DOCSLIB.ORG

Rick Richards' Fortune Records – Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Rick Richards’ Fortune Records – page 1 Fortune Records Building at 3942 Third Ave. Detroit in May 1995. The building is now vacant. (c) 1997 by Rick Richards discoveries #107 – April 1997 In his autobiography, To Be Loved, Berry the rest of the country in the late '40s and early Gordy describes in dramatic style, the successful '50s: the melding of delta blues with urban "jump" rise of one of this country's most prolific recording music which in turn fostered the growth of what empires. There is no denying that the success of became known as rhythm and blues, which by the Motown Records was due to Berry's musical mid-50s would blend with country and western abilities, uncanny business sense and prophetic styles to become the new "pop" music known as marketing insight. But Hitsville USA, (Motown's rock 'n' roll. aka), which became synonymous with "The Detroit, in the 1950s, was home to a Detroit Sound," did not occur in a vacuum. variety of independently owned record companies Indeed, Mr. Gordy only makes passing references whose focus was primarily jazz, blues and this to those Motor City artists, independent new "R&B" music, mainly due to the considerable companies and recording studios that pre-dated size of the African-American community which his enterprise by several years. (The exception is, had migrated north to work in the car factories. of course, Jackie Wilson, due to Berry's own Staff, Blue Lake, JVB and Sensation were but a direct involvement with that singer's career). few of the labels of this period. Robert West would He does pay homage to the city's thriving precede Berry Gordy, by two years, producing club scene and the many talented musicians both records for his own cadre of labels - Flick, Bumble black and white that were spawned from this rich Bee, Contour, Kudo and LuPine - and known musical environment. Detroit, in many ways, primarily for hits by the Falcons, and the first mirrored what was going on with popular music in recordings by the Primettes, later to become Rick Richards’ Fortune Records – page 2 known as the Supremes. But we are jumping the Midwest. One such program was "The Red ahead of ourselves. Apple Club," on Detroit's WJR. It was during these One independent entity stood out above visits that the girl's first records were produced at the rest in the early days of motor city music, Fortune. In addition to the single, two albums primarily due to the devotion of its owners toward were released: Jealous Love and Hits With The the artists, and their willingness to produce a Davis Sisters. variety of musical styles, particularly on the Sadly, the act came to an end in 1953, country side, as well as R&B. Many of the when Betty Jack was killed in a head on collision musicians who recorded there look back at just outside of Cincinnati. Skeeter was seriously Fortune Records as the place that gave them their injured, but after a lengthy recuperation, she start in the business that would become an continued as a solo act in 1955. Most rock and integral part of their lives. pop music fans remember Skeeter for her 1963, "Fortune" is defined in the dictionary as "a #2 cross over hit, "The End Of The World." hypothetical force that governs events in one's (Covered by Herman's Hermits two years later). life." As a starting point for several musical The first to prove the Fortune legacy, Skeeter careers, Fortune would live up to its name. But the would go on to have numerous pop and country musical legacy really goes beyond that. In spite of hits for RCA, and release well over 30 albums for the spartan facilities, the company would produce that label. She is internationally known on the some of the best preMotown R&B to come out of country circuit, has attained numerous awards the city. Some of the early sides produced at and Grammy nominations, network television Hitsville would bear a direct influence from the appearances and is a permanent member of The Fortune catalogue. Grand Ole Opry. Cub Koda, whose CD, Abba Dabba By 1952, word was getting out in the Dabba, on Schoolkids Records, features six Detroit musical community that there was a record Fortune songs, reverently describes his feelings: company in the city that not only was having "Fortune Records is the great secret record success, they were willing to produce all kinds of company in the history of Detroit rock 'n' roll. music. In the racially divided 1950s, this would be They're the missing piece in the Detroit rock 'n' roll especially appealing to blacks. Enter Sir John Lee historical equation. Any discussion... without Hooker! mentioning them is totally inaccurate and Jack and Devora's son, Sheldon believes incomplete." "The