DOCSLIB.ORG

Contents ● About Terry Robb ● Discography ● Recommended If You Like ● Photos ● Videos ● Contact

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contents ● About Terry Robb ● Discography ● Recommended If You Like ● Photos ● Videos ● Contact ` A fingerstyle guitar virtuoso whose signature style has redefined acoustic blues guitar and made him a legend among blues musicians. Contents ● About Terry Robb ● Discography ● Recommended If You Like ● Photos ● Videos ● Contact Page 2 of 13 ABOUT TERRY ROBB SHORT BIO A dynamic, unforgettable fingerstyle guitar virtuoso, Terry Robb has redefined acoustic blues guitar with his signature fingerpicking style. Drawing international acclaim from worldwide audiences, music critics and his distinguished peers, Robb’s unique blues sound, incorporating elements from the Mississippi Delta music tradition, ragtime, country, swing, and jazz, has made him a legend among blues musicians in his prolific music career spanning four decades. BIOGRAPHY “Unquestionably, Terry Robb ranks right up there with the heavy hitters, a player of dazzling skill and technique.” “Exquisite musicality and superlative skill.” “One of the best players, on acoustic and electric, embracing a range of blues styles and then some.” These are just a few of the accolades paid to acoustic fingerstyle guitarist Terry Robb by Vintage Guitar Magazine and Living Blues since the release of his latest album Cool On The Bloom in November, 2016. And there are plenty more. In his prolific music career spanning four decades, Terry Robb has been praised by Rolling Stone, Acoustic Guitar, Guitar Player, Down Beat, Guitar World, Blues Blast Magazine, Oprah’s O Magazine, and countless more esteemed journals. He has toured nationally with Steve Miller and Buddy Guy, appeared on “Late Night with Conan O’Brien Show” and “West Coast Live with Sedge Thomson,” and performed as special guest of The Oregon Symphony and NBA Trail Blazers. A dynamic live performer, Terry Robb is a fingerpicking powerhouse who commands attention from any stage. He has shared the stage with B.B. King, Albert Lee, Joe Cocker, Bo Diddley, David Crosby, Leo Kottke, Johnny Winter, George Thorogood and many more all-stars. With more than 15 releases under his name, Robb’s recordings feature collaborations with John Fahey, Eddy Clearwater, Maria Muldaur, Ike Willis, Curtis Salgado and Glenn Moore. “Finger gawkers flood to his shows,” wrote Frank Matheis of Living Blues. “Never seen in our latitudes is a stratospheric guitarist like Robb, a true six-stringed sorcerer, with absolutely stunning fingerpicking,” said Riccardo Bragga, talent buyer for the Vallamaggia Blues Festival in Switzerland. And on learning of Terry’s addition as faculty member of the Britt Music & Arts Festival Guitar Weekend, fellow blues musician and educator Michael “Hawkeye” Herman noted “Terry is an A-1 teacher, player/performer, a great guy, and an all-around superb addition to the event.” Page 3 of 13 Terry Robb has also gained the praise and following of fans across the U.S., Canada, Europe, and beyond. Video from a live performance by Terry at a California performing arts venue in 2007 has drawn more than 985,000 views on YouTube, and counting. Fans from all parts of the globe, of all ages, are astounded by the virtuosity of Terry Robb on acoustic blues guitar. Since his Living Blues chart-topping release Stop This World in 1996, Terry Robb has toured the Pacific and Atlantic coasts, from Alaska to Arizona and New England to the Carolinas, and Western Europe as a solo artist. He has headlined festivals, performing arts centers, and concert halls, regularly drawing audiences of 100 or more, selling out many smaller venues. The