F*CKING GOOD MUSIC

Song Versions 2 - Episode 62

Tue, 20 Sep 2011 22:51:11 -0300

“Coined in 1966,[2] the term cover version originally described a rival version of a tune recorded to compete with the recently released original version, e.g. Paul Williams' 1949 hit tune "The Hucklebuck" or Hank Williams' 1952[3] song "Jambalaya (On the Bayou)", both crossed over to the popular Hit Parade and had numerous hit versions. Prior to the mid-20th century the notion of an original version of a popular tune would, of course, have seemed slightly odd — the production of musical entertainment being seen essentially as a live event, even if one that was reproduced at home via a copy of the sheet music, learned by heart, or captured on a shellac recording disc. Popular musicians (and especially modern listeners) have now begun to use the word "cover" to refer to any remake of a previously recorded tune.
In previous generations, some artists made very successful careers out of presenting revivals or reworkings of once popular tunes, even out of doing contemporary cover versions of current hits. Musicians now play what they call "cover versions" (e.g. the reworking, updating or interpretation) of songs as a tribute to the original performer or group. Using familiar material (e.g. evergreen hits, standard tunes or classic recordings) is an important method in learning various styles of music. Most albums, or long playing records, up until the mid-1960s usually contained a large number of evergreens or standards to present a fuller range of the artist's abilities and style.[4] Artists might also perform interpretations ("covers") of a favorite artist's hit tunes[5] for the simple pleasure of playing a familiar song or collection of tunes.[6] A cover band plays such "cover versions" exclusively.
In the contemporary world, there are broadly three types of entertainers who depend upon cover versions for their principal repertoire” continue reading at http://en.wikipedia.org/wiki/Cover_version

Jamiroquai (The Dance Party Mixtape) - Episode 61

Sun, 28 Aug 2011 03:09:01 -0300

formed: 1992 in London, England
Jay Kay: born Jason Cheetham Dec 30, 1969 in Manchester, England

Biography by Greg Prato

“Although some choose to pass off Jamiroquai as a Stevie Wonder-clone, the band has amassed a steady stream of hits in its native U.K. and has experienced chart success in just about every other area of the world with an irresistible blend of house rhythms and '70s-era soul/funk. The band has gone though several lineup changes during their career, but through it all their leader has remained singer/songwriter Jason Kay (aka J.K.). Born on December 30, 1969, in Stretford, Manchester, Kay's mother, Karen, was a jazz singer who regularly performed at nightclubs, and in the '70s had her own TV show. After leaving home at the age of 15, Kay found himself homeless and in trouble with the law (by committing petty crimes to get by). After a near-death experience (where he was attacked and stabbed) and being arrested for a crime he did not commit, Kay decided to return home, where he chose to pursue a legitimate career over crime: music. Kay didn't have a band to back up his compositions, but he quickly came up with his future project's name, Jamiroquai, a name that combined the name of a Native American tribe (the Iroquois) along with the music-based word, jam.  Kay's home demos caught the attention of the record label Acid Jazz, which issued Jamiroquai's debut single "When You Gonna Learn?" in late 1992.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&searchlink=JAMIROQUAI&sql=11:0xfuxqqgldte~T1

Medeski, Martin & Wood - Episode 60

Thu, 7 Jul 2011 21:25:58 -0300

John Medeski: born Anthony John Medeski, Jun 8, 1965 in Louisville, KY
Billy Martin: born William Hugh Martin, 1962, in New York, NY
Chris Wood: born Christopher Barry Wood, Nov 25, 1969 in Pasadena, CA

Biography by Jesse Jarnow

“A group that effortlessly straddles the gap between avant-garde improvisation and accessible groove-based jazz, Medeski, Martin & Wood have simultaneously earned standings as relentlessly innovative musicians and as an enormously popular act. Emerging out of the New York downtown scene in the early '90s, MMW soon set out on endless cross-country tours before returning home to Manhattan to further refine their sound through myriad influential experimentations. Each of the musicians -- keyboardist John Medeski, drummer/percussionist Billy Martin, and bassist Chris Wood -- had crossed paths throughout the '80s, playing with the likes of John Lurie, John Zorn, and Martin mentor Bob Moses. In 1991, the trio officially convened for an engagement at New York's Village Gate. Soon, the group was rehearsing in Martin's loft, writing, and then recording 1992's self-released Notes from the Underground. As the group began to tour, escaping the supportive though insular New York music community, Medeski -- a former child prodigy -- switched to a Hammond B-3 organ rather than a grand piano.” (continue reading at http://www.allmusic.com/artist/medeski-martin-wood-p141672/biography)

Titãs - Episode 59

Mon, 13 Jun 2011 23:02:20 -0300

band: formed in São Paulo, Brazil, early 80’s

Biography by Alvaro Neder

“One of the most important groups of the Brazilian rock style that blossomed in the '80s, Titãs' singularity was affirmed by their intelligent lyrics, which sometimes resorted to concrete poetry and social criticism. The group eventually became mainstream and lost their cutting edge through orchestrations and a declared pop approach, simultaneously selling one million copies of their Acústico album. The band was formed in São Paulo in 1982 (at first called Titãs do Lê-iê) by Arnaldo Antunes (vocals and main songwriter), Ciro Pessoa (vocals), Paulo Miklos (vocal, saxophone), Marcelo Fromer (guitar), Sérgio Brito (keyboards), Toni Belotto (guitar), Branco Melo (vocals), Nando Reis (bass), and André Jung (drums).  In the late '70s, Fromer, Belotto, and Melo were the Trio Mamão. Four other musicians joined, and the new group formed was called Maldade. Reis and Miklos were in the group Sossega Leão. Reis also played with the Camarões, while Miklos also worked with the Bom Quixote. Paulo Miklos and Arnaldo Antunes also played in the Aguilar & Banda Performática. Melo, Pessoa, and Charles Gavin were the Jetsons. Gavin, who would later join the group, was playing with Ira.  In that period, a group of composers with popular inclination (like Arrigo Barnabé, Grupo Rumo, Itamar Assumpção, and Premê) constituted a core of vanguard musicians who became known as Vanguarda Paulistana (São Paulo city vanguard). They met at the Lira Paulistana theatre. In this encouraging atmosphere, new bands were formed and presented their works.  In August 1982, the Titãs do Lê-iê opened in that theatre (without Jung). Departing from a common background constituted by the Beatles and Tropicalia, they began to write their own material, which was quite strange, beginning with the song titles: "Bichos Escrotos," "Sonífera Ilha," and "Lilian, a Suja." As time passed, they began to incorporate other music into their sound, like funk, new wave, pop, reggae, and disco, always organizing their shows around a dance concept. Their stage presence was marked by an aggressive and rough choreography...” (continue reading at http://www.allmusic.com/artist/tits-p360045/biography)

Pat Travers - Episode 58

Thu, 19 May 2011 21:58:59 -0300

born Patrick Henry Travers Apr 12, 1954 in Toronto, Ontario, Canada

Biography by Greg Prato

“While most bluesy hard rock acts of the '70s and '80s hailed from the United States (the South, to be exact), there were several exceptions to the rule, such as Canadian singer/guitarist Pat Travers. Born in Toronto on April 12, 1954, Travers first picked up the guitar just prior to entering his teens, after witnessing a local performance by the great Jimi Hendrix. It wasn't long before Travers was studying the other top rock guitarists of the day (Eric Clapton, Jeff Beck, Jimmy Page, etc.), and paying his dues by playing in bar bands in Quebec. His first true touring gig came his way when he hooked up with '50s rock & roll vet Ronnie Hawkins (best known for performing with a backing cast that would eventually transform into the Band).  But Travers' main love was hard rock, so after a year, he packed up his belongings and headed to London. Shortly after touchdown in the U.K., Travers recorded a demo that would land him a recording deal with Polydor and result in the release of his debut, Pat Travers, during the spring of 1976. A performance at England's annual Reading Festival the same year only piqued further interest, which resulted in two more releases in 1977, Makin' Magic and Putting It Straight (both of which followed a pre-Iron Maiden Nicko McBrain on drums), before Travers returned to North America and set his sights on the U.S. rock market...” Continue reading at http://www.allmusic.com/artist/pat-travers-p5688/biography

The Moog Cookbook - Episode 57

Sat, 23 Apr 2011 23:01:41 -0300

Brian Kehew: born in USA, Sep 22, 1964
Roger Joseph Manning Jr.: born in USA, May 27, 1966

Biography by Greg Prato

“After hearing their rich and textured songs, it's hard to believe that the Moog Cookbook is only a duo (comprised of Roger Manning and Brian Kehew). Manning first came to the public's attention as part of the sadly ignored retro-rockers Jellyfish, who released a pair of critically acclaimed albums, then split up in 1994. Manning then formed two new bands, Imperial Drag and the Moog Cookbook, who couldn't have been more different from each other. Imperial Drag was an excursion into early-'70s glam rock, while the Moog Cookbook played synthesized versions of popular rock hits by other artists, performing in space-suit disguises and adopting the aliases Meco Eno and Uli Nomi.

Signed to Restless Records, the duo released their self-titled debut in 1996, which featured recent alternative/modern rock hits from the likes of Soundgarden, Green Day, and Weezer. It became a popular underground favorite, with early support from MTV, who featured the band in a Week In Rock episode, as well as the Foo Fighters (Dave Grohl asked the band to write music for the opening segment of a Fighters video). Due to the success of the debut, the Moog Cookbook returned to the studio, eventually producing Ye Olde Space Bande in 1997. This time, the band tackled classic rock, covering standards originally written by Kiss, Boston, Led Zeppelin, and others.” (continue reading at http://www.allmusic.com/artist/the-moog-cookbook-p174781/biography)

Etta James: Rocks The House - Episode 56

Thu, 31 Mar 2011 22:11:21 -0300

Etta James: born Jamesetta Hawkins on Jan 25, 1938 in Los Angeles, CA

Biography & Review by Bill Dahl

“Simply one of the greatest live blues albums ever captured on tape. Cut in 1963 at the New Era Club in Nashville, the set finds Etta James in stellar shape as she forcefully delivers her own "Something's Got a Hold on Me" and "Seven Day Fool" interspersed with a diet of sizzling covers ("What'd I Say," "Sweet Little Angel," "Money," "Ooh Poo Pah Doo"). The CD incarnation adds three more great titles, including an impassioned reprise of her "All I Could Do Was Cry." Guitarist David T. Walker is outstanding whenever he solos.
Jamesetta Hawkins was a child gospel prodigy, singing in her Los Angeles Baptist church choir (and over the radio) when she was only five years old under the tutelage of Professor James Earle Hines. She moved to San Francisco in 1950, soon teaming with two other girls to form a singing group. When she was 14, bandleader Johnny Otis gave the trio an audition. He particularly dug their answer song to Hank Ballard & the Midnighters' "Work With Me Annie."  Against her mother's wishes, the young singer embarked for L.A. to record "Roll With Me Henry" with the Otis band and vocalist Richard Berry in 1954 for Modern Records. Otis inverted her first name to devise her stage handle and dubbed her vocal group the Peaches (also Etta's nickname). "Roll With Me Henry," renamed "The Wallflower" when some radio programmers objected to the original title's connotations, topped the R&B charts in 1955...” (continue reading at http://www.allmusic.com/artist/etta-james-p387/biography)