Hook" had recorded his first sides as early Jack Brown, an accountant, met his future as 1948, when he travelled with Jack to Toledo wife Devora in the mid-forties. An accomplished and cut "Sadie Mae" and "609 Boogie" at pianist, Devora had periodically dabbled with Sweeney Sound Engineering. The former would poetry and song writing. Following their marriage, be an album cut, while the latter was the flip side Jack encouraged her to submit her songs for to his first Fortune 45. It would be almost ten publication. With an initial investment of $3000 years before either song was released. they eventually founded Fortune Records in the The following year he hit with his classic, fall of 1947, as an avenue for her projects. After a "Boogie Chillun." Originally produced by Bernie series of false starts and trials, they experienced Besman, then owner of United Sound, for the their first local success with "Jane (Sweet As local Sensation label - the song was licensed to Summer Rain)" by local pop singer, Russ Titus, Modern Records and became a #1 R&B favorite with the Artie Fields Orchestra. in February of that year. Other Modern/Sensation Many of Fortune's early records were releases followed - notably: "Sally Mae," "Crawlin' done at United Sound Studios on Second Avenue, King Snake," "Hobo Blues," "Huckle Up Baby" and near Wayne State University. Following the Titus "I'm In The Mood." (All of which can be heard on hit, Jack and Devora moved their business the excellent Rhino Records boxed set: The operation out of their Twelfth Street home to a Ultimate Collection: 1948-1990). rented office on Linwood Avenue across from Hooker had moved to Detroit in 1943 and Central High School - a move that would prove to gained notoriety playing house parties and clubs be fortuitous as much of the city's young R&B in Detroit's renowned Paradise Valley section up talent had their origins in this very neighborhood - and down Hastings and Russell streets. (This but more about that later. area, unfortunately, no longer exists, having been Achievement on a national scale came in replaced by the Chrysler Freeway and the Detroit 1952, with the country song, "Jealous Love," by Medical Center complex). Though he usually the Davis Sisters. Betty Jack Davis and Mary performed live with a band, his first records Frances Penick grew up together in rural tended to feature just his open tuned electric Kentucky. Influenced by the Carter Family, both guitar and foot stompin' plywood, dragging girls loved to sing and, as teen-agers formed a rhythms that evoked images of a man who meant duo and began singing in small venues in what he said - or sang. Lexington. Mary changed her name to Skeeter One of the most endearing aspects of Davis and the Davis Sisters were bom. As was John Lee's early career, was his cavalier attitude common in those days, they were asked to toward recording companies and their contracts. appear on a variety of radio programs throughout Besides Modem, he appeared on Riverside, Rick Richards’ Fortune Records – page 3 Gone, Chance, Regent, Staff, Deluxe, Swingtime, to follow their dream directly across the street to Gotham, Chess, Vee Jay and of course, Fortune. Fortune Records. The fact that they didn't have Why? Probably because it was there! the money to finance the record was a minor No matter what label he was on at the matter. When told this after the session, Jack was time, Hooker would always find time to record at furious, but Devora was impressed by the smooth Fortune, where he was also under contract. vocal arrangements and the unique lilting vocal According to Sheldon, Hooker had a good talent of lead singer, Nolan Strong. relationship with his parents and was well liked. In In fact, more than any other artist at spite of the agreement, his other activities were all Fortune, Nolan and the Diablos would benefit from but ignored. Jerry Plunk, former lead singer with Devora's songwriting and production attention. the Flaming Embers, recalls, "You know, I was The latinesque, "Adios, My Desert Love" (#509), deep into the blues, all my life, and Jack knew written by Devora, was the first single, and quickly how much I loved John Lee Hooker. (He) was established the group's credentials as regional hit always bragging about having Hooker on (the makers in April, 1954. "The Wind" (#511), written label). One day, I just walked in, and Hooker was by the group and Devora, became their signature there, and then after that I saw (him) a few more song. Released in September, this beautiful ballad times. It was a gas, man." was further enhanced by Maurice King's artful Though not as successful as his earlier arrangement.
Recommended publications
  • The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (Guest Post)*