multitude of awards Terry Robb has received speak to his seminal talent as a blues guitarist. Robb has been inducted into both the Oregon Music Hall of Fame and Cascade Blues Association (CBA) Hall of Fame, and he has an award named after him in recognition of his landmark contributions to acoustic blues in the Pacific Northwest. Terry Robb was awarded the Muddy Award for Best Acoustic Guitar by the CBA for 19 consecutive years – from inception of the award category in 1992 until it was renamed the “Terry Robb” Muddy Award for Acoustic Guitar in 2011, which is presented annually to a Pacific Northwest guitarist. In 2017, the CBA presented him the Muddy Award for Lifetime Achievement. Terry Robb achieved greatness at an early age, performing with Ramblin’ Rex of Frank Zappa / Captain Beefheart fame, Canned Heat’s Henry Vestine, and steel•string guitar icon John Fahey. At age twenty-four, Robb produced and played accompaniment on Fahey’s album Let Go, which garnered a four-star review by Rolling Stone and led to numerous collaborations for which Robb served as Fahey’s producer, arranger and guitar accompanist. As an acclaimed producer and session guitarist, Robb has contributed to countless award-winning projects. He produced Alice Stuart’s album Can’t Find No Heaven, nominated for Grammy and Blues Music Awards. Steeped in Americana ethnomusicology, Robb has been featured in numerous films, books, and articles profiling American roots and blues music and the luminaries with whom he has worked. These include the Hollywood biopic “Don’t Worry, He Won’t Get Far on Foot” about the late cartoonist John Callahan, the documentary film “Portland Mojo: How Stumptown Got the Blues,” and the biography Dance of Death: The Life of John Fahey, American Guitarist. Terry Robb was born in British Columbia, raised in the United States and resides in Portland, Oregon. Page 4 of 13 REVIEWS “One of the best players, on acoustic and electric, embracing a range of blues styles and then some.” - Dan Forte, Vintage Guitar Magazine “Finger gawkers flood to his shows…unquestionably, Robb ranks right up there with the heavy hitters, a player of dazzling skill and technique. He could go to any guitar festival and show them a few chords.” - Frank Matheis, Living Blues "Much of the blues press places Robb at the top of the heap of acoustic and electric pickers globally....a force to be reckoned with." - Tee Watts, Blues Blast “Eight Acoustic Blues Masters… an inspiring assembly of guitar masters really laying it down on acoustic guitar…Buddy Guy, Stevie Ray Vaughan, Jimi Hendrix, Tommy Emmanuel...and Terry Robb. – Acoustic Nation, Guitar World "It's the rare guitarist who can whip off a killer 12-bar blues solo, then turn around and fingerpick Travis-style with speed and subtlety. Yet Portland, Oregon, guitarist and singer Terry Robb does just that." - Ian Zack, Acoustic Guitar “From the first listen, Robb's guitar playing can blow you away...he's a favorite player in the Northwest, and a former buddy of John Fahey. Then it all makes sense.” - John Heidt, Vintage Guitar Magazine “What distinguishes this LP [Let Go by John Fahey] is Robb’s superb production…Robb is an extraordinarily sympathetic accompanist to John Fahey.” - Kurt Loder, Rolling Stone “Whether sliding or fingerpicking, his technique is clean and articulate; no matter how busy the material gets...it never sounds crowded or overblown." - Genevieve Williams, Blues Revue “This man’s articulate playing is perfect, and I really do mean perfect, this music is addictive." - Pete Innes, Blues Matters "Terry Robb without question is one of the finest guitarists playing the blues…he is the master of both fingerpicking and bottleneck styles with