Red Hot Chili Peppers - Episode 55

Sun, 13 Mar 2011 12:36:41 -0300

Band: formed in 1983 in Hollywood, CA
Anthony Kiedis: born Nov 1, 1962 in Grand Rapids, MI
Flea: born Michael Peter Balzary on Oct 16, 1962 in Melbourne, Australia

Biography by Greg Prato

Few rock groups of the '80s broke down as many musical barriers and were as original as the Red Hot Chili Peppers. Creating an intoxicating new musical style by combining funk and punk rock together (with an explosive stage show, to boot), the Chili Peppers spawned a slew of imitators in their wake, but still managed to be the leaders of the pack by the dawn of the 21st century. The roots of the band lay in a friendship forged by three school chums, Anthony Kiedis, Michael Balzary, and Hillel Slovak, while they attended Fairfax High School in California back in the late '70s/early '80s. While Balzary and Slovak showed great musical promise (on trumpet and guitar, respectively), Kiedis focused on poetry and acting during his high school career. During this time, Slovak taught Balzary how to play bass, while the duo encouraged Kiedis to start putting his poetry to music, which he soon did. Influenced heavily by the burgeoning L.A. punk scene (the Germs, Black Flag, Fear, Minutemen, X, etc.) as well as funk (Parliament-Funkadelic, Sly & the Family Stone, etc.), the trio began to rehearse with another friend, drummer Jack Irons, leading to the formation of Tony Flow & the Miraculously Majestic Masters of Mayhem, a group that played strip bars along the sunset strip during the early '80s. It was during this time that the quartet honed their sound and live act (as they stumbled across a stage gimmick that would soon become their trademark -- performing on-stage completely naked, except for a tube sock covering a certain part of their anatomy). By 1983, Balzary had begun to go by the name "Flea," and the group changed their name to the Red Hot Chili Peppers. (continue reading at http://www.allmusic.com/artist/red-hot-chili-peppers-p5241/biography)

Christmas Songs - Episode 54

Sat, 18 Dec 2010 22:28:59 -0200

Ray Charles: born Ray Charles Robinson on Sep 23, 1930 in Albany, GA/died Jun 10, 2004 in Beverly Hills, CA (liver desease)
B.B. King: born Riley B. King on Sep 16, 1925 in Indianola, MS
Koko Taylor: born Cora Walton on Sep 28, 1928 in Memphis, TN/died Jun 3, 2009 in Chicago, IL (surgery complications)
Lonnie Brooks: born Lee Baker Junior on Dec 18, 1933 in Dubuisson, LA
Canned Heat: formed 1966 in Los Angeles, CA
Johnny Cash: born John R. Cash on Feb 26, 1932 in Kingsland, AR/died Sep 12, 2003 in Nashville, TN (diabetes complications)
Darius Rucker: born May 13, 1966 in Charleston, SC
Luke Bryan: born Jun 17, 1976 in Leesburg, GA
Ann Lee Womack: born Aug 19, 1966 in Jacksonville, TX
Brian Setzer: born Apr 10, 1959 in Massapequa, NY
Elvis Presley: born Elvis Aaron Presley on Jan 8, 1935 in Tupelo, MS/died Aug 16, 1977 in Memphis, TN (drug complications)
Louis Prima: born Dec 7, 1911 in New Orleans, LA/died Aug 24, 1978 in New Orleans, LA (surgery complications)
Pete Mayes: born Mar 21, 1938 in Double Bayou, TX/died Dec 16, 2008 (diabetes and heart problems)
Vince Guaraldi: born Vincent Anthony Guaraldi on Jul 17, 1928 in San Francisco, CA/died Feb 6, 1976 in Menlo Park, CA

Biography

“Christmas music comprises a variety of genres of music normally performed or heard around the Christmas season, which tends to begin in the months leading up the actual holiday and end in the weeks shortly thereafter.
Music was an early feature of the Christmas season and its celebrations. The earliest chants, litanies, and hymns were Latin works intended for use during the church liturgy, rather than popular songs. The 13th century saw the rise of the carol written in the vernacular under the influence of Francis of Assisi.
In the Middle Ages, the English combined circle dances with singing and called them carols. Later, the word carol came to mean a song in which a religious topic is treated in a style that is familiar or festive. From Italy, it passed to France and Germany, and later to England. Christmas carols in English first appear in a 1426 work of John Audelay, a Shropshire priest and poet, who lists twenty five "caroles of Cristemas", probably sung by groups of wassailers, who went from house to house.[1] Music in itself soon became one of the greatest tributes to Christmas, and Christmas music includes some of the noblest compositions of the great musicians.” continue reading at http://en.wikipedia.org/wiki/Christmas_music

The Fabulous Thunderbirds - Episode 53

Thu, 9 Dec 2010 10:31:16 -0200

Band: formed 1974 in Austin, TX
Jimmie Vaughan: born James Lawrence Vaughan Mar 20, 1951 in Dallas, TX
Kim Wilson: born Jan 6, 1951 in Detroit, MI

Biography by Stephen Thomas Erlewine

“With their fusion of blues, rock & roll, and R&B, the Fabulous Thunderbirds helped popularize roadhouse Texas blues with a mass audience in the '80s and, in the process, they helped kick-start a blues revival during the mid-'80s. During their heyday in the early '80s, they were the most popular attraction on the blues bar circuit, which eventually led to a breakthrough to the pop audience in 1986 with their fifth album, Tuff Enuff. The mass success didn't last too long, and founding member Jimmie Vaughan left in 1990, but the Fabulous Thunderbirds remained one of the most popular blues concert acts in America during the '90s.  Guitarist Jimmie Vaughan formed the Fabulous Thunderbirds with vocalist/harpist Kim Wilson in 1974; in addition to Vaughan and Wilson, the band's original lineup included bassist Keith Ferguson and drummer Mike Buck. Initially, the group also featured vocalist Lou Ann Barton, but she left the band shortly after its formation. Within a few years, the Thunderbirds became the house band for the Austin club Antone's, where they would play regular sets and support touring blues musicians. By the end of the decade, they had built a strong fan base, which led to a record contract with the local Takoma Records...” continue reading at http://www.allmusic.com/artist/the-fabulous-thunderbirds-p4217/biography

The Mamas & The Papas - Episode 52

Thu, 2 Dec 2010 23:02:15 -0200

John Phillips: born John Edmund Andrew Phillips Aug 30, 1935 in Parris Island, SC / died Mar 18, 2001 in Los Angeles, CA (heart failure)
Michelle Phillips: born Holly Michelle Gilliam on Jun 4, 1944 in Long Beach, CA
Denny Doherty: born Dennis Gerrard Stephen Doherty Nov 29, 1941 in Halifax, Nova Scotia, Canada / died Jan 19, 2007 in Mississauga, Ontario, Canada (abdominal aneurysm)
Cass Elliot: born Ellen Naomi Cohen on Sep 19, 1941 in Baltimore, MD / died Jul 29, 1974 in London, England (heart attack)

Biography by Bruce Eder

“The leading California-based vocal group of the '60s, the Mamas & the Papas epitomized the ethos of the mid- to late-'60s pop culture: live free, play free, and love free. Their music, built around radiant harmonies and a solid electric folk foundation, was gorgeous on its own terms, but a major part of its appeal lay in the easygoing southern California lifestyle it endorsed. The group's success was as extraordinary as it was brief, and onlookers may well wonder what went wrong with a performing group that seemed to have the world at its feet for all of two years. The irony behind the Mamas & the Papas' story is that the same forces that made it possible for them to create extraordinary music together also made it impossible for them to stay together for more than a short time...” continue reading at http://www.allmusic.com/artist/the-mamas-the-papas-p4831/biography

Tim Maia - Episode 51

Wed, 24 Nov 2010 19:59:04 -0200

Born: Sebastião Rodrigues Maia on 1934 in Rio De Janeiro, Brazil
Died: Mar 15, 1998 in Niterói, Rio de Janeiro, Brazil (bad health complications)

Biography by Alvaro Neder

“...The father of Brazilian soul music, Tim Maia never hid his true nature from his fans, his prospective employers, or the law. Iconoclastic, ironic, outspoken, polemical (but always humorous), and openly addicted to cocaine and marijuana, he was known for lightheartedly missing appointments and even big-time gigs, and also for being boycotted by recording companies, major TV networks such as Globo, and other media that didn't swallow his disturbing presence.  With his potent and flexible baritone tone, Maia was able to convey not only a happy and energetic dance feel, but was capable of inspiring sentiment in otherwise corny songs as well, like his hit "Me dê Motivo" (Paulo Massadas/Michael Sullivan). Throughout his career, this flexibility was evidenced through the multitude of styles he embraced: soul, funk, bossa nova (in the '90s), romantic songs, American pop, samba, baião, and MPB. In the '70s, Maia started to record albums and do shows promoting his indigenous synthesis of American soul and Brazilian music with elements of samba and baião. The movement gradually took the working-class suburbs of the north side of Rio de Janeiro by storm, exploding in 1976 with the black movement. In the '90s, he was discovered by younger pop stars who re-recorded several of his hits. This was the case with Skank, Lulu Santos, Ara Ketu, Paralamas do Sucesso, and Marisa Monte, not to mention Elis Regina, Gal Costa, and other established artists who have recorded his songs...” continue reading at http://www.allmusic.com/artist/tim-maia-p201858/biography

Stevie Ray Vaughan (Live) - Episode 50

Fri, 5 Nov 2010 21:51:13 -0200

Stevie Ray Vaughan: born Stephen Ray Vaughan Oct 3, 1954 in Dallas, TX // died: Aug 27, 1990 in East Troy, WI (helicopter crash)