    The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (Guest Post)*

    “The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (guest post)* Chubby Checker Chubby Checker’s “The Twist” has the distinction of being the only non-seasonal American recording that reached the top of “Billboard’s” pop charts twice, separately. (Bing Crosby’s “White Christmas” topped the holiday tree in 1942, 1945, and 1947). “The Twist” shot to No. 1 in 1960, fell completely off the charts, then returned over a year later like a brand new single and did it all over again. Even more remarkable was that Checker’s version was a nearly note-for- note, commissioned mimicry of the original “The Twist,” written and recorded in 1958 by R&B artist Hank Ballard and released as the B-side of a love ballad. Most remarkable of all, however, is that Chubby Checker set the whole world Twisting, from Harlem clubs to the White House to Buckingham Palace, and beyond. The Twist’s movements were so rudimentary that almost everyone, regardless of their level of coordination, could maneuver through it, usually without injuring or embarrassing themselves. Like so many rhythm and blues songs, “The Twist” had a busy pedigree going back decades. In 1912, black songwriter Perry Bradford wrote “Messin’ Around,” in which he gave instructions to a new dance called the Mess Around: “Put your hands on your hips and bend your back; stand in one spot nice and tight; and twist around with all your might.” The following year, black tunesmiths Chris Smith and Jim Burris wrote “Ballin’ the Jack” for “The Darktown Follies of 1913” at Harlem’s Lafayette Theatre, in which they elaborated on the Mess Around by telling dancers, “Twist around and twist around with all your might.” The song started a Ballin’ the Jack craze that, like nearly every new Harlem dance, moved downtown to the white ballrooms and then shimmied and shook across the country.
  • Who Reveled in the Blues-Rock of Such Groups As the Stones and Cream Were Often Unaware of the Man Responsible for the Songs and Th E Sound

    Who Reveled in the Blues-Rock of Such Groups As the Stones and Cream Were Often Unaware of the Man Responsible for the Songs and Th E Sound

    Rock audiences who reveled in the blues-rock of such groups as the Stones and Cream were often unaware of the man responsible for the songs and th e sound. The Poet Laureate of the Blues, he championed the blues and took the first live blues music to Europe. here never was anybody quite like musicians listened to the Chess recordings, adapted the Willie Dixon. The first thing you saw songs to their own high-powered sensibilities, and so when you met him was that huge grin began the blues revival. atop the larger-than-life body; his enor­ A short list of Willie Dixon’s compositions, and a few mous personal warmth, combined with of the artists who covered them, demonstrates the depth Tan inexhaustible fund of street-smart music business wis­ and breadth of his musical influence. As a rule the chain dom and a tireless devotion to promoting awareness of the of discovery was: first the song would be recorded by an blues, won him friends and admirers everywhere he went. American blues artist; then, perhaps, an English rock Born in 1915 in Vicksburg, Mississippi, his early ca­ group would cover that, and then other American blues or reer included a stint with a gospel group; he was already pop artists, hearing the English cover version, would jump writing songs by age sixteen, and would continue to do so behind it T’m Your Hoochie Coochie Man” was written in until at the end of his life he had over 500 compositions 1953 for Muddy Waters, whose version remains the to his credit.
  • John Lee Hooker: King of the Boogie Opens March 29 at the Grammy Museum® L.A

    John Lee Hooker: King of the Boogie Opens March 29 at the Grammy Museum® L.A

    JOHN LEE HOOKER: KING OF THE BOOGIE OPENS MARCH 29 AT THE GRAMMY MUSEUM® L.A. LIVE CONTINUING THE 100TH ANNIVERSARY OF THE BIRTH OF LEGENDARY GRAMMY®-WINNING BLUESMAN JOHN LEE HOOKER, TRAVELING EXHIBIT WILL FEATURE RARE RECORDINGS AND UNIQUE ITEMS FROM THE HOOKER ESTATE; HOOKER'S DAUGHTERS, DIANE HOOKER-ROAN AND ZAKIYA HOOKER, TO APPEAR AT MUSEUM FOR SPECIAL OPENING NIGHT PROGRAM LOS ANGELES, CALIF. (MARCH 6, 2018) —To continue commemorating what would have been legendary GRAMMY®-winning blues artist John Lee Hooker’s 100th birthday, the GRAMMY Museum® will open John Lee Hooker: King Of The Boogie in the Special Exhibits Gallery on the second floor on Thursday, March 29, 2018. On the night of the opening, Diane Hooker-Roan and Zakiya Hooker, daughters of the late bluesman, will appear at the GRAMMY Museum for a special program. Presented in conjunction with the John Lee Hooker Estate and Craft Recordings, the exhibit originally opened at GRAMMY Museum Mississippi—Hooker's home state—in 2017, the year of Hooker's centennial. On display for a limited time only through June 2018, the exhibit will include, among other items: • A rare 1961 Epiphone Zephyr—one of only 13 made that year—identical to the '61 Zephyr played by John Lee Hooker. Plus, a prototype of Epiphone's soon-to-be-released Limited Edition 100th Anniversary John Lee Hooker Zephyr signature guitar • Instruments such as the Gibson ES-335, Hohner HJ5 Jazz, and custom Washburn HB35, all of which were played by Hooker • The Best Traditional Blues Recording GRAMMY Hooker won, with Bonnie Raitt, for "I'm In The Mood" at the 32nd Annual GRAMMY Awards in 1990 • Hooker's Best Traditional Blues Album GRAMMY for Don't Look Back, which was co-produced by Van Morrison and Mike Kappus and won at the 40th Annual GRAMMY Awards in 1998 • A letter to Hooker from former President Bill Clinton • The program from Hooker's memorial service, which took place on June 27, 2001, in Oakland, Calif.
  • Malcolm Chisholm: an Evaluation of Traditional Audio Engineering