expert original and innovative readings of Delta blues, rags, spirituals, and whatever else he puts his mind to musically." - Greg Johnson, President, Cascade Blues Association “A bonafide blues guitar star.” – Mark Bialczak, The Post-Standard "A virtuoso on the acoustic blues guitar." - Don Hamilton, The Oregonian Page 5 of 13 SELECTED PERFORMANCE HISTORY Arlene Schnitzer Concert Hall, Portland, Oregon Biscuits & Blues, San Francisco, California Boise City Blues Festival, Boise, Idaho Boonville Folk-Blues Festival, Mendocino, California Britt Music & Arts Festival, Jacksonville, Oregon Bronze, Blues & Brews Festival, Joseph, Oregon Bumpershoot, Seattle, Washington Cathedral Park Jazz Festival, Portland, Oregon Carolina Downhome Blues Fest, Camden, South Carolina Centrum Steel and Slide Guitar Festival, Port Angeles, Washington Concordia University Blues Festival, Portland, Oregon Freight & Salvage, Berkeley, California Hermann’s Jazz Club, Victoria, British Columbia, Canada Hi-Fi Music Hall, Eugene, Oregon Hult Center, Eugene, Oregon Juan de Fuca Festival of the Arts, Port Angeles, Washington Jones Beach Amphitheater, Long Island, New York Late Night with Conan O’Brien, New York City, New York Lillehammer Blues Festival, Lillehammer, Norway New Fairfield Concert Series, New Fairfield, Connecticut New Haven Folk Society, New Haven, Connecticut New York State Blues Festival, Syracuse, New York Newport Performing Arts Center, Newport, Oregon North By Northwest, Portland, Oregon Peninsula Arts Center, Long Beach, Washington Pickathon, Portland, Oregon POPS Performing Arts Center, Dunsmuir, California Portland Jazz Festival, Portland, Oregon Railhead Casino, Las Vegas, Nevada The Blue Café, Long Beach, California The Mint, Sun Valley, Idaho The Rhythm Room, Phoenix, Arizona The Triple Door, Seattle, Washington The Zephyr Club, Salt Lake City, Utah Vancouver International Guitar Festival, Vancouver, British Columbia, Canada Vallemaggia Blues Festival, Ticino, Switzerland Walla Walla Guitar Festival, Walla Walla, Washington Walters Cultural Arts Center, Hillsboro, Oregon Waterfront Blues Festival, Portland, Oregon West Coast Live with Sedge Thompson, San Francisco, California Winthrop Rhythm & Blues Festival, Twisp, Washington Yukon Arts Centre, Whitehorse, Yukon Territory, Canada Page 6 of 13 AWARDS & HIGHLIGHTS:
Load more

Recommended publications
  • North Carolina Obituaries Courier Tribune Name Date of Paper Page # Date of Death Abbott, Blannie Allen 7-Aug-84 7A 6-Aug-84
    North Carolina Obituaries Courier Tribune Name Date of Paper Page # Date of Death Abbott, Blannie Allen 7-Aug-84 7A 6-Aug-84 Abbott, Douglas L. 1-Sep-82 12A 30-Aug-82 Abbott, Helen Hartsook 3-Dec-82 9A 2-Dec-82 Abbott, Molly Jeane 3-Nov-81 8A 31-Oct-81 Abbott, Nora Johnson Mitchell 14-Oct-83 12A 13-Oct-83 Abbott, Roger 1-Aug-84 6A 31-Jul-84 Abercrombie, Dodd 5-Oct-80 6A 3-Oct-80 Abernathy, Ray Paul 29-Jun-80 8A 28-Jun-80 Abernathy, Shaun Travis 24-May-83 8A 24-May-83 Abrams, Reagan Vincent 28-Sep-80 6A 26-Sep-80 Abston, Thomas Earl 30-Dec-82 10A 29-Dec-82 Ackerman, Elsie K. 20-Apr-82 8A 19-Apr-82 Acree, Una Mae Phillips 6-Jul-81 6A 5-Jul-81 Adams, Anna Threadgill 9-Dec-85 9A 8-Dec-85 Adams, Annie Vaughn 12-Mar-85 6A 11-Mar-85 Adams, Bernice Hooper 6-Jul-82 8A 5-Jul-82 Adams, Dora Carrick 13-Jun-80 10A 12-Jun-80 Adams, Edward Vance 23-May-83 6A 23-May-83 Adams, Herman Hugh Sr. 29-Oct-81 8A 27-Oct-81 Adams, James Clifton 18-Sep-84 9A 17-Sep-84 Adams, John Edwin 1-Mar-84 10A 29-Feb-84 Adams, T.B. 15-Oct-82 10A 14-Oct-82 Adams, Velma D. 11-Aug-81 8A 10-Aug-81 Adcock, Plackard C. 6-Jul-82 8A 5-Jul-82 Aderholt, Daniel H. 17-May-85 10A 13-May-85 Adkins, Clarence Odell 1-Jan-85 7A 1-Jan-85 Adkins, E.G.