Biography by Stephen Thomas Erlewine

“With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush, and Muddy Waters and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. For the next seven years, Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 only emphasized his influence in blues and American rock & roll.  Born and raised in Dallas, Vaughan began playing guitar as a child, inspired by older brother Jimmie. When he was in junior high school, he began playing in a number of garage bands, which occasionally landed gigs in local nightclubs. By the time he was 17, he had dropped out of high school to concentrate on playing music. Vaughan's first real band was the Cobras, who played clubs and bars in Austin during the mid-'70s. Following that group's demise, he formed Triple Threat in 1975. Triple Threat also featured bassist Jackie Newhouse, drummer Chris Layton, and vocalist Lou Ann Barton. After a few years of playing Texas bars and clubs, Barton left the band in 1978. The group decided to continue performing under the name Double Trouble, which was inspired by the Otis Rush song of the same name; Vaughan became the band's lead singer.  For the next few years, Stevie Ray Vaughan and Double Trouble played the Austin area, becoming one of the most popular bands in Texas. In 1982, the band played the Montreux Festival and their performance caught the attention of David Bowie and Jackson Browne. After Double Trouble's performance, Bowie asked Vaughan to play on his forthcoming album, while Browne offered the group free recording time at his Los Angeles studio, Downtown; both offers were accepted. Stevie Ray laid down the lead guitar tracks for what became Bowie's Let's Dance album in late 1982. Shortly afterward, John Hammond, Sr. landed Vaughan and Double Trouble a record contract with Epic, and the band recorded its debut album in less than a week at Downtown...” continue reading at http://www.allmusic.com/artist/stevie-ray-vaughan-p134359/biography

Chick Corea’s Return to Forever - Episode 49

Wed, 27 Oct 2010 23:50:07 -0200

Chick Corea: born Armando Anthony Corea on Jun 12, 1941 in Chelsea, MA

Biography by William Ruhlmann

“Jazz keyboard player Chick Corea's Return to Forever emerged as one of the key jazz-rock fusion bands of the 1970s. Like Weather Report and the Mahavishnu Orchestra, they were formed by an alumnus of Miles Davis' late-'60s bands with the intention of furthering the jazz-rock hybrid Davis had explored on albums like Bitches Brew. At the time, this was seen as a means of creativity, a new direction for jazz, and as a way of attracting the kinds of large audiences enjoyed by rock musicians. Return to Forever started out as more of a Latin-tinged jazz ensemble, but Corea, influenced by the Mahavishnu Orchestra of John McLaughlin and some of the progressive rock bands coming out of Great Britain, notably Yes and Emerson, Lake & Palmer, moved the group more toward rock, achieving considerable commercial success. A later re-orientation of the band gave it more of a big-band style before Corea folded the unit, retaining the Return to Forever name for occasional tours and other projects.
Corea formed Return to Forever in the fall of 1971 while he was working in Stan Getz's band, and the two groups shared some members. In addition to Corea on keyboards, the initial lineup featured Stanley Clarke on bass, Joe Farrell on reeds, and the Brazilian husband-and-wife team of percussionist Airto Moreira and singer Flora Purim. "Return to Forever" was the name of the first tune Corea wrote for the outfit, and he then adapted it as the group's name. The band made its debut at the Village Vanguard nightclub in New York City in November 1971. In February 1972, they recorded their first self-titled album, though it was not released on ECM in Europe until the following year and did not appear in the U.S. until 1975. Corea, Clarke, and Moreira, all of whom had been playing with Getz, left his band to concentrate on Return to Forever...” continue reading at http://www.allmusic.com/artist/return-to-forever-p7409/biography

Stevie Wonder (Part 1) - Episode 48

Thu, 21 Oct 2010 21:45:01 -0200

born Steveland Judkins on May 13, 1950 in Saginaw, MI

Biography by Steve Huey

“Stevie Wonder is a much-beloved American icon and an indisputable genius not only of R&B but popular music in general. Blind virtually since birth, Wonder's heightened awareness of sound helped him create vibrant, colorful music teeming with life and ambition. Nearly everything he recorded bore the stamp of his sunny, joyous positivity; even when he addressed serious racial, social, and spiritual issues (which he did quite often in his prime), or sang about heartbreak and romantic uncertainty, an underlying sense of optimism and hope always seemed to emerge. Much like his inspiration, Ray Charles, Wonder had a voracious appetite for many different kinds of music, and refused to confine himself to any one sound or style. His best records were a richly eclectic brew of soul, funk, rock & roll, sophisticated Broadway/Tin Pan Alley-style pop, jazz, reggae, and African elements -- and they weren't just stylistic exercises; Wonder took it all and forged it into his own personal form of expression. His range helped account for his broad-based appeal, but so did his unique, elastic voice, his peerless melodic facility, his gift for complex arrangements, and his taste for lovely, often sentimental ballads. Additionally, Wonder's pioneering use of synthesizers during the '70s changed the face of R&B; he employed a kaleidoscope of contrasting textures and voices that made him a virtual one-man band, all the while evoking a surprisingly organic warmth. Along with Marvin Gaye and Isaac Hayes, Wonder brought R&B into the album age, crafting his LPs as cohesive, consistent statements with compositions that often took time to make their point. All of this made Wonder perhaps R&B's greatest individual auteur, rivaled only by Gaye or, in later days, Prince...” continue reading at http://www.allmusic.com/artist/stevie-wonder-p139462/biography

Dave Gonzalez - Episode 47

Thu, 14 Oct 2010 22:52:46 -0300

Dave Gonzalez: born April 24, 1961 in ???Whittier, California???

When the Hacienda Brothers released their third and final studio album titled Arizona Motel in 2008, guitarist Dave Gonzalez was left with the unfortunate task of promoting the new release without his partner Chris Gaffney who died unexpectedly from liver cancer. So Gonzalez put together an Austin Texas all-star band to hit some of The Hacienda Brothers favorite venues, and it was Gonzalez himself who took over the onstage vocal duties for all of Gaffney’s songs, nailing them with emotion and finesse night after night. Gonzalez’s outstanding performances are no surprise to those who followed The Paladins, where Gonzalez did the bulk of the singing for over 20 years. Dave Gonzalez was also the Hacienda Brother’s primary songwriter and powerhouse guitarist who in 2007 was named one of Guitar Player Magazine’s “Top 101 Unsung Guitar Heroes.” Gonzalez had recently helped develop a new prototype Baritone Guitar for Fender. With this guitar he is a pioneer of sorts, exploring new dimensions in guitar tones that only a baritone can produce. The sound is part Duane Eddy, classic honkytonk, and spaghetti westerns. As Dave explains “unexpectedly it also sounds absolutely great on the soul stuff.” This year Spin Magazine selected the Hacienda Brothers at one of the “100 Greatest Bands You’ve (probably) Never Heard.” Gonzalez says, “This is a consolation prize for all the hard work the Hacienda Brothers put into the project and if Gaff had pulled through than maybe we could have shook the "Probably Never Heard Of" part of their 100 Greatest list...” “...In 2009 the Stone River Boys made a big splash performing at SXSW and the Americana Music Conference...” continue reading at: http://www.myspace.com/stoneriverboys#ixzz12OAPLYQE

Van Halen - Episode 46

Wed, 6 Oct 2010 23:51:42 -0300

formed: 1974 in Pasadena, CA
Eddie Van Halen: born Eduard Lodewijk Van Halen on Jan 26, 1955 in Nijmegen, The Netherlands
David Lee Roth: born Oct 10, 1955 in Bloomington, IN
Sammy Hagar: born Samuel Roy Hagar on Oct 13, 1947 in Monterey, CA

Band Biography by Stephen Thomas Erlewine & Greg Prato

“With their 1978 eponymous debut, Van Halen simultaneously rewrote the rules of rock guitar and hard rock in general. Guitarist Eddie Van Halen redefined what electric guitar could do, developing a blindingly fast technique with a variety of self-taught two-handed tapping, hammer-ons, pull-offs, and effects that mimicked the sounds of machines and animals. It was wildly inventive and over the top, equaled only by vocalist David Lee Roth, who brought the role of a metal singer to near-performance art standards. Roth wasn't blessed with great technique, unlike Eddie, but he had a flair for showmanship that was derived as much from lounge performers as Robert Plant. Together, they made Van Halen into the most popular American rock & roll band of the late '70s and early '80s, and in the process set the template for hard rock and heavy metal for the '80s...” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:dzfqxqwgldte~T1

Eddie Van Halen Biography by Greg Prato

“Second to only Jimi Hendrix, Eddie Van Halen was undoubtedly one of the most influential, original, and talented rock guitarists of the 20th century. Born Edward Lodewijk Van Halen on January 26, 1955, in the Netherlands, Van Halen moved with his family to the U.S. in the '60s. He and his older brother, Alex, began taking piano lessons at an early age, which planted the seeds for both of the siblings' future musical career. Mesmerized by the British Invasion rock movement (especially the Dave Clark Five), Eddie began playing the drums, while Alex took up guitar. The brothers switched their respective instruments shortly thereafter (while Eddie was out working a paper route trying to make his drum kit's payments, Alex was bashing away at his drums, until he was actually better than Eddie) -- as such, hard rock guitarists as Eric Clapton and Jimmy Page soon influenced the youngest Van Halen's playing...” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fzfqxqwgldte~T1

Bill Evans | Randy Brecker: Soul Bop Band Live - Episode 45

Thu, 30 Sep 2010 14:06:49 -0300

Randy Brecker [trumpet]: born Nov 29, 1945 in Philadelphia, PA
Bill Evans [sax]: born Feb 9, 1958 in Clarendon Hills, IL

Review by Scott Yanow

“During the summers of 2004 and 2005, saxophonist Bill Evans and trumpeter Randy Brecker co-led the Soul Bop Band on tours. The music that they created was funky, heartfelt, and full of strong jazz solos. With a top-notch and versatile rhythm section comprised of guitarist Hiram Bullock, keyboardist David Kikoski, bassist Victor Bailey, and drummer Steve Smith, the sextet performed consistently stirring music. This two-CD set has plenty of heated instrumentals along with occasional ballads, all of it original music coming from either Evans, Brecker, or Bullock. Unfortunately a few of the selections have vocals from Brecker that are primitive at best and an acquired taste although the words to Bullock's "Greed" are worthy. If it were not for the singing, this two-fer would be rated higher, but it does contain some of the best playing of the era from Bill Evans and Randy Brecker, who consistently bring out the best in each other.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jpfuxqudldae
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Randy Brecker Biography by Scott Yanow

“Randy Brecker is essentially a fine hard bop trumpet soloist, but one versatile enough to fit into nearly any setting, including in the pop world, funk bands, and electronic fusion. He studied classical trumpet and attended Indiana University. Brecker was with Blood, Sweat & Tears in 1967, and spent 1968-1969 playing with Horace Silver's quintet. He also appeared with the big bands of Clark Terry, Duke Pearson, Frank Foster, and the Thad Jones/Mel Lewis orchestra. After playing with the early fusion group Dreams in 1969, he worked with Larry Coryell's Eleventh House and Billy Cobham, in addition to keeping very busy with studio work. He teamed up with Michael Brecker in the popular funk-oriented Brecker Brothers (1974-1979); in the '80s he often collaborated with his wife, pianist/vocalist Eliane Elias; and in the '90s he toured with the reunited Brecker Brothers. But Randy Brecker still sounds best when in a freewheeling bebop combo, and fortunately he occasionally records in that type of spontaneous setting.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:3cfexq85ldhe~T1
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Bill Evans Biography by Scott Yanow