    Malcolm Chisholm: an Evaluation of Traditional Audio Engineering

    Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2013 Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul Linden Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Audio Arts and Acoustics Commons, and the Communication Technology and New Media Commons Recommended Citation Linden, Paul, "Malcolm Chisholm: An Evaluation of Traditional Audio Engineering" (2013). Scholarship and Professional Work - Communication. 137. https://digitalcommons.butler.edu/ccom_papers/137 This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Journal of the Music & Entertainment Industry Educators Association Volume 13, Number 1 (2013) Bruce Ronkin, Editor Northeastern University Published with Support from Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul S. Linden University of Southern Mississippi Abstract The career of longtime Chicago area audio engineer and notable Chess Records session recorder Malcolm Chisholm (1929-2003) serves as a window for assessing the stakes of technological and cultural develop- ments around the birth of Rock & Roll. Chisholm stands within the tradi- tional art-versus-commerce debate as an example of the post-World War II craftsman ethos marginalized by an incoming, corporate-determined paradigm. Contextual maps locate Chisholm’s style and environment of audio production as well as his impact within the rebranding of electri- fied Blues music into mainstream genres like Rock music.
  • Chasing the Echoes in Search of John Lee Hooker’S Detroit by Jeff Samoray

    Chasing the Echoes in Search of John Lee Hooker’S Detroit by Jeff Samoray

    Chasing the Echoes In search of John Lee Hooker’s Detroit by jeff samoray n September of 1948, John Lee Hooker strummed the chord bars, restaurants, shoeshine parlors and other businesses that made up that ignited the endless boogie. Like many Delta blues musicians the neighborhood — to make way for the Chrysler Freeway. The spot I of that time, Hooker had moved north to pursue his music, and he where Hooker’s home once stood is now an empty, weed-choked lot. was paying the bills through factory work. For five years he had been Sensation, Fortune and the other record companies that issued some of toiling as a janitor in Detroit auto and steel plants. In the evenings, he Hooker’s earliest 78s have long been out of business. Most of the musi- would exchange his mop and broom for an Epiphone Zephyr to play cians who were on the scene in Hooker’s heyday have died. rent parties and clubs throughout Black Bottom, Detroit’s thriving Hooker left Detroit for San Francisco in 1970, and he continued black community on the near east side. “doin’ the boogie” until he died in 2001, at age 83. An array of musi- Word had gotten out about Hooker’s performances — a distinct, cians — from Eric Clapton and Bonnie Raitt to the Cowboy Junkies primitive form of Delta blues mixed with a driving electric rhythm. and Laughing Hyenas — have covered his songs, yet, for all the art- After recording a handful of crude demos, he finally got his break. ists who have followed in Hooker’s footsteps musically, it’s not easy to Hooker was entering Detroit’s United Sound Systems to lay down his retrace his path physically in present-day Detroit.
  • Cadillac Records at Last