    [Show full text]
  • PATTO – the JOHN HALSEY INTERVIEW
    PATTO – the JOHN HALSEY INTERVIEW Patto, apart from being one of the finest (purely subjective, of course) bands this country ever produced, were not blessed with good fortune. Forever on the verge of making it really big, they broke up after six years of knocking on the door and finding no-one home. Subsequently, two of their number died while the other two were involved in a terrible car smash which left one with severe physical injuries and the other with severe mental problems. Drummer John Halsey is now the only Patto member who could possible give us an interview. Mike Patto and Ollie Halsall are both gone, while bassist Clive Griffiths apparently doesn't even recall being in a band! Despite bearing the scars of the accident (Halsey walks with a pronounced limp), John was only too pleased to submit to a Terrascopic grilling - an interview which took place in the wonderful Suffolk pub he runs with his wife Elaine. Bancroft and I spent a lovely afternoon and evening with the Halseys, B & B'd in the shadow of a 12th Century church cupboard and returned to London the next morning with one of the most enjoyable interviews either of us has ever done. John Halsey: I started playing drums because two mates who lived in my road in North Finchley (N. London), where I'm from, wanted to form a group. This was years and years ago, 1958, 1959. Want to see the photo? PT: Oh, look at that! 1959! Me, with a microphone inside me guitar that used to go out through me Mum's tape recorder, and if you put 'Record' and 'Play' on together, it'd act like an amplifier.
    [Show full text]
  • Blues CD Reviews
    In This Issue... April Blues Bash: Son Jack, Jr. KBA Photographer Suzanne Swanson Dawn Tyler Watson (IBC First Place Band) (Photo by Daniel Sheehan) (Photo by Paul Brown) (Photo by Paul Brown) Letter from the President 2 Remembering James Cotton 6 Membership Opportunities 14 Letter from the Editor 3 April Blues Bash Preview 11 B Sharp Coffee House 15 Officers and Directors 4 Memphis Memo 12 Extended CD Review 16 On the Cover 4 New Venue: Cask & Trotter 14 Hawkeye Herman in Spokane! 17 Letter from Washington Blues Society President Tony Frederickson Kevin Sutton & the Blue Monday Band opening American Indian Chief and several bidders really Hi Blues Fans, the show and getting the crowd in a fevered pitch went to work on this item and provided as much that never let up the whole evening. We had many excitement as the music we had already heard. The This past month the Washington Blues Society, special guests throughout the show and the Blue silent auction closed and almost every item had Lee Oskar Harmonicas, and Anacortes Brewery Monday Band invited Jimmy Fadden to sit in multiple bids and displayed the generosity of those (H2O & Rockfish) sponsored the first of what we with them which raised the bar even higher. After in attendance. Our last special guest of the evening hope will be an annual fundraising event for the a brief break for a set change and live auction, was Mark Dufresne who led the Lee Oskar band Washington Blues Society’s Musician Relief Fund Bobby Holland & the Breadline took the stage with a few songs in memory of James Cotton, who at the Historic Everett Theater.
    [Show full text]
  • DICK RIVERS 5/5 Warner France ************ DOSSIER
    Bio Dick Rivers est né le 24 avril 1946 à Nice. Il a commencé sa carrière adolescent à l’aube des sixties. Ses premiers miaulements twist ont retenti au sein d’un groupe venant de la french riviera n'ayant pas l’intention de se laisser apprivoiser par l’establishment parisien. Il devient aussitôt l'un des acteurs principal de cette déferlante de rythmes venue d’outre- Atlantique et de cette révolution sociale et culturelle appelée rock and roll à qui l'on prédisait un avenir aussi éphémère qu’incertain. Dick, c’est avant tout une voix de baryton agrémentée de volutes de fumée, qui tel un bon vin se bonifie avec le temps. Plus de 50 ans plus tard, le rock ’n’ roll se porte à merveille et lui aussi. Dick Rivers prêche toujours et inlassablement la bonne parole de la musique authentique et sincère, gorgée de feeling et de passion. Sa carrière est celle d'un puriste en perpétuelle recherche de nouveautés et jonchée d’heureuses et symboliques rencontres et autres complicités de haute lignée. Sa route musicale croisera des artistes exceptionnels comme Albert Lee, Steve Cropper, James Burton, Mick Taylor, Jimmy Page, Chris Spedding, Charlie Sexton mais aussi John Lennon et Paul McCartney, Elvis Presley, Gene Vincent, Brian Jones, Piaf, Brassens sans oublier Alain Bashung, Serge Koolenn, Christian Ravasco, Patrick Coutin, André Manoukian, Philippe Labro, M, Benjamin Biolay, Mickey 3D, Joseph d’Anvers, Jean Fauque et restera toujours fidèle à ses incontournables racines rock et blues. Aujourd’hui, après plus de 35 albums et des centaines d’enregistrements, Dick s'est entouré d'un guitariste Canadien exceptionnel qui l'accompagnera sur les routes de France en 2018 pour la Tournée des Idoles.
