Ray Charles Robinson was an American singer, songwriter and composer. Among friends and fellow musicians he preferred being called "Brother Ray", he was referred to as "The Genius". Charles started losing his vision at the age of 5, by 7 he was blind, he pioneered the soul music genre during the 1950s by combining blues and blues, gospel styles into the music he recorded for Atlantic. He contributed to the integration of country music and blues, pop music during the 1960s with his crossover success on ABC Records, notably with his two Modern Sounds albums. While he was with ABC, Charles became one of the first black musicians to be granted artistic control by a mainstream record company. Charles cited Nat King Cole as a primary influence, but his music was influenced by Louis Jordan and Charles Brown, he became friends with Quincy Jones. Their friendship lasted until the end of Charles's life. Frank Sinatra called Ray Charles "the only true genius in show business", although Charles downplayed this notion.
In 2002, Rolling Stone ranked Charles number ten on its list of the "100 Greatest Artists of All Time", number two on their November 2008 list of the "100 Greatest Singers of All Time". Billy Joel said, "This may sound like sacrilege, but I think Ray Charles was more important than Elvis Presley". Ray Charles Robinson was the son of Bailey Robinson, a laborer, Aretha Williams, his mother was a teenage orphan making a living as a sharecropper. They lived in Florida with Robinson's father and his wife, Mary Jane Robinson; the Robinson family had informally adopted Aretha, she took the surname Robinson. When she became pregnant by Bailey, incurring scandal, she left Greenville late in the summer of 1930 to be with family members in Albany, Georgia for the baby's birth, after which mother and child returned to Greenville, she and Mary Jane shared in Ray's upbringing. He was devoted to his mother and recalled her perseverance, self-sufficiency, pride as guiding lights in his life, his father abandoned the family, left Greenville, married another woman elsewhere.
In his early years, Charles showed an interest in mechanical objects and would watch his neighbors working on their cars and farm machinery. His musical curiosity was sparked at Wylie Pitman's Red Wing Cafe, at the age of three, when Pitman played boogie woogie on an old upright piano. Charles and his mother were always welcome at the Red Wing Cafe and lived there when they were in financial distress. Pitman would care for Ray's younger brother George, to take some of the burden off their mother. George drowned in his mother's laundry tub. Charles started to lose his sight at the age of four or five, was blind by the age of seven as a result of glaucoma. Destitute and mourning the loss of her younger son, Aretha Robinson used her connections in the local community to find a school that would accept a blind African-American pupil. Despite his initial protest, Charles attended school at the Florida School for the Deaf and the Blind in St. Augustine from 1937 to 1945. Charles further developed his musical talent at school and was taught to play the classical piano music of J.
S. Bach and Beethoven, his teacher, Mrs. Lawrence, taught him how to use braille music, a difficult process that requires learning the left hand movements by reading braille with the right hand and learning the right hand movements by reading braille with the left hand, combining the two parts. While Charles was happy to play classical music, he was more interested in the jazz and country music he heard on the radio. On Fridays, the South Campus Literary Society held assemblies at which Charles would play piano and sing popular songs. On both Halloween and George Washington's birthday, the black department of the school held socials at which Charles would play, it was here he established "RC Robinson and the Shop Boys" and sang his own arrangement of "Jingle Bell Boogie". During this time, he performed on WFOY radio in St. Augustine. Ray Charles' mother died in the Spring of 1944, when Ray was 14, her death came as a shock to him. Charles returned to school after the funeral but was expelled in October for playing a prank on his teacher.
After leaving school, Charles moved to Jacksonville with a couple, friends with his late mother. He played the piano for bands at the Ritz Theatre in LaVilla for over a year, he joined the musicians' union in the hope. He befriended many union members, but others were less kind to him because he would monopolize the union hall's piano, since he did not have one at home, he started to build a reputation as a talented musician in Jacksonville, but the jobs did not come fast enough for him to construct a strong identity. He decided to move to a bigger city with more opportunities. At age 16, Charles moved to Orlando, where he lived in borderline poverty and went without food for days, it was difficult for musicians to find work, as since World War II had ended there were no "G. I. Joes" left to entertain. Charles started to write arrangements for a pop music band, in the summer of 1947 he unsuccessfully auditioned to play piano for Lucky Millinder and his sixteen-piece band. In 1947, Charles moved to Tampa, where he had two jobs: one as a pianist for Charles Brantley's Honeydippers.
