Crow Medicine Show, Spiderbait, Meat Loaf, Ministry, Raffi, Rasputina, Rory Gallagher, the Sensational Alex Harvey Band, Deer Tick, Hugh Laurie, X, Bill Frisell, Koerner, Ray & Glover, Red Hot Chili Peppers, Nirvana ("Where Did You Sleep Last Night", "They Hung Him On A Cross", "Ain't It A Shame", "Gray Goose"), Meat Puppets, Mark Lanegan, and WZRD ("Where Did You Sleep Last Night"), among many others.[21]
Modern rock audiences likely owe their familiarity with Lead Belly to Nirvana's performance of "Where Did You Sleep Last Night" on the televised concert later released as MTV Unplugged in New York.[22] Singer-guitarist Kurt Cobain refers to his attempt to convince David Geffen to purchase Lead Belly's guitar for him in an interval before the song is played (connecting the song with Lead Belly in a way that is more tangible than the liner notes where Lead Belly appears on other albums), and partly due to the fact that it sold nearly 7 million copies. In his notebooks, Cobain listed Lead Belly's "Last Session Vol. 1" as one of the 50 albums most influential to the formation of Nirvana's sound.
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