    [Show full text]
  • The 35 Best Folk Music Venues in the U.S
    The 35 Best Folk Music Venues in the U.S. Tweet Like 2.9K Share Save (https://www.reddit.com/submit) Click a state to view its venue(s) Although folk music may have hit its zenith in the 1960s, the genre still thrives today, along with a dedicated base of fans. It lives in music venues on each coast as well as hundreds of places in between. ARIZONA Folk music is still with us because it connects the listener, and the artist, to our cultural heritage. The tunes and lyrics CALIFORNIA describe who we are and where we came from. COLORADO Below is a list of the top 35 folk venues in the United States. We've listed the venues alphabetically by state. CONNECTICUT These 35 venues are not necessarily dedicated to folk music, but they are places where folk music indeed thrives. They ILLINOIS are also elite live music venues with superb acoustics, sightlines, and atmospheres, all qualities needed to make our list. MARYLAND The deciding factor, however, was enthusiasm. The following 35 venues exhibit a fervor for folk music that is almost MASSACHUSETTS palatable. MICHIGAN The people behind these venues love what they do and they love folk music. And, as you'll soon read, many of these NEW YORK venues are run by volunteers. NORTH CAROLINA OREGON PENNSYLVANIA RHODE ISLAND Arizona TEXAS VIRGINIA The Lost Leaf Bar & Gallery 914 North 5th Street Phoenix, AZ The Lost Leaf Bar & Gallery is an amazing venue for any type of show, especially folk music. For one, all their shows are free.
    [Show full text]
  • A Dynamic, Unforgettable Artist Whose Signature Style Has Made Him a Legend Among Blues Musicians. Terry Robb Is One of The
    A dynamic, unforgettable artist whose signature style has made him a legend among blues musicians. Terry Robb is one of the top acoustic blues guitarists of our time. His signature fingerpicking style has earned him international acclaim from worldwide audiences, music critics and his distinguished peers. Incorporating elements from the Mississippi Delta music tradition, ragtime, country, swing and free jazz, Robb has built a unique blues sound that has made him a legend in his prolific music career spanning more than four decades. The multitude of awards Terry Robb has received speak to his seminal talent as a blues guitarist. Robb has been inducted into both the Oregon Music Hall of Fame and the Cascade Blues Association Hall of Fame. He single-handedly defined the Muddy Award for Best Acoustic Guitar, winning the honor 19 consecutive years from 1992 until 2011. Upon his retirement from the competition in 2011, the award was renamed the “Terry Robb Best Acoustic Guitar” Muddy Award to honor his landmark contributions to blues music. Robb was born in British Columbia, raised in the United States and currently resides in Portland, Oregon. He achieved greatness at an early age, performing with Ramblin’ Rex of Frank Zappa / Captain Beefheart fame, Canned Heat’s Henry Vestine, and steel­ string guitar icon John Fahey. At age twenty-four, Robb produced and played accompaniment on Fahey’s 1984 release “Let Go,” which received a four-star review by Rolling Stone and led to numerous subsequent collaborations for which Robb served as Fahey’s producer and session guitarist. As an acclaimed producer and session guitarist, Robb has contributed to many award-winning projects.