In his early career, he modeled himself on Nat King Cole. His first four recordings—"Wondering and Wondering", "Walking and Talkin
Mary Had a Little Lamb
"Mary Had a Little Lamb" is an English language nursery rhyme of nineteenth-century American origin. It has a Roud Folk Song Index number of 7622; the nursery rhyme was first published by the Boston publishing firm Marsh, Capen & Lyon, as a poem by Sarah Josepha Hale on May 24, 1830, was inspired by an actual incident. There are competing theories on the inspiration of this poem. One holds that John Roulstone wrote the first four lines and that the final twelve lines, less childlike than the first, were composed by Sarah Josepha Hale; as a young girl, Mary Sawyer kept a pet lamb that she took to school one day at the suggestion of her brother. A commotion ensued. Mary recalled: "Visiting school that morning was a young man by the name of John Roulstone, a nephew of the Reverend Lemuel Capen, settled in Sterling, it was the custom for students to prepare for college with ministers, for this purpose Roulstone was studying with his uncle. The young man was much pleased with the incident of the lamb.
A statue representing Mary's Little Lamb stands in the town center. The Redstone School, built in 1798, was purchased by Henry Ford and relocated to a churchyard on the property of Longfellow's Wayside Inn in Sudbury, Massachusetts. In the 1830s, Lowell Mason set the nursery rhyme to a melody adding repetition in the verses: The rhyme was the first audio recorded by Thomas Edison on his newly invented phonograph in 1877, it was the first instance of recorded verse. In 1927, Edison reenacted the recording; the earliest recording was retrieved by 3D imaging equipment in 2012. Blues musicians Buddy Guy and Stevie Ray Vaughan both recorded the song: Guy composing his own bluesy version of the song for his album A Man and the Blues in 1968 and Vaughan covering Guy's version in his 1983 debut album, Texas Flood, with both incorporating the first four lines of the nursery rhyme, "A-Tisket, A-Tasket", into the song. In 1972, Paul McCartney released a version of the song. Just as he had done with the 16th-century poem Golden Slumbers, released on The Beatles' Abbey Road LP in 1969, he added his own melody to the lyrics.
Following the lukewarm sales of his recent album and the major controversy surrounding his previous single "Give Ireland Back To The Irish", banned by most media outlets, including the BBC, the single returned him to the top 10 of the UK charts, aheadof major two selling albums "Red Rose Speedway" and "Band On The Run." McCartney included"Mary had a little lamb" as a bonus feature on the 2018 CD reissue of the former, as well as a box set that same year. It had been available earlier on the 1993 CD issue of the Wild Life album.. McCartney had played the song during Wings' 1972 summer tour and it was included in the Spring 1973 James Paul McCartney television special. Note: This melody is the British version, different from the American version; the first Korean musical road, created using grooves cut into the ground and intended to help motorists stay alert and awake play "Mary Had a Little Lamb" and took four days to construct. It can be found close to Anyang, South Korea; the song is used in: Kidsongs: A Day at Old MacDonald's Farm Wee Sing: Nursery Rhymes and Lullabies Wee Sing: King Cole's Party Wee Sing: Nursery Rhymes Barney episodes and videos Richard Scarry's Best Sing-Along Mother Goose Ever Blue's Clues episode "Tickety's Favorite Nursery Rhyme" Teletubbies episode "Mary Had a Little Lamb" Rock'N Learn: Nursery Rhymes Sesame Street: "Kids' Favorite Songs 2" The Wiggles: Pop Go The Wiggles!
The song "Mary Had a Little Boy" from the debut 1990 album World Power by Snap! List of nursery rhymes
Chester Arthur Burnett, known as Howlin' Wolf, was a Chicago blues singer and harmonica player from Mississippi. With a booming voice and imposing physical presence, he is one of the best-known Chicago blues artists; the musician and critic Cub Koda noted, "no one could match Howlin' Wolf for the singular ability to rock the house down to the foundation while scaring its patrons out of its wits." Producer Sam Phillips recalled, ``, I said, ` This is for me. This is where the soul of man never dies.'" Several of his songs, including "Smokestack Lightnin'", "Killing Floor" and "Spoonful", have become blues and blues rock standards. In 2011, Rolling Stone magazine ranked him number 54 on its list of the "100 Greatest Artists of All Time". Burnett was born on June 10, 1910, in White Station, near West Point, he was given the name Chester Arthur, after Chester A. Arthur, the 21st President of the United States, his physique garnered him the nicknames "Big Foot Chester" and "Bull Cow" as a young man: he was 6 feet 3 inches tall and weighed close to 300 pounds.
