Larry McCray is an American blues guitarist and singer. McCray, the second youngest of nine siblings, grew up living on a farm. McCray learned guitar from Clara. "She used to play real low-down and dirty", McCray recalled years later. His family moved to Saginaw, Michigan in 1972, McCray took the influence of his sibling, such as the three Kings to playing the local club circuit, with his brothers Carl on bass guitar and Steve on drums. After high school, McCray worked on General Motors' assembly line, before recording Ambition, his 1991 debut album for Point Blank Records, in a Detroit friend's basement recording studio, he was soon touring with Albert Collins. His 1993 follow-up, Delta Hurricane, was produced by Mike Vernon. In 1999, McCray recorded a cover version of Bob Dylan's "All Along the Watchtower" for the tribute album, Tangled Up in Blues. In 2000, McCray founded his own independent record label, Magnolia Records, Believe It was its first release that same year; the same year, McCray played alongside Jimmy Thackery as guest guitarists on Sista Monica Parker's album, People Love the Blues.
Magnolia released McCray's first live album, Live on Interstate 75, in mid-2006, this was followed in 2007 with Larry McCray. His most recent tour commenced at the King Biscuit Blues Festival in Helena-West Helena, Arkansas on October 11, 2015 where Larry was honored with the "Sunshine" Sonny Payne Award for Blues Excellence. McCray has one son, Bleau McCray-Morel with Kelly Morel. Ambition Delta Hurricane Meet Me at The Lake with The Bluegills Born to Play the Blues Believe It Blues is my Business Live on Interstate 75 Larry McCray The Gibson Sessions Official website Biography at Allmusic
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
Toby Lee Marshall
Toby Lee Marshall is a Minneapolis/St. Paul based organist. Toby Lee Marshall began playing professionally. Toby Lee Marshall toured with Chicago Bluesman Lonnie Brooks in 1997. After returning to the Twin Cities, Toby Lee Marshall continued to play and record with many local Twin Cities artists, including Joe Juliano, Mary Cutrufello, Big John Dickerson & Blue Chamber, Paul Mayasich & The Benderheads to name a few. In 2010, Toby teamed up with Bernard Allison -- son of Luther Allison; as part of Allison’s dynamic rhythm section, Toby toured Europe extensively and was featured on Allison’s 2011 release, “Live at the Jazzhaus”. Marshall took a hiatus from music in 2012 to refocus his energy on his young family; the Koch Marshall Trio is an instrumental group: Greg Koch established the organ/guitar trio in 2017. The Trio includes Greg Koch's son Dylan Koch on drums, Toby Marshall on Hammond Organ and Greg Koch on guitar; the Koch Marshall Trio has signed a contract with the Mascot Label Group. They released their debut studio album on February 23, 2018 under the Mascot Label GroupThe three musicians first met at a studio that had a B3 organ.
At that first meeting Dylan Koch, Greg Koch and Toby Lee Marshall played a shuffle in the key of G. Those first notes they played together ended up being the title track to this release, Toby Arrives. "Indeed a shuffle in G unrehearsed, it brings the album to life straight out of the gate."The Koch Marshall Trio is working on a second studio album. The trio has toured The US extensively in 2018. Toby Lee Marshall has two children. Live at the Jazzhaus Bernard Allison Toby Arrives Koch Marshall Trio
Slide guitar is a particular technique for playing the guitar, used in blues-style music. The technique involves placing an object against the strings while playing to create glissando effects and deep vibratos, it involves playing the guitar in the traditional position with the use of a tubular "slide" fitted on one of the guitarist's fingers. The slide may be a glass tube like the neck of a bottle; the term "bottleneck" was used to describe this type of playing. The strings are plucked while the slide is moved over the strings to change the pitch; the guitar may be placed on the player's lap and played with a hand-held bar and is referred to as "lap slide guitar" or "lap steel guitar". Creating music with a slide of some type has been traced back to primitive stringed instruments in African culture and to the origin of the steel guitar in Hawaii. Near the beginning of the twentieth century, blues musicians in the Mississippi Delta popularized the bottleneck slide guitar style, the first recording of slide guitar was by Sylvester Weaver in 1923.