    [Show full text]
  • February 2019 BLUESLETTER Washington Blues Society in This Issue
    LETTER FROM THE PRESIDENT Hi Blues Fans, We are into the New Year and WASHINGTON BLUES SOCIETY time is already moving by at Proud Recipient of a 2009 high speed! It’s time to get Keeping the Blues Alive Award your Best of the Blues nomi- nations in! They are due on OFFICERS Tuesday, February 12th! You President, Tony Frederickson [email protected] need them postmarked by Vice President, Rick Bowen [email protected] the 12th if you mail them in; Secretary, Open [email protected] you can email them in from Treasurer, Ray Kurth [email protected] the email address associated Editor, Eric Steiner [email protected] with your membership; or bring them to the Blues Bash DIRECTORS at Collectors Choice! This Music Director, Amy Sassenberg [email protected] is one of the biggest benefits Membership, Open [email protected] of being a Washington Blues Education, Open [email protected] Society member. Be sure to Volunteers, Rhea Rolfe [email protected] exercise your voice to nomi- Merchandise, Tony Frederickson [email protected] nate your favorite musicians, Advertising, Open [email protected] venues, jams, radio DJs and festivals!. THANKS TO THE WASHINGTON BLUES SOCIETY 2017 STREET TEAM We will be returning to the Northwest Music Hall at the Everett Downtown Seattle, Tim & Michelle Burge [email protected] Mall for the BB Awards so keep an eye out for information on this West Seattle, Jeff Weibe (206) 932-0546 year’s show. We will have the event posted on our Facebook page North Sound, Malcolm Kennedy [email protected] and there will be more information in next month’s Bluesletter.
    [Show full text]
  • Table of Contents
    1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis­ A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas.
    [Show full text]
  • Charles Earle's
    CATAMOUNT T #82/171 NOVEMBER 2003 Paige Ladrone 4 Eric Babcock CHARLES EARLE's B-Sides JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #51 REVIEWS (or not) David Brake & That Damn Band Albert Lee Rick Shea & Patty Booker Wailin' Elroys TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S “TURBINADO" texas íí:::c round-dp YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! Me R i s in TH! E n T s "A BOUNTY-SIZED CREW OF TEXAS MUSIC HITTERS HAVE STEPHEN BRUTON JON DEE GRAHAM JOINED FORCES FOR ONE WILD TOUR DE FORCE THAT HAS JUD NEWCOMB BRUCE HUGHES > TO BE HEARD TO BE BELIEVED. TRULY AN ASSEMBLAGE THAT'S JOHN CHIPMAN A DREAM BAND, THE KILLER MUSIC FLOWS LIKE WATER." - MIDWEST RECORD RECAP IY TOMBUN BAND FEATURING REDO VOLKAERT EARL POOLE BALL CINDY CASHDOLLAR SARAH BROWN BOBBY ARNOLD JON HAHN WITH SPECIAL GUEST AUGIE MEYERS "THIS IS THE KIND OF UNDER-THE-RADAR COUNTRY ALBUM THAT RENEWS ONE'S FAITH IN THE INDIE SCENE IN GENERAL, AND TEXAS IN PARTICULAR." -SLIPCUE.COM TEXAS WORLD RECORDS 210 Barron Springs Road, Suite 550, Austin, Texas 78704 512-615-2412 “To my mind, she’s the best new thing to come down this Austin pike in some time, displaying class, versatility, and a distinctiveness...” -Mob Patterson,Country Music People “ Every once in a while, a musician moves to Austin and knocks the town on it’s ear. Elizabeth McQueen is one of those.” -Jim Caliguirl,Austin Chronicle "It's country for those with dirt under their fingernails and rock for those with dust on their jeans..
