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Originally Posted by fasstrack
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08-29-2017 11:16 AM
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Originally Posted by neatomic
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Originally Posted by destinytot
'I was abandoned on a doorstep by my foster parents'.
Gonna steal that one.
Reminds me of what the late Jim Hall supposedly told people to get out of jams:
'Have pity on me. I come from a broken home'...
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Originally Posted by Doctor Jeff
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Originally Posted by mrcee
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Originally Posted by Doctor Jeff
I'm a bit of a Bloomfield nut myself and still listen to him quite a bit. His _career_ was a mess (because he was an independenly wealthy mess who didn't need to make a living from music), but his music was shot through with brilliance (if not sustained brilliance) throughout, IMO. I actually like the rootsy stuff he was doing at the end a lot. One of the Takoma albums called Between the Hard Place and the Ground is one of my most treasured possessions. And there a couple of recently released live recordings that are off the hook.
Originally Posted by Doctor Jeff
John
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[QUOTE=John A.;798598....I'd quibble a bit about calling Elvin Bishop a virtuoso, too. Barely adequate with Butterfield, IMO...John[/QUOTE]I saw the band live at the Fillmore w/Elvin, and would hardly call him 'barely adequate'. Fit right in, did a fine job----good singer and entertainer, too.
With all due respect, c'mon...
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Originally Posted by fasstrack
John
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Originally Posted by John A.
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All these guys matured quickly in the hothouse of mid- to late-60's rock scene--look and listen to Eric Clapton, Jeff Beck, Jimmy Page, Jimi Hendrix, Jerry Garcia--none of them emerged fully-formed guitar gods. They all started out awkward but energetic til their breakout moments.
Listening to East-West this morning--wow, what a piece. Obviously influenced more by free-form and modal jazz than pop music. According to the Wiki entry, "the tune was inspired by an all-night LSD trip that East-West's primary songwriter Mike Bloomfield experienced in the fall of 1965, during which the late guitarist 'said he'd had a revelation into the workings of Indian music.'" Though it didn't sell many copies, this album and the live performances obviously set the template for the long, extended jam-based riffing that came out of San Francisco.
Meanwhile, the Yardbirds introduced distorted guitars, psychedelic imagery and longer forms with their live "raves" into the rock vocabulary. The Beatles followed a little later and got more credit for it, but the Birds did it first and arguably better from an instrumental vantage point.
From what I've read and heard in interviews, all these guys (and to be honest they were all young men) were listening to each other and everything they could get their hands on--old blues, Indian raga music, Coltrane--and trying to fit it into the rock context.
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My favorite story about influence and origins from that era is the one that David Van Ronk tells about Bob Dylan. (In the Scorcese Dylan documentary.) In Greenwich Village, he and Bobby were playing the coffeehouse scene in the early 60's, and Van Ronk was doing an updated version of the old song House of the Rising Sun. Well Dylan "stole" Van Ronk's version and recorded it. Eventually the Animals copied Dylan's "stolen" arrangement and had a huge hit with it.
Back in GV when Van Ronk performed HOTRS everyone asked him why he was copying from Dylan...
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Originally Posted by fasstrack
Randy Newman Honors Chicago Blues Great 'Sonny Boy' Williamson on New Song | Billboard
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Originally Posted by unknownguitarplayer
John
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Originally Posted by John A.
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Originally Posted by citizenk74
I guess I have to dig out my copy of the London Sessions and re-read the liner notes, because I don't remember those quotes. I always assumed the stuff that sounds like Sumlin on it IS Sumlin and that the credits (which had Sumlin on rhythm and Clapton on Lead on all tracks) were wrong. Anyway, I think the best solo on that album is Stevie Winwood's organ solo on Who's Been Talking.
I don't recall exactly what was the first blues record I got into. My father had fairly eclectic tastes in music, including some blues and blues-rock records -- e.g., Fathers and Sons (Muddy with Butterfield, Bloomfield, Sam Lay and Duck Dunn), Get Your Ya Yas Out, Blues Project at the Cafe Au Go Go, Goodbye Cream, and Blind Faith, Ledbelly and Josh White. So it was in the air without my being aware of blues being a distinct genre at first. IIRC, Cream is probably what caught my ear first and that led me to other things. When I was about 16, I took a few lessons from Danny Kalb (the lead guitar player in the Blues Project), and he gave me a basic collection of licks and turnarounds, fills, and finger picking patterns, and got me to sing while playing. In my high school there was a whole slew of kids getting into blues harp, but for some reason not too many guitar players (or rather, because it was 1978, the guitar players were mostly playing Ramones songs ...), and I wound up being the go-to accompanist when we cut class to jam ... uh, I mean did independent research off campus. There were also several used/cut-out record stores in my neighborhood where you could find this stuff for a dollar or two, so I got deep into it and all the different bules and blues rock styles kind of hit me at once.
John
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Originally Posted by John A.
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Originally Posted by Doctor Jeff
The Folklore Center on 6th Ave. and W. 3rd in the Village was a hangout for folkies. (Eddie had a repair concession). One day Joni Mitchell wandered in, and a conversation ensued. A casual and unmemorable reference to drinking was made. She left after a while.
After 20 minutes or so, a wide-eyed Joni, deep in thought came back and asked
'Do you think I DRINK too much?'...
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there were definitely two sonny boy williamsons
goes to show you what commercial radio sponsors thought of the talent
like replacing darrens in bewitched
back then on radio, shows were all sponsor driven...palmolive presents or lucky strike hour...they replaced the lead players ie actors and musicians without a second thought...
cheers
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Originally Posted by neatomic
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Lots of borrowed identities in the blues community. The two Sonny Boys as already famously noted. But the story doesn't end there. Albert King's real name was Albert Nelson, but he claimed to be B.B.'s half brother and used BB's nickname "Blues Boy" early in his career.
Earl King of New Orleans whose "Come On" was covered by Jim Hendrix was born Earl Silas Johnson IV. When Guitar Slim was injured in an automobile accident as his "The Things You Used to Do" was atop the r&b charts, the label sent King/Johnson out on tour as "Guitar Slim."
Many early blues artists recorded under different names for different labels. Blind Wille McTell ("Statesboro Blues") and John Lee Hooker are two examples.
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Originally Posted by unknownguitarplayer
I told him about this story and the song (he doesn't speak English), and he just shrugged. He knew all about there having been both Sonny Boy Williamson I and II, though.
But he showed me some vinyl albums (all Charly label), and I now intend to do my best to get past my prejudices* and give them a sympathetic hearing.
*EDIT Eric Burdon's accent (when singing) irritates me - and I've just realised that I'd been confusing The Yardbirds with The Animals.Last edited by destinytot; 09-03-2017 at 12:56 PM.
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my fave yardbirds were post clapton..he really hit his stride in his next band...mayalls bluesbreakers..the beano album...thats the one that made him a legend
the great yardbirds lp with jeff beck is called- roger the engineer..yardbirds were pretty nice solid rhythm n blues band...but beck was the rainbow icing on the cake...he just plays all over them..all his outlandish tricks already intact....this was a mindblowing lp for a lot of players...myself included
next great yardbirds album was little games..this time with jimmy page...he upped the production and played some great and adventurous stuff..pagey was always into alt tunings and layering guitars..very smart...this is the band that eventually morphed into led zepp (for better or worse!!..haha)
here's lead off track
yer yardbirds primer..hah
cheersLast edited by neatomic; 09-03-2017 at 07:34 PM.
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Love Beck Yardbirds. His playing was so much fun back then. (Still is, for that matter.)
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