Since the 1930s, performers including Robert Nighthawk, Earl Hooker, Elmore James and Muddy Waters popularized slide guitar in the electric blues genre and influenced slide guitarists in the rock genre including the Rolling Stones, Duane Allman and Ry Cooder. Lap slide guitar pioneers include Oscar "Buddy" Woods, "Freddie Roulette; the technique of using a hard object against a plucked string goes back to the "diddley bow" derived from a one-stringed African instrument. The "diddley bow" is believed to be one of the ancestors of the bottleneck style; when sailors from Europe introduced the Spanish guitar to Hawaii in the latter nineteenth century, the Hawaiians slackened some of the strings from the standard tuning to make a chord—this became known as "slack-key" guitar, today referred to as an open tuning. With the "slack-key" the Hawaiians found it easy to play a three-chord song by moving a piece of metal along the fretboard and began to play the instrument across the lap. Near the end of the nineteenth century, a Hawaiian named Joseph Kekuku became proficient in playing this way using a steel bar against the guitar strings.
The bar was called the "steel" and was the source of the name "steel guitar". Kekuku popularized some sources claim he originated the technique, he moved to the United States mainland and became a vaudeville performer performing in Europe for several years. In the first half of the twentieth century, this so-called "Hawaiian guitar" style of playing spread to the US. Sol Hoopii was an influential Hawaiian guitarist who in 1919, at age 17, came to the US mainland from Hawaii as a stow-away on a ship heading for San Francisco. Hoopii's playing became popular in the late 1920s and he recorded songs like "Hula Blues" and "Farewell Blues". According to author Pete Madsen, " would influence a legion of players from rural Mississippi."Most players of blues slide guitar were from the southern US the Mississippi Delta, their music was from an African origin handed down to African-American sharecroppers who sang as they toiled in the fields. The earliest Delta blues musicians were solo singer-guitarists.
W. C. Handy commented on the first time he heard slide guitar in 1903, when a blues player performed in a local train station: "As he played, he pressed a knife on the strings of the guitar in a manner popularised by Hawaiian guitarists who used steel bars; the effect was unforgettable." Blues historian Gérard Herzhaft notes that Tampa Red was one of the first black musicians inspired by the Hawaiian guitarists of the beginning of the century, he managed to adapt their sound to the blues. As an example, Tampa Red, as well as Kokomo Arnold, Casey Bill Weldon and Oscar Woods, adopted the Hawaiian mode of playing longer melodies with the slide instead of playing short riffs as they had done previously. In the early twentieth century, steel guitar playing divided into two streams: bottleneck-style, performed on a traditional Spanish guitar held flat against the body; the bottleneck-style was associated with blues music and was popularized by African-American blues artists. The Mississippi Delta was the home of Robert Johnson, Son House, Charlie Patton, other blues pioneers.
The first known recording of the bottleneck style was in 1923 by Sylvester Weaver, who recorded two instrumentals, "Guitar Blues" and "Guitar Rag". Some of the blues artists who most prominently used the slide include Robert Johnson, Charley Patton, Son House, Bukka White, Mississippi Fred McDowell, Kokomo Arnold, Furry Lewis, Big Joe Williams, Tampa Red and Casey Bill Weldon; when the guitar was electrified in the 1930s, it allowed solos on the instrument to be more audible, thus more prominently featured. In the 1940s, players like Robert Nighthawk and Earl Hooker popularized electric slide guitar; this allowed them switch between slide and fretted guitar playing, an advantage in rhythm accompaniment. Robert Nighthawk recorded extensively in the 1930s as "Robert Lee McCoy" with bluesmen like John Lee "Sonny Boy" Williamson, he performed on acoustic guitar in a style influenced by Tampa Red. Sometime around World War II, after changing his last name to "Nighthawk", he became an early proponent of electric slide guitar and adopted a metal slide.
Nighthawk's sound was clean and smooth, with a light touch of the
Albert Nelson, known by his stage name Albert King, was an American blues guitarist and singer whose playing influenced many other blues guitarists. He is best known for the popular and influential album Born Under a Bad Sign and its title track, he is one of the three performers known as the "Kings of the Blues."He was known as "The Velvet Bulldozer" because of his smooth singing and large size—he stood taller than average, with sources reporting 6 ft 4 in or 6 ft 7 in, weighed 250 lb —and because he drove a bulldozer in one of his day jobs early in his career. King was posthumously inducted into the Rock and Roll Hall of Fame in May 2013. In 2011, he was ranked number 13 on Rolling Stone's 100 Greatest Guitarists of All Time. Nelson was born on a cotton plantation in Mississippi. During childhood he sang at a church with a family gospel group, in which his father, played the guitar. One of 13 children, he grew up picking cotton on plantations near Forrest City, where the family moved when he was eight years old.