    [Show full text]
  • Mick Taylor © Felix Aeppli 07-2020 / 08-2021
    Blues Breaker Mick Taylor © Felix Aeppli 07-2020 / 08-2021 5001 January 17, 1949 (not 1948) Born in Welwyn Garden City, Hertfordshire: Michael Kevin (not James) Taylor. 5001A 1963 Hatfield, Hertfordshire, or London: THE STRANGERS, MEET THE STRANGERS (One-sided 10" acetate, 1963): 1. A Picture Of You (Beveridge, Oakman), 2. The Cruel Sea (Maxfield), 3. It’ll Be Me (Clement), 4. Saturday Night At The Duck Pond (Owen, based on a section from Tchaikovsky's Swan Lake) MT, Alan Shacklock: guitar; Malcolm Collins: vocals (1, 3); John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5001B 1964 Hatfield, Hertfordshire, or London: THE JUNIORS, Single (Columbia DB 7339 [UK], Aug. 1964); MADE IN ENGLAND VOL. 2 – BRITISH BEAT SPECIAL 1964 - 69 (LCD 25-2, CD [France], Spring, 2000): 1. There’s A Pretty Girl (Webb), 2. Pocket Size (White) MT, Alan Shacklock: guitar; Malcolm Collins: vocals; John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5002 May, 1967 Probably London THE GODS (THOR, HERMES, OLMPUS, MARS), Single (Polydor 56168 [UK], June, 1967): 1. Come On Down To My Boat Baby (Farrell, Goldstein), 2. Garage Man (Hensley) NOTES: Cuts 1, 2: MT’s participation in this session is very much open to speculation and his own interviews on the subject are full of contradictions; most likely MT had taken part in some live shows, but he never was in THE GODS’ actual line-up (Lee Kerslake: guitar; Ken Hensley: organ, vocals; John Glascock: bass, back-up vocals; Brian Glascock, perhaps alternating with Lee Kerslake: drums); – Nor is MT identical with MICK TAYLOR playing guitar and singing on a Single (CBS 201770 [UK], June, 1965), London Town, Hoboin’ (both Taylor - produced by Jimmy Duncan and Peter Eden); or involved in Cockleshells (Taylor), a track recorded by MARIANNE FAITHFULL (NORTH COUNTRY MAID, Decca LK 4778 [UK], Feb.
    [Show full text]
  • TWO LOUIES, March 2001 John Fahey 1939-2001
    Joanna Bolme of the Stephen Malkmus Band 2 – TWO LOUIES, March 2001 John Fahey 1939-2001 ohn Fahey was a giant influence on the cultur- Chants, Breakdowns, and Military Waltzes, I al development of America. He was the first asked, “Who are these two guitar players?” I pic- Jperformer to expand American folk-blues tured a couple of 50-year-old masters whose melodies into a concert style similar to Segovia— vision of music and spatial technique reminded that is, one man, one guitar, and one grand vision me of pianist Glenn Gould. Here was a performer that encompassed the spiritual essence of Delta who carried his genre to a higher level, whose Blues, cosmic folk, and classical music. probes were deeper, whose vision was wider, “Here was a performer who carried his genre to a higher level, whose probes were deeper, whose vision was wider, whose understanding of the universe was more complete and profound than any before him.” Without John Fahey, there may not have whose understanding of the universe was more been a Windham Hill label of acoustic guitar mas- complete and profound than any before him. John ters. There would have been no Takoma label, gave us the same kind of breakthroughs that we which featured John’s first seven albums and got from Debussy and Stravinsky. It may not have more. There may not have been a Music been possible without him. Millennium... certainly not as we know it. It was It’s incredible that so much talent was John Fahey’s music that inspired the Millennium brought out in a guitarist in his twenties from a founders to open their little Portland record shop little town in Maryland.
    [Show full text]
  • Print Version (Pdf)
    Special Collections and University Archives UMass Amherst Libraries Broadside (Mass.) Collection Digital 1962-1968 1 box (1.5 linear foot) Call no.: MS 1014 About SCUA SCUA home Credo digital Scope Inventory Broadside, vol. 1 Broadside, vol. 2 Broadside, vol. 3 Broadside, vol. 4 Broadside, vol. 5 Broadside, vol. 6 Broadside, vol. 7 Broadside and Free Press, vol. 8 Broadside and Free Press, vol. 9 Admin info Download xml version print version (pdf) Read collection overview When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. Assembled by Folk New England, the Broadside collection contains a nearly complete run of the Boston- and Cambridge-based folk music periodical, The Broadside, with the exception of the first issue, which has been supplied in photocopy. See similar SCUA collections: Folk music Massachusetts (East) Printed materials Background When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. The rapid growth of the folk scene in Boston during the mid- 1950s was propelled in part by the popularity of hootenannies held at the YMCA and local hotels, and by a growing number of live music venues, catching on especially in the city's colleges.
    [Show full text]