“No relation to the other Bill Evans, this saxophonist has an adventurous spirit and strong improvising skills despite his utilization of a rapper on some records. Evans started on piano before switching to tenor. He moved to New York in 1978 and was with Miles Davis during most of 1981-1984. He also played with John McLaughlin's short-lived, re-formed Mahavishnu Orchestra in the mid-'80s, was with Elements from 1982 on, and has recorded as a leader for Lipstick, including with his 1990s group Petite Blonde. Subsequent solo dates include 1995's Escape, 1997's Starfish & the Moon, and 1999's Touch.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wzfuxqt5ldde~T1

The Hillmen - Episode 44

Wed, 22 Sep 2010 21:15:55 -0300

Vern Gosdin: born Aug 5, 1934 in Woodland, AL / died Apr 29, 2009 in Nashville, TN
Chris Hillman: Dec 4, 1944 in Los Angeles, CA
Don Parmley
Rex Gosdin

Review by Rick Anderson

Before there were the Byrds, the Bluegrass Cardinals, and the Desert Rose Band, there were the Hillmen, a young and earnest bluegrass band with a taste for the high and lonesome sound of Bill Monroe and the faux-folk lyrics of Bob Dylan. Like many young musicians who discovered the world of folk music in the mid-'60s, they combined a deep respect for tradition with a forward-looking sense of exploration; in a few years bands like the New Grass Alliance and the Seldom Scene would take a similar approach into more adventuresome territory, but the early work of the Hillmen helped to blaze the trail. This album is a reissue of recordings made in 1963 and 1964, and while other bands were doing the same sort of thing with a bit more panache (the Kentucky Colonels and the Country Gentlemen both come to mind as more exciting contemporaries of the Hillmen), there's no denying the freshness, enthusiasm, and skill in evidence on this recording. Mandolinist Chris Hillman (who would later come to country-rock prominence as a founding member of the Byrds, the Flying Burrito Brothers, and the Desert Rose Band) shows off some impressive chops on instrumentals like "Blue Grass Chopper" and "Wheel Hoss," while future country star Vern Gosdin shows himself to be a fine if not earthshaking bluegrass singer. His bass-playing brother, Rex, stands out as a high tenor and shines on the gospel standard "Goin' Up." Don Parmley picks the banjo in a straightforward Scruggs style that veers into melodic Bill Keith territory from time to time and prefigures his future work with the Bluegrass Cardinals. The band covers "Barbara Allen," a British folk song that Joan Baez had recently made popular in the U.S., and two Dylan tunes; those song choices and a somewhat fuzzy recorded sound combine to make this album something of a period piece, but it's a fun one. Fans of Gosdin and Hillman, especially, will get a solid retro kick out of this disc.

Brazilian Blues (part 1) - Episode 43

Fri, 17 Sep 2010 01:03:35 -0300

Give it up for the first part of the best of brazilian blues!

Sérgio Duarte: “Com mais de 18 anos de carreira, dois CDS e o terceiro em fase de produção, Sérgio Duarte é considerado um dos pioneiros e mais importantes gaitistas do Brasil. Tem influenciado as novas gerações de gaitistas e seu trabalho é elogiado por figuras referenciais do blues mundial, como James Cotton, Sugar Blue e Mark Hummel e o lendário guitarrista Buddy Guy, para quem já abriu shows.” continue reading at http://www.sergioduarte.com.br/index_arquivos/Page389.htm
Ari Borger: “ARI BORGER is the main Blues-Jazz&Soul pianist and organist in Brazil.
Influenced by his American mother, he grew up listening to Blues and Jazz masters. Ari lived in New Orleans and there he performed at the most popular places such as House of Blues and Tipitina’s. In Brazil he played at the biggest Blues and Jazz festivals, sharing evenings with B.B. King, Pinetop Perkins, Marcus Miller and Johnnie Johnson.” continue reading at http://www.ariborger.com/index2.html
Fernando Noronha: “O guitarrista Fernando Noronha, desde 1995, vem construindo sua carreira autoral ao lado da banda Black Soul. Com 7 discos gravados, FN&BS, já se apresentaram nos principais festivais nacionais e internacionais de Blues e Jazz, levando sua música para paízes como Chile, Argentina, Canadá, Holanda, Bélgica, França, Alemanha, Áustria, Suíça, Itália, Polônia, Noruega, Espanha e República Tcheca.” continue reading at http://www.fernandonoronha.com/portalen/php/biografia.php
Irmandade do Blues: “A banda Irmandade do Blues, formada por Vasco Faé (gaita, voz e guitarra), Edu Gomes (guitarra), Silvio Alemão (baixo) e Fernando Lóia (bateria), é uma das mais importantes bandas do segmento no Brasil, possui a mais antiga formação em atividade no estado de São Paulo e já realizou mais de 600 apresentações por todo país.” continue reading at http://www.ideiamusical.com.br/
Nuno Mindelis: “born in Cabinda (Angola), Eastern Africa on Aug. 7, 1957, Nuno Mindelis became a guitar enthusiast at the very young age of 5. By the age of 9 he began building and playing self-made guitars.  A primary influence at that time was Otis Redding and his great rhythm section, Booker T. & The MG's, made up of Booker T., Steve Cropper, Donald "Duck" Dunn, and Al Jackson. Nuno continues to enjoy the work of these musicians to this day.” continue reading at http://www.nunomindelis.com/http___www.nunomindelis.com/DISCOGRAPHY_DISCOGRAFIA.html
Flávio Guimarães: “Flávio Guimarães é gaitista, cantor e pioneiro do blues no Brasil. Com uma carreira de mais de duas décadas, ele lançou 17 CDs, sendo sete álbuns solo e mais dez como integrante e fundador da maior banda de blues brasileira, a Blues Etílicos. Seu mais recente trabalho solo, o álbum The Blues Follows Me, é um tributo ao bluesman Little Walter e a Gravadora Chess, da Chicago dos anos 50.” continue reading at http://www.flavioguimaraes.com.br/default.asp
Amleto Barboni: “Amleto Barboni inicia sua jornada com suas próprias pernas e caminha a passos largos. Seu histórico é sem precedentes na breve história do Blues Made in Brazil. Nos shows conta com o consagrado baterista Paulo Zinner como convidado especial, Leandro Hernandes no Baixo e com o trio de metais formado por Ivan de Andrade, Ale Ribeiro e Didi do Trombone” continue reading at http://www.myspace.com/amletobarboni#ixzz0zncAAp88
Celso Salim: “Born in Brasília, Celso Salim begun playing guitar when he was only 6 years old. At the age of 12 started learning his first Blues licks and with 15 he was already performing with local bands in the Brasília area. After finishing high-school he moved to Los Angeles were he studied at the Musicians Institute for 3 years. Celso received the “outstanding stylist award” when he graduated from M.I.. Also at that time he joint a local Blues band and started performing in the L.A. area. In 2000 Celso moved back to Brazil and started his solo career with the release of his first album called Lucky Boy” continue reading at http://www.celsosalim.com/isite/eng/web/textos/textos.asp?area=H
Blues Etílicos: “O Blues Etílicos é a mais popular banda de blues brasileira. Recordista em público nos shows e em vendagens de CDs no segmento, a banda estará comemorando 25 anos de carreira em 2010 com o lançamento de seu primeiro DVD, previsto para maio. O Blues Etílicos já lançou 10 CDs, abrindo shows para B. B. King, Buddy Guy, Robert Cray, Sugar Blue, Ike Turner, Magic Slim e muitas outras atrações internacionais. “ continue reading at http://www.bluesetilicos.com.br/banda.htm
Australopitecus: “O grupo remonta a um som original, mesclando o lamento oriundo do blues ao grito e à atitude libertária e contra cultural do Rock, obtendo, assim, uma força de expressão quase primitiva, rude e austera, ao mesmo tempo sutil e, sobretudo, visceral e autêntica. A banda demonstra que - nas palavras do mestre do blues, Muddy Waters - “pedras que rolam não criam musgos” e que se deve retornar sempre às raízes para que haja evolução.” continue reading at http://www.myspace.com/australopitecusband#ixzz0zndplYu9

Song Versions - Episode 42

Thu, 9 Sep 2010 23:53:41 -0300

Elvis Presley Live: Madison Square Garden - Episode 41

Thu, 26 Aug 2010 23:29:53 -0300

born Elvis Aaron Presley on Jan 8, 1935 in Tupelo, MS
died Aug 16, 1977 in Memphis, TN (drug abuse complications)

Review by Bruce Eder

This was one of several live recordings by "the King" to appear during the early '70s and was extremely popular, owing to the quality of the performance and the range and number of songs included, as well as the timing of its release -- older fans, having been denied Elvis Presley's presence on stage for more than a decade, responded to his sudden re-emergence with more enthusiasm than they'd shown for any of his non-hits albums in years; and new listeners, too young to have heard him in the 1950s but latching onto Elvis either directly or as part of the oldies boom, started checking out what all of the excitement was about. The show itself, from June 10, 1972, is the more elaborately produced follow-up to his Las Vegas performances of 1969-1970, Elvis backed by an eight-piece band, an orchestra, and at least eight male and female backup singers (including the Sweet Inspirations) -- once one gets past the opening fanfare of "Also Sprach Zarathustra," there isn't a lot of difference between this and the best of his Vegas shows, except that Elvis is a lot more confident and self-assured here than he is at the early post-"comeback" concerts. Emboldened by the success of those releases and the fact that he was able to sell out arenas like the Garden, RCA also did something here that they hadn't taken the chance on doing with his previous live albums, loading it up with songs new and old, and also a generous 52 minutes' running time. As with all of his shows of this era, the King interspersed his own established repertory -- which embraced everything from "That's All Right" to "Suspicious Minds" -- with songs identified with other performers: "Proud Mary," "You Don't Have to Say You Love Me," and "You've Lost That Lovin' Feeling" were all very suitable for him. Presley was in good form for this show and, by all accounts, this series of concerts, and gave beautifully wrought performances of the ballads, as well as highly energetic renditions of the harder rocking numbers. The sound is surprisingly close, betraying little of the cavernous acoustic of Madison Square Garden -- there is, conversely, very little audience ambience as well, but that's not terribly important, either; much more to the point is that the accompaniment, from James Burton's guitar on down, is all captured reasonably well, thus making this one of the best of the big-venue Elvis Presley concert documents available: exciting, diverting, and mostly impressive as a performance.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:39fpxqr5ldse