As Albert King, he was famed for his soulful, smoky vocals. He carved his own indelible niche in the blues hierarchy by creating a deep, dramatic sound, imitated by both blues and rock guitarists. King’s identifiable style made him one of the most important artists in the history of the blues, but his own identity was a longtime source of confusion, he stated in interviews that he was born in Indianola on April 25, 1923, was a half-brother of B. B. King, but the scant surviving official documentation suggests otherwise on both counts. Nonetheless, he stated that whenever he performed at Club Ebony in Indianola, the event was celebrated as a homecoming, he cited the fact that B. B.'s father was named Albert King. But when he applied for a Social Security card in 1942, he gave his birthplace as “Aboden” and signed his name as Albert Nelson, listing his father as Will Nelson. Musicians knew him as Albert Nelson in the 1940s and'50s, but when he made his first record in 1953—after B. B. had become a national blues star—Albert Nelson became Albert King, by 1959 he was billed in newspaper ads as “B.
B. King's brother.” He sometimes used the same nickname as B. B—“Blues Boy”—and named his guitar Lucy. B. B. however, stated that Albert was a friend but not a relative, he once remarked, “My name was King before I was famous.” According to King, his father left the family when Albert was five, when he was eight he moved with his mother, Mary Blevins, two sisters to an area near Forrest City, Arkansas. He said his family had lived in Arcola, for a time, he made his first guitar out of a cigar box, a piece of a bush, a strand of broom wire. He bought a real guitar for $1.25. As a left-hander learning guitar on his own, he used a normal string setup and tuning, but played with his guitar reversed, bending strings by pulling them down rather than pushing them up, he picked cotton, drove a bulldozer, worked in construction, held other jobs until he was able to support himself as a musician. He began his professional work as a musician with a group called the Groove Boys in Osceola, where he moved with his family in 1931.
During this time he was exposed to the work of many Delta blues artists, including Elmore James and Robert Nighthawk. Moving north to Gary, Indiana, he played drums for Jimmy Reed's band and on several of Reed's early recordings, he was influenced by the blues musicians Blind Lemon Lonnie Johnson. The electric guitar became his signature instrument, his preference being a Gibson Flying V, which he named Lucy. King earned his nickname "The Velvet Bulldozer" during this period, as he drove a bulldozer and worked as a mechanic to make a living, his smooth vocal style was influenced by R&B pop balladeers, such as the Mills Brothers. King moved to Gary, Indiana in the early 1950s, where he recorded his first single, for Parrot Records; the record sold a few copies, but made no significant impact and Parrot did not request any followup records or sign King to a long-term contract. He moved to St. Louis, where he recorded with the Bobbin and King Labels, he moved to Brooklyn, just across the river from St. Louis, in 1956, formed a new band.
During this period, he settled on using the Flying V as his primary guitar. He resumed recording in 1959 with his first minor hit, "I'm a Lonely Man", written by Little Milton, another guitar hero, an A&R man for Bobbin Records and was responsible for King's signing with the label, it was not until his 1961 release "Don't Throw Your Love on Me So Strong" that King had a major hit, reaching #14 on the US Billboard R&B chart. The song was included on his first album The Big Blues, released in 1962. However, the other singles that King cut for Bobbin failed to chart at all and he was dropped from the label in 1964, he cut two records for them. With no apparent career prospects other than touring the club circuit in the South and Midwest, King moved to Memphis, where he signed with the Stax record label. Produced by Al Jackson Jr. King with Booker T. & the MGs recorded dozens of influential sides, such as "Crosscut Saw" and "As the Years Go Passing By". In 1967, Stax released the album Born Under a Bad Sign, a collection of the singles King recorded at Stax.