    Cadillac Records at Last

    Cadillac Records At Last Anticyclone and gleesome Davidson never entails his triennium! Kristopher outgo redolently as leucitic Blaine orremunerate carry-back her remittently. springiness hero-worshipped licentiously. Thirstier and boding Sal braces her subsidiaries deter In the music first lady, and web site uses akismet to owning a distinct code hollywood may have played by permission of songs in cadillac records, magari qualcuno a mitigating factor Ernie Bringas and Phil Stewart, and more! Join forums at last on to cadillac records at last album? Rock and with Hall of Fame while hello brother Len was. You schedule be resolute to foul and manage items of all status types. All others: else window. Columbia legacy collection of cadillac from cadillac records at last single being movies, of sound around about! Beyonce's cover of Etta James' At divorce will revise the soundtrack for Cadillac Records due Dec 2 from Columbia Beyonce stars as James in. This yielded windfall for Leonard, Date, et al. Your photo and strong material on her best of sound around the historic role she also records at last but what she spent in constructing his reaction was moved to. Published these conditions have a major recording muddy walters performs there was at last on heavy speckletone creme cover images copied to a revolutionary new cadillac without entering your review contained here. This is sent james won the cadillac records at last! Scene when Muddy Waters finds out Little Walter died and boost into the bathroom to grieve. Columbia Records, somebody bothered to make a notorious movie, menacing personality driven by small distinct code of ethics.
  • Little Joe Blue

    Little Joe Blue

    Little Joe Blue by Opal Louis Nations The clincher that puts Little Joe Blue a notch above most B.B. King imitators is the fact that he took the former’s mannerisms and affectations and added a few twists of his own. This made him an extremely emotive original, aside from the fact that he possessed the skills to write uniquely infectious lyrics like the anguished “Dirty work going on” (Movin 1966), the urgent “Standing on the threshold” (Jewel 1968) and the poetic “Give me an hour in your garden” (Miles Ahead 1974). He was born Joseph Valery Jnr. in Vicksburg, Miss. on September 23, 1934 to Abraham Fields and Willie Hodges. He was raised across the Mississippi River in Tallulah, La. through the 1940s then moved to Detroit. As a youngster in Tallulah, Joseph came to be called “Little Joe Blue” because he constantly played Eugene Field’s traditional “Little boy blue” on his harmonica. His first encounters with the blues were in Vicksburg at the Green Lantern dance hall where he snuck around the back and peeked in the door. Jimmy Liggins and T-Bone Walker, among others, played there. From 1951-53 he served in the U.S. Army and was posted out to the Korean front. With a natural propensity to use his hands, he worked on auto assembly lines before he started (at the urging of his hero B.B. King) entering talent shows and sit-in gigs with local bands as a stand-up singer. One of these gigs involved the great “Bobo” Jenkins from Forkland, Alabama.
  • Updates & Amendments to the Great R&B Files

    Updates & Amendments to the Great R&B Files

    Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the
  • And Add To), Provided That Credit Is Given to Michael Erlewine for Any Use of the Data Enclosed Here

    And Add To), Provided That Credit Is Given to Michael Erlewine for Any Use of the Data Enclosed Here

    POSTER DATA COMPILED BY MICHAEL ERLEWINE Copyright © 2003-2020 by Michael Erlewine THIS DATA IS FREE TO USE, SHARE, (AND ADD TO), PROVIDED THAT CREDIT IS GIVEN TO MICHAEL ERLEWINE FOR ANY USE OF THE DATA ENCLOSED HERE. There is no guarantee that this data is complete or without errors and typos. And any prices are sure to be out of date. This is just a beginning to document this important field of study. [email protected] ------------------------------ SC 1976-08-03 P-1 --------- 1976-08-03 / SC CP017359 / MEB491 Sonic Rendezvous Band at Second Chance [Ann Arbor, MI] Artist: Freddie Brooks Venue: Second Chance Promoter: Michigan Music Items: Original poster SC Edition 1 / CP017359 / MEB491 Performers: 1976-08-03: Second Chance Sonic Rendezvous Band ------------------------------ SC 1976-08-24 P-1 --------- 1976-08-24 / SC CP017352 / MEB484 Sonic Rendezvous Band at Second Chance [Ann Arbor, MI] Artist: Freddie Brooks Venue: Second Chance Items: Original poster SC Edition 1 / CP017352 / MEB484 Performers: 1976-08-24: Second Chance Sonic Rendezvous Band ------------------------------ 1978-04-12 P --------- 1978-04-12 / CP060627 / CP060627 Stranglers, Tuff Darts at Second Chance [Ann Arbor, MI] Artist: Dennis Loren Venue: Second Chance Items: Original poster / CP060627 / CP060627 (11 x 17) Performers: 1978-04-12: Second Chance Stranglers / Tuff Darts / Destroy All Monsters ------------------------------ SC 1979-04-12 P-1 --------- 1979-04-12 / SC CP012814 / DL19790412 Stranglers at Second Chance [Ann Arbor, MI] Artist: Dennis Loren Venue:
  • Clyde Mcphatter 1987.Pdf