Altamiro Carrilho - Episode 40

Thu, 19 Aug 2010 21:57:49 -0300

born: Altamiro Aquino Carrilho on Dec 21, 1924 in Santo Antônio de Pádua, Rio de Janeiro, Brazil

Biography by Alvaro Neder

“One of the most important choro flutists ever, Altamiro Carrilho put together a solid virtuosity and an ease for improvisation that in his 58 years as a professional artist (completed in 2001, having recorded over 110 albums) brought him the praise of both classical and popular renowned musicians, along with a consolidated popularity. His trademark was the insertion of excerpts of classical pieces into choro, and vice versa, as he did in the cadenza of the Concerto #2 in D Major KV 314 ahead of the Orquestra Sinfônica de Porto Alegre (1976). As an accompanist, he worked with Orlando Silva, Vicente Celestino, Elizeth Cardoso, Moreira da Silva, Francisco Alves, Sílvio Caldas, Caetano Veloso, and Chico Buarque, among many others. His maxixe "Rio Antigo" sold 960,000 copies in just six months back in 1956, bringing him national fame. Carrilho also presented the highly successful TV show Em Tempo de Música, and toured through many countries, having being praised as one of the world's best soloists by conductor Boris Trisno. As a classical music soloist, he played lead on several orchestra pieces like Mozart's Concert in G at the Teatro Municipal do Rio de Janeiro (1972). His album Clássicos em Choro was awarded with the Villa-Lobos trophy as Best Instrumental Album, and his Clássicos em Choro No. 2 won the gold record. In 1993, he was awarded with the Prêmio Sharp as the Best Arranger of Instrumental Music for his work on the album Altamiro Carrilho -- 50 Anos de Choro, and, in 1997, he won it again for the Best Instrumental Album, Flauta Maravilhosa...” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wzfuxqy5ldde~T1

Freddie King - Episode 39

Wed, 11 Aug 2010 22:48:40 -0300

born: Frederick Christian on Sep 3, 1934 in Gilmer, TX
died: Dec 28, 1976 in Dallas, TX (heart failure)

Biography by Stephen Thomas Erlewine & Cub Koda

“Guitarist Freddie King rode to fame in the early '60s with a spate of catchy instrumentals which became instant bandstand fodder for fellow bluesmen and white rock bands alike. Employing a more down-home (thumb and finger picks) approach to the B.B. King single-string style of playing, King enjoyed success on a variety of different record labels. Furthermore, he was one of the first bluesmen to employ a racially integrated group on-stage behind him. Influenced by Eddie Taylor, Jimmy Rogers, and Robert Jr. Lockwood, King went on to influence the likes of Eric Clapton, Mick Taylor, Stevie Ray Vaughan, and Lonnie Mack, among many others.  Freddie King (who was originally billed as "Freddy" early in his career) was born and raised in Gilmer, TX, where he learned how to play guitar as a child; his mother and uncle taught him the instrument. Initially, King played rural acoustic blues, in the vein of Lightin' Hopkins. By the time he was a teenager, he had grown to love the rough, electrified sounds of Chicago blues. In 1950, when he was 16 years old, his family moved to Chicago, where he began frequenting local blues clubs, listening to musicians like Muddy Waters, Jimmy Rogers, Robert Jr. Lockwood, Little Walter, and Eddie Taylor. Soon, the young guitarist formed his own band, the Every Hour Blues Boys, and was performing himself...” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:kifpxq95ld0e~T1

Vive La Fête - Episode 38

Wed, 4 Aug 2010 22:06:16 -0300

formed: 1997 in Belgium

Biography by Sergey Mesenov

“Glamorous electro-rock duo Vive la Fête hail from Belgium and are, perhaps, one of the most distinctive European bands to successfully fuse synth pop and electro with a sexy, decadent aesthetic and punky energy. Originally formed as a side project by Danny Mommens, ex-bassist for Belgian indie rock legends dEUS, to play some music together with his girlfriend, Vive la Fete (which literally translates as "Long Live the Party") quickly established themselves as a potent musical force and became a full-time job for everyone involved with the project. Vive la Fete was formed in 1997 in Belgium when Mommens met Els Pynoo, ex-model and wannabe singer. The two quickly discovered their mutual love for all things kitsch, '80s electro-pop, and Serge Gainsbourg and became romantically involved. The very first recordings of Vive la Fête were made by the pair in 1998 in Mommens' home studio -- these eight-track demos were later released by Kinky Star as the Je Ne Veux Pas EP (aka Paris). The first full-length proper, Attaque Surprise, was issued in 2001 by Belgian label Surprise Records. Pynoo handled vocals, Mommens switched from bass to guitar, and the band's lineup was rounded up by Dirk Cant on bass and Roel van Espen on keyboards, while Dirk Jans or Matthias Staendert took turns handling drums. With a sexy, vibrant sound influenced by trashy '80s electro-pop as well as guitar rock and the intention to make "music for everyone -- homosexuals, lesbians and everyone else -- to have fun to," Vive la Fete were ready to take on the world. And the world surrendered, although not quite the big wide one that villains from spy movies seek to dominate, but merely the world of high fashion. Perhaps thanks to Els Pynoo's previous modeling experience and her contacts within the industry, or for some other, less obvious reasons, Vive la Fete's music soon became a highly sought-after soundtrack for various fashion shows.”... continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fpfpxq9dldfe~T1

Rush (70’s) - Episode 37

Thu, 29 Jul 2010 21:17:15 -0300

Alex Lifeson: born Alex Zivojinovich on Aug 27, 1953 in Fernie, British Columbia, Canada
Geddy Lee: born Gary Lee Weinrib on Jul 29, 1953 in Willowdale, Ontario, Canada
Neil Peart: born Neil Elwood Peart Sep 12, 1952 in Hamilton, Ontario, Canada

Alex Lifeson Biography by Greg Prato

“Although it's widely agreed that all three members of Rush are incredibly talented at their respective instruments, guitarist Alex Lifeson tends to be the most underrated of the bunch. Born Alex Zivojinovich on August 27, 1953 in Fernie, Canada (his parents were Yugoslavian immigrants), Lifeson grew up in Toronto, and received his first guitar as a Christmas gift when he was 13. Soon after, Lifeson discovered rock & roll (via the usual suspects -- Eric Clapton, Jimi Hendrix, etc.), and began jamming with local drummer John Rutsey. By the late '60s, bassist/vocalist Geddy Lee had signed on with the group, as the trio focused primarily on perfecting cover songs of Cream, Led Zeppelin, and the Who, among others...” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:ajfrxqu5ld0e~T1

Geddy Lee Biography by Greg Prato

“Few hard rock bassists have been as influential as Rush's Geddy Lee. Born Gary Weinrib on July 29, 1953, in Toronto, his parents migrated from Europe to Canada and got his nickname "Geddy" from when his mother would try to pronounce "Gary" in her accent. Taking up bass as a teenager and influenced by the likes of the Who's John Entwistle, Cream's Jack Bruce, and Led Zeppelin's John Paul Jones, Lee hooked up with guitarist Alex Lifeson and drummer John Rutsey to form the hard rocking trio Rush (Lee would also serve as the band's lead vocalist). Although the band would eventually find success and fortune as a progressive hard rock band, early on they were highly derivative of blues rock/Led Zeppelin, as their self-titled 1973 debut proved...” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:hjfyxqy5ldke~T1

Neil Peart Biography by Greg Prato

“Ask just about any rock drummer who their influences are and chances are Rush's Neil Peart will be high on the list. With his technically demanding and precise rhythmic style, few rock drummers have scaled the heights that Peart has over the years on both record and on stage as part of the renowned Canadian prog rock trio. Born in Canada on September 12, 1952, Peart began taking drums lessons at the age of 13 and by the late '60s/early '70s, immersed himself in the challenging sounds of such rock drummers as the Who's Keith Moon, ELP's Carl Palmer, Yes' Bill Bruford, and legendary big-band drummer Buddy Rich. After a brief stint living in England (where he discovered the writings of Ayn Rand), Peart returned to Canada in the early '70s and found out that the up-and-coming band Rush, who had just wrapped up touring behind their debut album, was looking for a new drummer. Peart was granted a tryout and was immediately given the nod to join...” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:g9fexqwgldhe~T1

Rush (80’s) - Episode 36

Thu, 29 Jul 2010 20:50:08 -0300

Formed 1968 in Toronto, Ontario, Canada

Biography by Jason Ankeny

“Over the course of their decades-spanning career, the Canadian power trio Rush emerged as one of hard rock's most highly regarded bands; although typically brushed aside by critics and although rare recipients of mainstream pop radio airplay, the group nonetheless won an impressive and devoted fan following while their virtuoso performance skills solidified their standing as musicians' musicians.  Rush formed in Toronto, Ontario, in the autumn of 1968, and initially comprised guitarist Alex Lifeson (born Alexander Zivojinovich), vocalist/bassist Geddy Lee (born Gary Lee Weinrib), and drummer John Rutsey. In their primary incarnation, the trio drew a heavy influence from Cream, and honed their skills on the Toronto club circuit before issuing their debut single, a rendition of Buddy Holly's "Not Fade Away," in 1973. A self-titled LP followed in 1974, at which time Rutsey exited; he was replaced by drummer Neil Peart, who also assumed the role of the band's primary songwriter, composing the cerebral lyrics (influenced by works of science fiction and fantasy) that gradually became a hallmark of the group's aesthetic...” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gifwxqr5ldke~T1

The Chilled House Session - Episode 35

Fri, 23 Jul 2010 14:12:04 -0300

“There’s a time for dancefloor mayhem and a time for something, well, just that little bit more relaxed.   Chilled House has become the soundtrack to back rooms, bedrooms, bars and beach fronts where something uplifting yet chilled is just the ticket. It’s an approach to music making that combines house music beats with lush, multi-layered sounds creating a deeper, somewhat laidback and altogether more satisfying alternative to big house music moments.  Feedback from Chilled 1 and 2 tells us people want a whole album of deeper house tracks and mixes, whereas it has previously featured on only one disc of these releases  The Chilled House Session is a collection of originals and mixes of current and recent club records (Calvin Harris, Deadmau5, Example, Sharam, Chicane, Friendly Fires) coupled with classic tracks from the genre (Everything But The Girl, Dirty Vegas, Jakatta, Mylo, Rui Da Silva, Groove Armada, Underworld) alongside quality, cool remixers and producers at their most chilled and deep moments (Fred Falke, Aeroplane, Todd Terje, Prydz, Ben Watt, Afterlife, Ashley Beedle)...” read more at http://www.ministryofsound.com/product/na/albums/cd/the_chilled_house_session/