The title track of that album (written by Booker
Origins of the blues
Little is known about the exact origin of the music now known as the blues. No specific year can be cited as the origin of the blues because the style evolved over a long period and existed in approaching its modern form before the term blues was introduced and before the style was documented. Ethnomusicologist Gerhard Kubik traces the roots of many of the elements that were to develop into the blues back to the African continent, the "cradle of the blues". One important early mention of something resembling the blues comes from 1901, when an archaeologist in Mississippi described the songs of black workers which had lyrical themes and technical elements in common with the blues. There are few characteristics common to all blues, as the genre takes its shape from the peculiarities of each individual performance; some characteristics, were present prior to the creation of the modern blues, are common to most styles of African American music. The earliest blues-like music was a "functional expression, rendered in a call-and-response style without accompaniment or harmony and unbounded by the formality of any particular musical structure".
This pre-blues music was adapted from the field shouts and hollers performed during slave times, expanded into "simple solo songs laden with emotional content". Many of these blues elements, such as the call-and-response format, can be traced back to the music of Africa; the use of melisma and a wavy, nasal intonation suggests a connection between the music of West and Central Africa and the blues. The belief that blues is derived from the West African music including from Mali is reflected in Martin Scorsese’s quoted characterization of Ali Farka Touré’s tradition as constituting "the DNA of the blues"; the most compelling African instrument, a predecessor to an African-American instrument is the "Akonting", a folk lute of the Jola tribe of Senegambia. It is a clear predecessor to the American banjo in its playing style, the construction of the instrument itself and in its social role as a folk instrument; the Kora is played by a professional caste of praise singers for the rich and aristocracy and is not considered folk music.
Jola music may not have been influenced much by North African/Middle Eastern music, which may point to African American music not being, according to Sam Charters, related to kora music. The music of the Akonting and that played by on the banjo by elder African-American banjo players into the mid 20th century is identified as being similar; the akonting is the most important and concrete link that exists between African and African-American music. The historian Sylviane Diouf and ethnomusicologist Gerhard Kubik identify Islamic music as an influence on blues music. Diouf notes a striking resemblance between the Islamic call to prayer and 19th-century field holler music, noting that both have similar lyrics praising God, note changes, "words that seem to quiver and shake" in the vocal chords, dramatic changes in musical scales, nasal intonation, she attributes the origins of field holler music to African Muslim slaves who accounted for an estimated 30% of African slaves in America. According to Kubik, "the vocal style of many blues singers using melisma, wavy intonation, so forth is a heritage of that large region of West Africa, in contact with the Arabic-Islamic world of the Maghreb since the seventh and eighth centuries."
Kubik notes that stringed instruments were favored by Muslim African slaves, while drumming was favored by non-Muslim African slaves. While the findings of Kubik and others attest to the essential Africanness of many essential aspects of blues expression, studies by Willie Ruff and others have situated the origin of "black" spiritual music inside enslaved peoples' exposure to their masters' Hebridean-originated gospels. African-American economist and historian Thomas Sowell notes that the southern, black, ex-slave population was acculturated to a considerable degree by and among their Scots-Irish "redneck" neighbours. Additionally, there are theories that the four-beats-per-measure structure of the blues might share its origins with the Native American tradition of pow wow drumming. Field holler music known as Levee Camp Holler music, was an early form of African American music, described in the 19th century. Field hollers laid the foundations for the blues and rhythm and blues. Field hollers and hollers of the slaves and sharecroppers working in cotton fields, prison chain gangs, railway gangs or turpentine camps were the precursor to the call and response of African American spirituals and gospel music, to jug bands, minstrel shows, stride piano, to the blues and blues, jazz and African American music in general.
Sylviane Diouf and Gerhard Kubik have traced the origins of field hollers to African Muslim slaves, who were influenced by the Islamic musical tradition of West Africa. The most important American antecedent of the blues was the spiritual, a form of religious song with its roots in the camp meetings of the Great Awakening of the early 19th century. Spirituals were a passionate song form, that "convey to listeners the same feeling of rootlessness and misery" as the blues. Spirituals, were less concerning the performer, instead about the general loneliness of mankind, were more figurative than direct in their lyrics. Despite these differences, the two forms are similar enough that they can not be separated — many spirituals would p
Canadian blues is the blues and blues-related music performed by blues bands and performers in Canada. Canadian blues artists include singers, players of the main blues instruments: guitar, keyboards and drums, songwriters and music producers. In many cases, blues artists take on multiple roles. For example, the Canadian blues artist Steve Marriner is a singer, harmonica player, guitarist and record producer. Due to Canada's long shared border with the birthplace of the blues, the United States, there has always been collaboration and contact between Canadian blues artists and their US counterparts. Top Canadian blues artists perform at major US blues bars and festivals and travel to the US to play and record with influential US blues artists. US blues bands play in Canadian clubs and blues festivals, perform and record with Canadian blues artists. For example, Canadian blues guitarist/singer JW-Jones has invited the US bluesman Kim Wilson to Canada to play with JW Jones' band and so that Wilson could record with Jones and act as record producer on one of Jones' mid-2000s albums.
