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Steve Cropper | Primary Wave Music
STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band. -
Red Lightnin Brochure
ESTABLISHED IN 1968 AS PURVEYORS OF CONTEMPORARY BLUES, OUR EDICT IS TO PUSH BLUES TO THE LIMIT! AS THE MOST INFLUENTIAL MUSICAL FORM RED LIGHTNIN’ OF THE 20TH CENTURY. THE ROLE OF THE BLUES CAN BE FOUND IN ALL FORMS OF The White House, MUSIC. THE BLUES MUST AND WILL ADAPT 42 The Street, TO THE FUTURE SOCIAL CLIMATE, AFTER North Lopham, ALL, THE PROBLEMS AND HENCE THE LYRICS THAT BLUES DERIVED FROM HAVE Diss, Norfolk, ’T L NOT ALTERED - ONLY THE TECHNOLOGY IP22 2LU, UK AN OS HAS! C E” TEL: 44 1379 687693 U WE HAVE OVER 1500 + MASTERS AVAILABLE FAX: 44 1379 687559 O AND CAN FILL ALL YOUR REQUIREMENTS FOR Mobile: 07710 230226 Y COMPILATIONS, LICENSING, ADVERTISING, S PREMIUM PRODUCTS, FILM, TV,, Email: [email protected] E PROMOTIONS, INTERNET, ETC. www.redlightnin.com U L B E KEEP THE TRAIN S E H T AROLLING, L © 2007 L A BUY BIGGER, H T I W “ BUY BETTER - BUY BLUES!! ARTIST’S INCLUDE: - ALBERT COLLINS• JOHN LEE HOOKER• BIG WALTER "SHAKEY" HORTON ( 2.5 discs worth)• EARL HOOKER• BILLY BOY ARNOLD• MUDDY WATERS• JOHNNY OTIS• JIMMY WITHERSPOON (with Duke Robbilard)• KING BISCUIT BOY ( 2 discs)• SCREAMING JAY HAWKINS• BUSTER BENTON & CAREY BELL• TROYCE KEY & JJ MALONE• BIG JOE WILLIAMS• LITTLE BROTHER MONTGOMERY• SMOKEY LOGG• THE MIGHTY HOUSEROCKERS• ROY GAINES & CRUSADERS• LUTHER ALLISON• TOMMY TUCKER• CHARLIE MUSSELWHITE• ISAAC SCOTT• OTIS RUSH• MARIA MULDAUR• LONG JOHN BALDRY• BRIAN KNIGHT• IKE TURNER• EDDIE CLEARWATER• JIMMY JOHNSON• MAGIC SLIM• BUDDY GUY & JUNIOR WELLS• MISSISSIPPI FRED McDOWELL• MEMPHIS SLIM• MATT 'GUITAR' MURPHY• SONNY BOY WILLIAMSON• PHIL GUY• LOUISIANA RED• PAUL deLAY BAND• UP WILSON• PAUL ORTA• CLARENCE EDWARDS• JIMMY REED• ROOSEVELT SYKES• PROFESSOR LONGHAIR• JO-EL SONNIER• AMOS GARRETT• DOUG SAHM• HANS THEESINK• PETER GREEN & MICK GREEN• BRIAN KNIGHT with MICKEY MOODY (WHITESNAKE)• LIGHTNIN' HOPKINS BREWERS DROOP with MARK KNOPFLER• THE ENEMY WITHIN FEATURING GYPIE MAYO• LOUISIANA BOB KIRKPATRICK• ETC,. -
The Blues Dogs Band Has Been Helping Him Discover Wisconsin, So Be Sure to Welcome Him
.After over 40 years playing blues in bars, these guys got it down. Dues have been paid and paid again. The Chippewa Valley Blues Society presents Harvey Fields started playing drums as a boy at the Checkerboard Lounge in Chicago with his mentors, Howlin' Wolf and Muddy Waters. His Uncle, Lucky Evans was an alumnus of the Howlin' Wolf band and took Harvey all around the world, playin' blues and payin dues. Steve John Meyer, lead vocalist, guitarist and harp player, is a graduate of thousands of smoky nights. He's led the 'dream life'... jammin' blues in every bar in Minnesota and Wisconsin, then spending the night on the road, in an old beat up van, usually cold, and snowing. Steve started blowin harp in '68, playin on the lakeshore, in laundry rooms and culverts to find 'the sound.' One night he was jamming with some guys he just met in an old roadhouse down by Cedar Lake and the place was packed. At one point the hot, sweaty crowd just stopped dancing to watch, and he never looked back. He knew he'd finally found it. Dean Wolfson plays bass. He's been jammin' round the twin cities since the 70's. Dean also plays for folk June 16, 2009 rocker Geno LaFond. The Blues Dogs band has been helping him discover Wisconsin, so be sure to welcome him. Kenny Danielson, from LacDuFlambeau, native American blues guitarist, singer and "long time blues enthusiast" rounds out the quartet for the evening. The Blues Dogs Next Week Upcoming Schedule The Pumps The Pumps If you haven't been to one of their June 20th Barnacles on Mille Lacs shows, you're missing out on a trio of cool cats, all June27th Smalley’s in Stillwater veterans of the local and national scene - Tom Brill July 4th Brewski's in Balsam Lake on guitar and vocals, Buck Barrickman on bass and July 11th Noon at the Harbor Bar Blues Fest vocals and Frank Juodis on drums and vocals. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Blues in the 21St Century
Blues in the 21 st Century Myth, Self-Expression and Trans-Culturalism Edited by Douglas Mark Ponton University of Catania, Italy and Uwe Zagratzki University of Szczecin, Poland Series in Music Copyright © 2020 by the Authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Music Library of Congress Control Number: 2019951782 ISBN: 978-1-62273-634-8 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image by Jean-Charles Khalifa. Cover font (main title): Free font by Tup Wanders. Table of contents List of Figures vii List of Tables ix Preface xi Acknowledgements xix Part One: Blues impressions: responding to the music 1 1. -
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. -
Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’S Manual: Sarah J
Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’s Manual: Sarah J. Bartolome All activities are keyed as follows: AA = All ages E = Elementary (particularly grades 3–6) S = Secondary (middle school and high school, grades 7–12) C/U = College and university Chapter 4 Vocabulary merengue, merengue típico, güira, marímbula, tambora, paseo, cuerpo, jaleo, apambichao, son, verso, canto, montuno, tres, tresero, martillo, bongsero, timbales, socialism, Cold War, plena, panderetas, panderos, seguidor, segunda, requinto, soneos, salsa, salsa dura, cáscara, salsa romántica, salsa monga, timba Exploring Traditional and Commercial Merengue (AA) Compare a traditional merengue with a commercially recorded merengue. 1. Watch the video of La India Canela performing merengue típico, available at http://www.folkways.si.edu/explore_folkways/video_caribbean.aspx. 2. Have students identify the instruments they see and hear. 3. Have students also watch the video of Johnny Ventura performing “Merenguero Hasta la Tambora,” available on YouTube at http://www.youtube.com/watch?v=7XzINu2ee4A. 4. Compare the two merengues. Draw students’ attention to differences in instrumentation and the commercialization of the latter performance. Exploring Merengue through Dance (AA) Learn the simple merengue dance movement. 1. Search on YouTube for an instructive video if you are not familiar with the basic step-together movement associated with merengue. One such video is available at http://www.youtube.com/watch?v=on4V1KN_Iuw. 2. Either teach the students yourself or learn with them as you watch the video. 3. Dance along to a recording of merengue, either in lines or in pairs as students are comfortable. Exploring Merengue: Form (A) 1. -
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. -
JANE LEE HOOKER Twitter.Com/Janeleehooker Jane Lee Hooker Is a Band of five Women from New York City Who Take Traditional Blues on a Fast and Rough Ride
917-843-5943 Alan Rand 2014 janeleehooker.com photo by facebook.com/JaneLeeHooker janeleehooker.bandcamp.com JANE LEE HOOKER twitter.com/JaneLeeHooker Jane Lee Hooker is a band of five women from New York City who take traditional blues on a fast and rough ride. Their self-released debut, “No B!,” was released in November. Notable stages they’ve graced include Pappy & Harriet’s [email protected] (Pioneertown, CA), Dogfish Head Brewery (Rehoboth Beach, DE), the Harrisburg Midtown Arts Center (Harrisburg, PA), Ojai Deer Lodge (Ojai, CA), and the Wonderbar (Asbury Park, NJ). Back home in NYC, they can be seen at the Knitting Factory, Mercury Lounge, Bitter End and Rock Shop, among other places. The band’s calling cards are songs by Muddy Waters, Howlin’ Wolf, Johnny Winter, Big Mama Thornton, and other blues greats—all fed through double lead guitars, a heavy rhythm section, and soul-scouring vocals. These women are by no means new to the game. Between the five band members, they have decades of experience playing, recording and touring both nationally and internationally. Individually, the members of Jane Lee Hooker have played for thousands of fans while sharing bills with the likes of Motorhead, MC5, Lynyrd Skynyrd, and Deep Purple, among others. And they’ve played more club gigs in more cities than even they can believe. So how’d this gang of pros finally find each other? Guitarists Hightop and Tina honed their mutual love of blazing dual leads during their time together in Helldorado in the 90s. From there, Hightop joined Nashville Pussy, Tina joined Bad Wizard, and both women toured the world. -
Chicago Blues Guitar
McKinley Morganfield (April 4, 1913 – April 30, 1983), known as Muddy WatersWaters, was an American blues musician, generally considered the Father of modern Chicago blues. Blues musicians Big Bill Morganfield and Larry "Mud Morganfield" Williams are his sons. A major inspiration for the British blues explosion in the 1960s, Muddy was ranked #17 in Rolling Stone magazine's list of the 100 Greatest Artists of All Time. Although in his later years Muddy usually said that he was born in Rolling Fork, Mississippi in 1915, he was actually born at Jug's Corner in neighboring Issaquena County, Mississippi in 1913. Recent research has uncovered documentation showing that in the 1930s and 1940s he reported his birth year as 1913 on both his marriage license and musicians' union card. A 1955 interview in the Chicago Defender is the earliest claim of 1915 as his year of birth, which he continued to use in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid '40s, lists him as being born April 4, 1915. His grandmother Della Grant raised him after his mother died shortly after his birth. His fondness for playing in mud earned him the nickname "Muddy" at an early age. He then changed it to "Muddy Water" and finally "Muddy Waters". He started out on harmonica but by age seventeen he was playing the guitar at parties emulating two blues artists who were extremely popular in the south, Son House and Robert Johnson. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
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.