Cedar Walton - Episode 34

Fri, 5 Mar 2010 14:03:28 -0300

born Cedar Anthony Walton on Jan 17, 1934 in Dallas, TX

Biography by Chris Kelsey

“One of the most valued of all hard bop accompanists, Cedar Walton is a versatile pianist whose funky touch and cogent melodic sense have graced the recordings of many of jazz's greatest players. He is also one of the music's more underrated composers; although he has always been a first-rate interpreter of standards, Walton wrote a number of excellent tunes ("Mosaic," "Ugetsu," and "Bolivia," to name a few) that found their way into Art Blakey's book during the pianist's early-'60s stint with the Jazz Messengers.  Walton was first taught piano by his mother. After attending the University of Denver, he moved to New York in 1955, ostensibly to play music. Instead, he was drafted into the Army. Stationed in Germany, Walton played with American musicians Leo Wright, Don Ellis, and Eddie Harris. After his discharge, Walton moved back to New York, where he began his career in earnest. From 1958-1961, Walton played with Kenny Dorham, J.J. Johnson, and Art Farmer's Jazztet, among others. Walton joined Blakey in 1961, with whom he remained until 1964. This was perhaps Blakey's most influential group, with Freddie Hubbard and Wayne Shorter.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:0ifyxqy5ldde~T1

Santana - Episode 33

Wed, 10 Feb 2010 21:59:14 -0200

formed: 1966 in San Francisco, CA
Carlos Santana: born Devadip Carlos Santana on Jul 20, 1947 in Autlan de Novarra, Mexico

band Biography by William Ruhlmann

“Santana is the primary exponent of Latin-tinged rock, particularly due to its combination of Latin percussion (congas, timbales, etc.) with bandleader Carlos Santana's distinctive, high-pitched lead guitar playing. The group was the last major act to emerge from the psychedelic San Francisco music scene of the 1960s and it enjoyed massive success at the end of the decade and into the early '70s. The musical direction then changed to a more contemplative and jazzy style as the band's early personnel gradually departed, leaving the name in the hands of Carlos Santana, who guided the group to consistent commercial success over the next quarter-century. By the mid-'90s, Santana seemed spent as a commercial force on records, though the group continued to attract audiences for its concerts worldwide. But the band made a surprising and monumental comeback in 1999 with Supernatural, an album featuring many guest stars that became Santana's best-selling release and won a raft of Grammy Awards.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:j9frxqw5ldse~T1

Carlos Santana Biography by William Ruhlmann

“Carlos Santana grew up in Mexico, the son of a father who was a mariachi violinist. He took up the violin at five, but at eight switched to the guitar. The family moved to Tijuana, where he began playing in clubs and bars. In the early '60s, the family moved to San Francisco. Santana at first remained in Tijuana, but he later joined them and attended Mission High School, graduating in June 1965. In 1966, he was one of the founders of the Santana Blues Band. Despite the name, the group was at first a collective; it was required to name a nominal leader due to a provision of the musicians union. The name was eventually shortened to Santana and the band debuted at the Fillmore West theater in San Francisco on June 16, 1968. That September, Carlos played guitar at a concert held at the Fillmore West by Al Kooper to record a follow-up to the Super Session album that had featured him with Mike Bloomfield and Steve Stills. The result was The Live Adventures of Mike Bloomfield and Al Kooper, which marked Santana's recording debut.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gjfpxqrgldte~T1

Maceo Parker - Episode 32

Wed, 27 Jan 2010 21:54:13 -0200

born Feb 14, 1943 in Kinston, NC

Biography by Bill Dahl

"Maceo! Blow your horn!" That's how James Brown would dynamically signal his favorite horn player to take another stinging sax solo -- and Maceo Parker never once let his boss down. Parker's jabbing workouts in the midst of "Papa's Got a Brand New Bag" and "Cold Sweat" made him a household name among '60s funk fans -- not bad for a kid fresh out of college who got the gig primarily because Brown coveted his brother Melvin's drumming chops. Now Parker is a star in his own right. His Verve albums Roots Revisited and Mo' Roots impeccably spotlight his soul-drenched alto sax on a sizzling hybrid of funk, R&B, and jazz. And he's brought along his ex-section mates from Brown's band -- trombonist Fred Wesley and saxist Pee Wee Ellis -- to stoke the almighty groove.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:a9fyxq85ld6e~T1

Los Lonely Boys - Episode 31

Mon, 30 Nov 2009 21:12:51 -0200

formed 2000 in San Angelo, TX

Biography by William Ruhlmann

“Hailing from San Angelo, TX, Los Lonely Boys is a sibling trio whose music draws equally from rock, blues, Tex-Mex, conjunto, and Tejano. Such a combination is shaped by the band's three brothers: guitarist Henry Garza, bassist JoJo Garza, and drummer Ringo Garza, Jr. The siblings' father, Ringo Garza, Sr., was a member of another sibling band, the Falcones, who played conjunto music around Texas during the '70s and '80s. After that group broke up, Garza went solo, backed by his three sons even before they reached their teens. The family relocated to Nashville in the 1990s, and gradually the sons emerged as a group separate from their father.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fbfqxqw0ldke~T1

Di Melo - Episode 30

Sat, 21 Nov 2009 21:03:32 -0200

born Roberto de Melo Santos in Recife, Brazil

“Eu, Roberto de Melo Santos, pernambucano, recifense, em arte Dimelo, venho desde cedo, me ramificando e perseguindo o rumo das artes, ou seja, nas áreas de canto, da composição, da poesia, do entalhe, da pintura e da interpretação. Me envolvo, me apego por inteiro e me entrego de corpo, coração e mente a tudo aquilo que me predisponho a fazer. Não sei se é um erro ou virtude, porém, de nenhuma outra forma que possa concluir eu consigo me ver diferente.” É assim que Di Melo se descreve em sua página no MySpace.
Di Melo é responsável por uma pérola da soul music, do samba rock brasileiro: o seu álbum homônimo lançado em 1975.
No início da década de 1970, em Recife, Di Melo com seu violão a tira a colo mostra sua batida para um dos artistas que mais admirava: Jorge Ben. De imediato, Babulina reconhece o talento do garoto e lhe deu um cartão do empresário Roberto Colossi, que agenciava artistas como Chico Buarque, Paulinho da Viola, Wanderley Cardoso e Jô Soares. A partir daí, Di Melo cai no circuito das principais casas de shows da capital paulistana, além conseguir patrocínio da empresa Ducal Roupa. "Eram outros tempos: na noite neguinho tomava banho de beleza, banho de Leite Moça, banho de cortiça pra ficar maneiro, pra ver fulano tocar", conta o cantor, com sua agradável malandragem.
Mas, o que realmente abriu caminho para a gravação do disco de 1975 foi o palco do Jogral, um dos mais disputados na noite paulistana. Bob Di Melo, ou simplesmente Di Melo, animava o público até o fechamento dos portões, e chamava atenção de outros artistas. "No Jogral, quem subia no palco tinha que superar o artista anterior!" Alaíde Costa, uma das frequentadoras do palco e da plateia, indicou Di Melo à Moacir Machado, então diretor da gravadora Odeon. Em oito dias o disco estava gravado. Um time com Claudio Beltrami (contrabaixo), Dirceu (bateria), Capitão (trompete) e Bolão (saxofone), além das participações de Hermeto Pascoal e Heraldo do Monte (arranjos de bases) e do maestro José Briamonte (regência).” continue reading at http://www.culturabrasil.com.br/programas/radarcultura/entrevistas-2/di-melo-o-imorrivel-esta-de-volta

Johnny Winter - Episode 29

Thu, 29 Oct 2009 20:55:16 -0200

born John Dawson Winter III Feb 23, 1944 in Beaumont, TX

Biography by William Ruhlmann

“Blues guitarist Johnny Winter became a major star in the late '60s and early '70s. Since that time he's confirmed his reputation in the blues by working with Muddy Waters and continuing to play in the style, despite musical fashion. Born in Beaumont, TX, Winter formed his first band at 14 with his brother Edgar in Beaumont, and spent his youth in recording studios cutting regional singles and in bars playing the blues. His discovery on a national level came via an article in Rolling Stone in 1968, which led to a management contract with New York club owner Steve Paul and a record deal with Columbia. His debut album (there are numerous albums of juvenilia), Johnny Winter, reached the charts in 1969. Starting out with a trio, Winter later formed a band with former members of the McCoys, including second guitarist Rick Derringer. It was called Johnny Winter And. He achieved a sales peak in 1971 with the gold-selling Live/Johnny Winter And. He returned in 1973 with Still Alive and Well, his highest-charting album. His albums became more overtly blues-oriented in the late '70s and he also produced several albums for Muddy Waters. In the '80s he switched to the blues label Alligator for three albums, and has since recorded for the labels MCA and Pointblank/Virgin.” http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:giftxqr5ldfe~T1

Marcia Ball - Episode 28

Tue, 20 Oct 2009 20:46:45 -0200

born Mar 20, 1949 in Orange, TX

Biography by Richard Skelly & Al Campbell

“Pianist and singer/songwriter Marcia Ball is a living example of how East Texas blues meets southwest Louisiana swamp rock. Ball was born March 20, 1949, in Orange, TX, but grew up across the border in Vinton, LA. That town is squarely in the heart of "the Texas triangle," an area that includes portions of both states and that has produced some of the country's greatest blues talents: Janis Joplin, Johnny and Edgar Winter, Queen Ida Guillory, Lonnie Brooks, Zachary Richard, Clifton Chenier, and Kenny Neal, to name a few. Ball's earliest awareness of blues came over the radio, where she heard people like Irma Thomas, Professor Longhair, and Etta James, all of whom she now credits as influences. She began playing piano at age five, learning from her grandmother and aunt and also taking formal lessons from a teacher.  Ball entered Louisiana State University in the late '60s as an English major. In college, she played in the psychedelic rock & roll band Gum. In 1970, Ball and her first husband were headed West in their car to San Francisco, but the car needed repairs in Austin, where they had stopped off to visit one of their former bandmates. After hearing, seeing, and tasting some of the music, sights, and food in Austin, the two decided to stay there. Ball has been based in Austin ever since.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:jifyxq95ldje~T1

King Biscuit Boy (Richard Newell) - Episode 27

Mon, 6 Jul 2009 20:26:15 -0300

born Richard Alfred Newell on Mar 9, 1944 in Hamilton, Ontario, Canada
died Jan 5, 2003 in Hamilton, Ontario, Canada (poor health due to alcoholism)