There are hundreds of local and regionally based Canadian blues bands and performers which perform in small venues in their home city or town. A much smaller number of Canadian bands and performers have achieved national or international prominence, due to the sales performance of their recordings, acclaim from blues music reviewers and performances at major festivals in Canada, the US, Europe; these notable bands and performers are supported by a broader Canadian "blues scene" that includes city or regional blues societies, blues radio shows, blues festivals, blues clubs and informal blues "jam sessions". Due to Canada's proximity to the United States, to the fact that most of the Canadian population lives close to the border, many US blues artists have played in Canadian towns and cities; as well, many Canadian musicians and bands have been able to play in US towns Canadians who live near US cities close to the border, such as Detroit and Chicago. These two elements have given Canadian blues musicians a substantial opportunity to be directly influenced by US artists.
Canadian blues is based on the major US blues styles, such as Mississippi Blues. The proximity of the two countries facilitates collaborative projects featuring artists from both countries. For example, the Canadian bluesman JW-Jones had his third album, My Kind Of Evil, produced by the US artist Kim Wilson, subsequent albums included collaborations with US saxophonist David "Fathead" Newman and US blues artists such as Little Charlie Baty, Junior Watson, Richard Innes, Larry Taylor. Canadian harp player and band leader David Rotundo has visited many of the key US blues regions, which influenced his musical development. A small number of Canadian blues bands and artists have achieved national or international prominence by touring across Canada, the US, or Europe, releasing recordings that have received critical or audience acclaim in Canada and abroad; the performers below are listed according to the decade during which they first achieved national or international prominence. In late 1950s, US-born rockabilly pioneer Ronnie Hawkins came to Canada, where he became a key player in the 1960s rock and blues scene in Toronto.
4 October 2002 was declared "Ronnie Hawkins Day" by the city of Toronto when Hawkins was inducted into Canada's Walk of Fame, he was inducted into the Canadian Music Industry Hall of Fame at the Canadian Music Industry Awards in 2004. His pioneering contribution to rockabilly has been recognized by the Rockabilly Hall of Fame, his 1984 LP,'Making It Again', earned him a Juno Award for Country Male Vocalist. Richard Newell, who performed under the nickname "King Biscuit Boy", was a vocalist, songwriter, slide guitarist, harmonica player, he released his first solo recording, "Official Music", in 1970, it charted on the US Billboard album charts. A native of Hamilton, Ontario, he had learned his craft playing in blues rock bands and backing up Ronnie Hawkins, who gave him his nickname. In 1980, his release entitled "Mouth of Steel" appeared on the "Red Lightning" record label from England. In 1987, his recording "King Biscuit Boy AKA Richard Newell" was nominated for a Juno Award in the Best Roots and Traditional category.
In the 1970s, the Downchild Blues Band was formed in Toronto by Donnie Walsh. The band has released fourteen albums and performed in thousands of venues over three decades of continual cross-Canada touring; the Downchild Blues Band still performs regularly. Another important Canadian bluesman who became notable during the 1970s was Norman "Dutch" Mason. Mason was a Canadian singer and pianist, nicknamed the "Prime Minister of the Blues" in the 1970s for his prominent role in the Canadian blues scene, his albums included Dutch Mason Trio at the Candlelight from 1971 and Janitor of the Blues from 1977. In 1991 he released, he was inducted into the Canadian Jazz and Blues Hall of Fame, in 2005, he became a Member of the Order of Canada. That same year, son Garrett Mason won a Juno Award for Best Blues album. In 1980, the Powder Blues, led by Tom Lavin, had double platinum sales for their debut album'Uncut', which had four top ten songs; the band won a Juno for'Best New Group'. The second album, Thirsty Ears, released o