    Clyde Mcphatter 1987.Pdf

    Clyde McPhatter was among thefirst | singers to rhapsodize about romance in gospel’s emotionally charged style. It wasn’t an easy stepfor McP hatter to make; after all, he was only eighteen, a 2m inister’s son born in North Carolina and raised in New Jersey, when vocal arranger and talent manager Billy | Ward decided in 1950 that I McPhatter would be the perfect choice to front his latest concept, a vocal quartet called the Dominoes. At the time, quartets (which, despite the name, often contained more than four members) were popular on the gospel circuit. They also dominated the R&B field, the most popular being decorous ensembles like the Ink Spots and the Orioles. Ward wanted to combine the vocal flamboyance of gospel with the pop orientation o f the R&B quartets. The result was rhythm and gospel, a sound that never really made it across the R &B chart to the mainstream audience o f the time but reached everybody’s ears years later in the form of Sixties soul. As Charlie Gillett wrote in The Sound of the City, the Dominoes began working instinctively - and timidly. McPhatter said, ' ‘We were very frightened in the studio when we were recording. Billy Ward was teaching us the song, and he’d say, ‘Sing it up,’ and I said, 'Well, I don’t feel it that way, ’ and he said, ‘Try it your way. ’ I felt more relaxed if I wasn’t confined to the melody. I would take liberties with it and he’d say, ‘That’s great.
  • Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood

    Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood

    Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting.
  • HECORELENT Vvi WHO in the WORLD of '

    HECORELENT Vvi WHO in the WORLD of '

    SECTION 2 DECEMBER 30,196, PRICE $1 25 iIIbpa HECORELENT Vvi WHO IN THE WORLD OF ' oit . - -r: ;:1-4-.1.4V.ii2g.;:t.r.;7-7,;.'..017,:i-Oi-,`ifEY:'7.`i..ei-S. 1 ffr : N'. .... '4 t o , 7 Zt. 1.Z44:')4 e: : A.': .-, .!,........;, ...,7, ,......-,.:, .,...:.4.,..4,rt,:,..,......;.. tt- . 4.0 .. *.limeNnek. N Xe-e,y_412etnii,,--,,,,-4z4.4,4-ix.:A.:.,4A,-*,,, -..:,:m, 44...1.777M"Y.70E"M. -...,,.- ......." - OW/ O./ RAVI SHAN/fail -RECORD ARTIST OF THE YEAR )- 1 L THE. RUF1I'L. NI.EV BIOS. CO.ii.TOU IS DY:tE THE ELG11..S T-IE VEL1.1ELETTES & THE !S BREIOA HOLLOM CHUCK JACKSON RECORD CORPORATION r-Te, sc..4 -ALS( SMOKEY JR. WALKEI ROBINSON ALL STARS II & THE B LLY ECKSTINE MIRACLES filcNAIR THE CHRIS CLARK 1 THE SPINNERS I THE MONITORS THE MESSENGERS GLADYS KNIGHT & THE PIPS BOBBY TAYLOR VANCOUVEI MARTHf REEVE: & THE V ANDELLAJ Tifrhtowa ,7..ct(touyl MOTOWN RECORD CORP. JOBEIE MUSIC CO., INC. STEIN & VAN STOCK INTERNATIONAL TALENT MANAGEMENT, INC. Management: SAL BONAFEDE ASHER DANN ELEKTRA RECORDS 6721Sunset Bl+d , Los Angeles,California 6 Who's Who in the World of Music Billboard 1968is ED AMES ea& _..."47 - 4:1VmftammilltipMEMP .411E. inem: - "NW.. 4.1"4111111smwomIll ...1111111nt,-.1111," 141"52E110--- LPM 3913 (M) LSP 3913 (S WHO WILL ANSWER? ALBUM TO BE RELEASED SHORTLY PERSONAL MGT. BURKE WEEMS / RISEI 1000HECORIRENERION WHO'S WHO IN THE WORLD OF MUSIC CONTENTS EDITORIAL OFFICE: 165 W. 46thSt., New York, N.Y. 10036. Area Code 212, PL 7-2800 Cable: BILLBOARD NEWYORK ARTIST OF THE YEAR 10 TOP ARTISTS -1967 14 Publisher: HAL B.