Biography

“Newell played guitar and sang, but was most noted for his harmonica playing. His stage name was taken from the King Biscuit Flour Hour, an early American blues broadcast. He was given the name by Ronald "Ronnie" Hawkins, a pioneering rock and roll musician, while he was part of Hawkins' back-up band.
Newell reportedly started his career by stealing his first harmonica (Marine Band, key of B) from a joke shop near his home on Hamilton Mountain, Hamilton, Ontario.[1]
Newell played with The Barons (later renamed Son Richard and the Chessmen) from 1961 to 1965, followed by a stint with The Midknights and in the summer of 1969 helped to form And Many Others, which was Ronnie Hawkins' backing band at that time. After one LP and several US appearances, Hawkins fired the entire band in early 1970,[2] upon which the members, including Newell, formed themselves into their own band, which they named Crowbar. Newell recorded an album with Crowbar, then embarked on a solo career, although he played with Crowbar off and on throughout his career.
After leaving Crowbar, he signed a major American deal with Paramount/Epic. Seven solo albums followed, along with two Juno nominations (the Juno Awards are the Canadian equivalent of the U.S. Grammy Awards).” continue at http://en.wikipedia.org/wiki/King_Biscuit_Boy

Michael Jackson / Jackson 5 / The Jacksons - Episode 26

Fri, 26 Jun 2009 20:14:54 -0300

Michael Jackson: born Michael Joseph Jackson on Aug 29, 1958 in Gary, IN / died Jun 25, 2009 in Los Angeles, CA (homicide)
The Jackson 5: formed 1966 in Gary, IN

Michael Jackson Biography by Steve Huey

“Michael Jackson was unquestionably the biggest pop star of the '80s, and certainly one of the most popular recording artists of all time. In his prime, Jackson was an unstoppable juggernaut, possessed of all the tools to dominate the charts seemingly at will: an instantly identifiable voice, eye-popping dance moves, stunning musical versatility, and loads of sheer star power. His 1982 blockbuster Thriller became the biggest-selling album of all time (probably his best-known accomplishment), and he was the first black artist to find stardom on MTV, breaking down innumerable boundaries both for his race and for music video as an art form.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:kifuxqe5ldae~T1

The Jackson 5 / The Jacksons Biography by Steve Huey

“The Jackson 5 were one of the biggest phenomenons in pop music during the early '70s, and the last great group to come out of the Motown hitmaking machine before Marvin Gaye and Stevie Wonder shifted the label's focus to more individual visions. The Jackson 5's infectious brand of funky pop-soul was a definite departure from the typically smooth, elegant Motown sound, as befitting the group's youth and the dawn of a new decade. That youth, coupled with the merchandising juggernaut that sprang up behind them, inevitably got them tagged a bubblegum group.”
“...Finally, in early 1976, they left Motown to sign with Epic. When the legal battles finally ended, Motown won a breach-of-contract settlement and retained rights to the Jackson 5 name, forcing the group to become the Jacksons. They also lost Jermaine, whose marriage to Berry Gordy's daughter Hazel made it extremely impractical for him to join his brothers. He was replaced by younger brother Randy (born Steven Randall Jackson, October 29, 1961), who had been appearing (unofficially) with the group as a percussionist for some time. The Jacksons' first few records on Epic were somewhat erratic affairs produced by Philly soul legends Gamble & Huff. However, the group truly assumed control over their music and hit full stride on 1978's Destiny,” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:aifyxqe5ldae~T1

Trio Mocotó - Episode 25

Sun, 14 Jun 2009 20:10:58 -0300

formed: 60’s in Sao Paulo, Brazil
Nereu Gargalo: born Nereu de São José, 1945 in Rio de Janeiro, Brazil
Fritz Escovão: born Luís Carlos de Sousa, 1943 in Rio de Janeiro, Brazil
Joãozinho Parahyba: João Carlos Fagundes Gomes, 1951 in São Paulo, Brazil

Biography by Alvaro Neder

“The Trio Mocotó is a group that shaped a style that would be known as samba-rock, resulting in the fusion of the two genres. The trio influenced many artists who were searching for some kind of fusion between Brazilian and American pop music, like Tim Maia and Jorge Ben, whom they backed in recordings and performances both in Brazil and internationally. The trio was formed in 1968 in the Jogral nightclub (São Paulo) by Fritz Escovão, Joãozinho Parahyba, and Nereu Gargalo, who were the regular backing musicians for the featured artists, such as Clementina de Jesus, Nelson Cavaquinho, Cartola, and other performers. The Jogral was one of the most important nightclubs of Brazil in that time, and international artists like Duke Ellington, Oscar Peterson, and Earl Hines also performed there, accompanied by the Trio Mocotó. As Jorge Ben (later Jorge Ben Jor) used to sit in often, the trio became Ben's backup band. The result was the sound that Ben was searching for, a kind of fusion between samba and rock.” continue at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:kifuxq8kldje~T1

Gerson King Combo - Episode 24

Thu, 4 Jun 2009 21:33:59 -0300

born Gerson Cortês on Nov 30, 1944 in Rio de Janeiro, Brazil

“Born in Madureira (Rio de Janeiro suburb), Gerson started out his career doing playbacks at a TV show called Hoje É Dia de Rock. Then, taken by his brother (Getúlio Côrtes, songwriter of classics like "Negro Gato"), Gerson started dancing on the show Jovem Guarda, hosted by Roberto Carlos. As the soul music took over his body and mind, Gerson became a back up singer for Wilson Simonal and Erlon Chaves, and helped starting the band Banda Black Rio. As a solo artist, he dubbed himself Gerson King Combo (a homage to soul/jazz band King Curtis Combo) and tasted the height of his popularity as the king of the Black Balls in Rio. The two volumes of the LP series "Gerson King Combo" spread hits like "Mandamentos Black", "Jingle Black" and "O Rei Morreu". In the 90s, after being away from the music business for long years, Gerson started being recognized, due to his spoken interventions over a funk base, as a predecessor of Brazilian rap. He recorded with rap group Artigo 288 and has been performing in soul music gigs, always acclaimed by the younger audiences.” continue reading at http://www.allbrazilianmusic.com/artistas/ver/gerson-king-combo

Lynyrd Skynyrd - Episode 23

Fri, 22 May 2009 21:17:18 -0300

formed: 1965 in Jacksonville, FL

Biography by Stephen Thomas Erlewine & Steve Leggett

“Lynyrd Skynyrd was the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious Southern image and a hard rock swagger. Skynyrd never relied on the jazzy improvisations of the Allman Brothers. Instead, they were a hard-living, hard-driving rock & roll band -- they may have jammed endlessly on-stage, but their music remained firmly entrenched in blues, rock, and country. For many, Lynyrd Skynyrd's redneck image tended to obscure the songwriting skills of their leader, Ronnie Van Zant. Throughout the band's early records, Van Zant demonstrated a knack for lyrical detail and a down-to-earth honesty that had more in common with country than rock & roll. During the height of Skynyrd's popularity in the mid-'70s, however, Van Zant's talents were overshadowed by the group's gritty, greasy blues-rock. Sadly, it wasn't until he was killed in a tragic plane crash in 1977 along with two other bandmembers that many listeners began to realize his talents. Skynyrd split up after the plane crash, but they reunited a decade later, becoming a popular concert act during the early '90s.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fifqxqe5ldfe~T1

The Beatles (Ballads) - Episode 22

Thu, 14 May 2009 20:57:09 -0300

formed: 1957 in Liverpool, England
John Lennon: born John Winston Lennon on Oct 9, 1940 in Liverpool, England / died Dec 8, 1980 in New York, NY(assassinated)
Paul McCartney: born James Paul McCartney on Jun 18, 1942 in Liverpool, England
George Harrison: born George Harold Harrison Feb 24, 1943 in Liverpool, England / died Nov 29, 2001 in Los Angeles, CA (cancer)
Ringo Starr: born Richard Henry Parkin Starkey on Jul 7, 1940 in Liverpool, England

Biography by Richie Unterberger

“So much has been said and written about the Beatles -- and their story is so mythic in its sweep -- that it's difficult to summarize their career without restating clichés that have already been digested by tens of millions of rock fans. To start with the obvious, they were the greatest and most influential act of the rock era, and introduced more innovations into popular music than any other rock band of the 20th century. Moreover, they were among the few artists of any discipline that were simultaneously the best at what they did and the most popular at what they did. Relentlessly imaginative and experimental, the Beatles grabbed a hold of the international mass consciousness in 1964 and never let go for the next six years, always staying ahead of the pack in terms of creativity but never losing their ability to communicate their increasingly sophisticated ideas to a mass audience. Their supremacy as rock icons remains unchallenged to this day, decades after their breakup in 1970.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:hifrxqw5ldse~T1

Drunken Blues - Episode 21

Tue, 28 Apr 2009 20:19:42 -0300

Chicago Blues Reunion: formed 2005 in Chicago, IL
John Lee Hooker: born Aug 22, 1917 in Clarksdale, MS / died Jun 21, 2001 in Los Altos, CA (natural causes)
Robin Trower: born Robin Leonard Trower Mar 9, 1945 in London, England
The Kingsnakes: formed 80‘s in Syracuse, NY
George Thorogood: born Dec 24, 1950 in Wilmington, DE
Lee Rocker's Big Blue: born Leon Drucker on Aug 3, 1961 in Long Island, NY

Just blues talking ‘bout drinkin’ are allowed! Enjoy!

Retro Swing / Swing Revival - Episode 20

Tue, 14 Apr 2009 19:57:33 -0300

Royal Crown Revue: formed 1989 in Los Angeles, CA
Big Bad Voodoo Daddy: formed 1990 in Los Angeles, CA
The Brian Setzer Orchestra: formed 1990 in Los Angeles, CA
Indigo Swing: formed 1994 in San Francisco, CA
Cherry Poppin’ Daddies: formed 1989 in Eugene, OR

“Perhaps one of the most unexpected fads of the '90s was the emergence of Retro Swing, a joyous, relatively amateurish celebration of jump blues, hot dance, and swing. There were a number of accomplished artists -- such as Brian Setzer and the Squirrel Nut Zippers -- within the scene, but generally, retro swing was played by twentysomethings -- children of alternative rock who found that they favored martinis and Sinatra to dope and grunge. Certainly, the scene was tangentially related to the lounge hipsters in indie rock, those fans that rediscovered Esquivel and assembled groups that played lazily swinging easy listening. However, retro swingers weren't really an elitist pack. They made good-time party music, designed for dancing and fun. At first, the scene was concentrated in Los Angeles, but Doug Liman's 1996 film Swingers, which featured Big Bad Voodoo Daddy, brought it into the mainstream, and soon afterward, a deluge of retro swing bands were appearing on major and indie labels. Some had been doing it for a while -- veterans included BBVD, Cherry Poppin' Daddies, the Squirrel Nut Zippers and, Brian Setzer, who pioneered the whole sound in the early '90s with his big band, the Brian Setzer Orchestra. Others were fresh-faced kids, swooning over the legacy of the Rat Pack, while borrowing ideas and songs from Joe Jackson's Jumpin' Jive. It was a self-conscious hybrid and most bands certainly couldn't play as well as the first-wave swingers they were emulating -- as a matter of fact, soloing hardly even mattered in retro swing -- it was the overall feel and groove that counted.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:4538

Joey DeFrancesco - Episode 19

Thu, 2 Apr 2009 19:47:59 -0300

Born Apr 10, 1971 in Philadelphia, PA

Biography by Steve Huey

“The music of Joey DeFrancesco -- an important force in the revival of the Hammond B-3 organ as a jazz instrument -- runs the gamut from soul-jazz and bluesy grooves à la Jimmy Smith to hard bop to the more advanced modal style of Coltrane disciple Larry Young. Born in Springfield, PA (near Philadelphia), on April 10, 1971, DeFrancesco was the son of another Philly-area jazz organist, Papa John DeFrancesco, and the grandson of multi-instrumentalist Joe DeFrancesco, who worked with the Dorsey Brothers. He began playing piano at age four and quickly switched to his father's instrument, preferring the sound of the Hammond B-3 over the modern synthesizers that had become the dominant alternative to piano. He began sitting in at his father's club gigs around age six; by age ten, he was performing paying gigs on the weekends and sitting in with artists like Jack McDuff and Groove Holmes.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:avftxq85ldke~T1

Mutantes / Novos Baianos / Secos e Molhados - Episode 18

Fri, 20 Mar 2009 19:19:26 -0300

episode conceived by Cesar Higashijima (http://tchezar.tk)

Mutantes: Formed 1965 in Sao Paulo, Brazil
Novos Baianos: Formed 1969 in Salvador, Bahia, Brazil
Secos e Molhados: Formed 1971 in Sao Paulo, Brazil

Mutantes Biography by John Bush

“Though rarely heard outside their Brazilian homeland (especially during the first phase of their career), Os Mutantes were one of the most dynamic, talented, radical bands of the psychedelic era -- quite an accomplishment during a period in which most rock bands spent quality time exploring the outer limits of pop music. A trio of brash musical experimentalists, the group fiddled with distortion, feedback, musique concrète, and studio tricks of all kinds to create a lighthearted, playful version of extreme Brazilian pop.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:09fqxqqjldhe~T1

Novos Baianos Biography by Alvaro Neder

“Os Novos Baianos was a vocal/instrumental group formed in Salvador, BA, in the late '60s who had a noted role in the fusion of rock with Brazilian folklore rhythms for the evolution of MPB. The group was constituted by Paulinho Boca de Cantor (vocals/pandeiro), Morais Moreira (vocals/violão, or acoustic guitar), Baby Consuelo (now Baby do Brasil, vocals/percussion), and Luís Galvão (lyricist). At the same time, Pepeu and his brother, Jorginho Gomes, were members of the professional group Os Leifs. In early 1969, Gilberto Gil and Caetano Veloso invited Pepeu to accompany them in their farewell show before the exile, Barra 69.” continue reading http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:3vfixqyjldte~T1

Secos & Molhados Biography by Alvaro Neder

“Formed in 1971 by Ney Matogrosso (vocalist), Gerson Conrad (vocalist/composer/violão) and João Ricardo (singer/composer/violão/harmonica), Secos & Molhados is inscribed in a privileged category of few bands and musicians who led Brazil from bossa nova through Tropicália then to Brazilian rock, a style which only blossomed in the '80s. Much of the group's importance, apart from the huge success of its first album, which sold 700,000 copies in 1973, was the heavy use of stage makeup and dramatic elements. These served as reference for a generation of underground bands which wouldn't accept MPB as their expression, finally drawing a definite outlook in Brazilian music in the '80s through collective contribution.” continue reading http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:0iftxq8kldje~T1

ZZ Top - Episode 17

Thu, 26 Feb 2009 14:34:07 -0300

band formed: 1970 in Houston, TX
Billy Gibbons: born William Frederick Gibbons Mar 4, 1950 in Houston, TX
Dusty Hill: born Joe Michael Hill on May 19, 1949 in Dallas, TX
Frank Beard: born Frank Lee Beard Jun 11, 1949 in Frankston, TX

Biography by Cub Koda

“This sturdy American blues-rock trio from Texas consists of Billy Gibbons (guitar), Dusty Hill (bass), and Frank Beard (drums). They were formed in 1970 in and around Houston from rival bands the Moving Sidewalks (Gibbons) and American Blues (Hill and Beard). Their first two albums reflected the strong blues roots and Texas humor of the band. Their third album (Tres Hombres) gained them national attention with the hit "La Grange," a signature riff tune to this day, based on John Lee Hooker's "Boogie Chillen." Their success continued unabated throughout the '70s, culminating with the year-and-a-half-long Worldwide Texas Tour.
The only rock & roll group that's out there with its original members still aboard after three decades (an anniversary celebrated on 1999's XXX), ZZ Top play music that is always instantly recognizable, eminently powerful, profoundly soulful, and 100-percent American in derivation. They have continued to support the blues through various means, perhaps most visibly when they were given a piece of wood from Muddy Waters' shack in Clarksdale, MS. The group members had it made into a guitar, dubbed the "Muddywood," then sent it out on tour to raise money for the Delta Blues Museum. ZZ Top's support and link to the blues remains as rock solid as the music they play.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gifwxqr5ldte~T1

Billy Gibbons Biography by Greg Prato

“Along with the late Stevie Ray Vaughan, ZZ Top guitarist Billy Gibbons is unquestionably one of the finest blues-rock guitarists to ever emerge from Texas. Born on either March 4 or December 16, 1950 (both dates have been given in the past), and raised in Houston, TX, Gibbons grew up in a home that favored both classical and country sounds, but upon discovering Elvis Presley via an appearance on The Ed Sullivan Show, Gibbons became transfixed by rock & roll. It wasn't long before he discovered other early rock & rollers (Little Richard) as well as bluesmen (Jimmy Reed) via a local radio station.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fbfixq85ldde~T1

Chuck Berry’s Hail! Hail! Rock ‘N Roll - Episode 16

Fri, 13 Feb 2009 14:24:14 -0200

born Charles Edward Anderson Berry on Oct 18, 1926 in San Jose, CA

Review by William Ruhlmann

“This is the soundtrack to a documentary film chronicling a concert held to celebrate Chuck Berry's 60th birthday. The band was led by Keith Richards and featured Berry's regular pianist, Johnnie Johnson, Richards' regular pianist, Chuck Leavell, Rolling Stones sax player Bobby Keys, bassist Joey Sampinato from NRBQ, and drummer Steve Jordan from Richards' solo band. The guests included Robert Cray, Linda Ronstadt, Eric Clapton, Julian Lennon, and Etta James. Berry was ragged-voiced but enthusiastic, the band had spirit, and the guests, even if they were sometimes unlikely, were sincere. The best way to hear Berry's music is to obtain the original recordings, of course, but as a souvenir of the Taylor Hackford film, this is an enjoyable romp through the catalog.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3ifrxql5ldde

Antonio Carlos Jobim - Episode 15

Thu, 15 Jan 2009 14:14:34 -0200

born Antonio Carlos Brasileiro de Almeida Jobim on Jan 25, 1927 in Rio De Janeiro, Brazil
died Dec 8, 1994 in New York, NY (heart failure)

Biography by Richard S. Ginell

“It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source. Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fjftxq95ldde~T1

Lettuce - Episode 14

Thu, 18 Dec 2008 15:55:09 -0200

formed: 1995 in Boston, MA

“Lettuce sprouted in the fertile environment of Berklee College of Music in Boston where all members met at a summer music program when they were in their teens. “I hate to sound cheesy, but I fully feel it was destiny that this band came together,” says Krasno. “We were all in the same place, all the same age. None of the friends I grew up with were into music like I was. Then I went to Berklee that summer, and all these guys were into music the way I was, and it happened that we were all playing the right instruments to put together a band.”
All the members brought to the group different funk-styled influences. For example, Krasno was into the new jazz funk of Herbie Hancock, Deitch was raised on Tower of Power and Earth Wind & Fire and introduced that sound through his compositions to the band. Zoidis recalls, “We all lived in the same dorm and we each brought music to the table that the others hadn’t heard before. There was an ensemble room downstairs that we began playing in.” Krasno adds, “We did a lot of jamming after we did a lot of listening.”
Two years later, in the fall of 1994, all Lettuce members, who had remained in contact with each other, returned to Berklee as full-fledged undergrads and picked up right where they left off. They were fond of showing up with their instruments at underground jazz clubs like Wally’s (usually at other musicians’ gigs) and asking, “Will you let us play?” continue reading at http://www.royalfamilyrecords.com/lettuce

Jimi Hendrix - Episode 13

Fri, 12 Dec 2008 15:29:47 -0200

born Johnny Allen Hendrix on Nov 27, 1942 in Seattle, WA
died Sep 18, 1970 in London, England (drug-related complications)

Biography by Richie Unterberger & Sean Westergaard

“In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the electric rock guitar more than anyone before or since. Hendrix was a master at coaxing all manner of unforeseen sonics from his instrument, often with innovative amplification experiments that produced astral-quality feedback and roaring distortion. His frequent hurricane blasts of noise and dazzling showmanship -- he could and would play behind his back and with his teeth and set his guitar on fire -- has sometimes obscured his considerable gifts as a songwriter, singer, and master of a gamut of blues, R&B, and rock styles. When Hendrix became an international superstar in 1967, it seemed as if he'd dropped out of a Martian spaceship, but in fact he'd served his apprenticeship the long, mundane way in numerous R&B acts on the chitlin circuit. During the early and mid-'60s, he worked with such R&B/soul greats as Little Richard, the Isley Brothers, and King Curtis as a backup guitarist. Occasionally he recorded as a session man (the Isley Brothers' 1964 single "Testify" is the only one of these early tracks that offers even a glimpse of his future genius). But the stars didn't appreciate his show-stealing showmanship, and Hendrix was straight-jacketed by sideman roles that didn't allow him to develop as a soloist. The logical step was for Hendrix to go out on his own, which he did in New York in the mid-'60s, playing with various musicians in local clubs, and joining white blues-rock singer John Hammond, Jr.'s band for a while.” continue reading at http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:hnfexqr5ldte~T1