He explained the origin of the name Howlin' Wolf: "I got that from my grandfather", who would tell him stories about wolves in that part of the country and warn him that if he misbehaved the "howling wolves" would get him. The blues historian Paul Oliver wrote that Burnett once claimed to have been given his nickname by his idol Jimmie Rodgers. Burnett's parents separated, his mother, threw him out of the house when he was a child for refusing to work on the farm. He moved in with his uncle, Will Young, who treated him badly; when he was thirteen, he ran away and claimed to have walked 85 miles barefoot to join his father, where he found a happy home with his father's large family. At the peak of his success, he returned from Chicago to see his mother in Mississippi and was driven to tears when she rebuffed him: she refused to take money offered by him, saying it was from his playing the "devil's music". In 1930, Burnett met the most popular bluesman in the Mississippi Delta at the time, he would listen to Patton play nightly from outside a nearby juke joint.
There he remembered Patton playing "Pony Blues", "High Water Everywhere", "A Spoonful Blues", "Banty Rooster Blues". The two became acquainted, soon Patton was teaching him guitar. Burnett recalled that "the first piece I played in my life was... a tune about hook up my pony and saddle up my black mare"—Patton's "Pony Blues". He learned about showmanship from Patton: "When he played his guitar, he would turn it over backwards and forwards, throw it around over his shoulders, between his legs, throw it up in the sky". Burnett would perform the guitar tricks, he played with Patton in small Delta communities. Burnett was influenced by other popular blues performers of the time, including the Mississippi Sheiks, Blind Lemon Jefferson, Ma Rainey, Lonnie Johnson, Tampa Red, Blind Blake, Tommy Johnson. Two of the earliest songs he mastered were Jefferson's "Match Box Blues" and Leroy Carr's "How Long, How Long Blues"; the country singer Jimmie Rodgers was an influence. Burnett tried to emulate Rodgers's "blue yodel" but found that his efforts sounded more like a growl or a howl: "I couldn't do no yodelin', so I turned to howlin'.
And it's done me just fine". His harmonica playing was modeled after that of Sonny Boy Williamson II, who taught him how to play when Burnett moved to Parkin, Arkansas, in 1933. During the 1930s, Burnett performed in the South as a solo performer and with numerous blues musicians, including Floyd Jones, Johnny Shines, Honeyboy Edwards, Sonny Boy Williamson II, Robert Johnson, Robert Lockwood, Jr. Willie Brown, Son House and Willie Johnson. By the end of the decade, he was a fixture in clubs, with an early electric guitar. On April 9, 1941, he was inducted into the U. S. Army and was stationed at several bases around the country. Finding it difficult to adjust to military life, he was discharged on November 3, 1943, he returned to his family, who had moved near West Memphis and helped with the farming while performing, as he had done in the 1930s, with Floyd Jones and others. In 1948 he formed a band, which included the guitarists Willie Johnson and Matt "Guitar" Murphy, the harmonica player Junior Parker, a pianist remembered only as "Destruction" and the drummer Willie Steele.
Radio station KWEM in West Memphis began broadcasting his live performances, he sat in with Williamson on KFFA in Helena, Arkansas. In 1951, Howlin' Wolf was scouted by Ike Turner to record several songs for Sam Phillips' Memphis Recording Service. Phillips praised his singing, saying, "God, what it would be worth on film to see the fervour in that man's face when he sang, his eyes would light up, you'd see the veins come out on his neck and, there was nothing on his mind but that song. He sang with his damn soul." Howlin' Wolf became a local celebrity and began working with a band that included the guitarists Willie Johnson and Pat Hare. His first singles were issued by two different record companies in 1951: "How Many More Years" backed with "Moaning at Midnight", released by Chess Records, "Riding in the Moonlight" backed with "Moaning at Midnight", released by RPM Records. Leonard Chess was able to secure his contract, Howlin' Wolf relocated to Chicago in 1952. There he assembled a new band and recruited the Chicagoan Jody Williams from Memphis Slim's band as his first guitarist.
Within a year he had persuaded the guitarist Hubert Sumlin to join him in Chicago.
Creep (Radiohead song)
"Creep" is a song by the English alternative rock band Radiohead, released as their debut single in 1992. It appeared on Pablo Honey. "Creep" was not a chart success, but became a worldwide hit after being rereleased in 1993. Radiohead took elements from the 1972 song "The Air That I Breathe"; the members of Radiohead grew weary of "Creep" in years, refused to perform it for a period. It is included in Radiohead: The Best Of. According to Radiohead bassist Colin Greenwood, singer Thom Yorke wrote "Creep" while studying at Exeter University in the late 1980s. Guitarist Jonny Greenwood said that the song was inspired by a girl that Yorke had followed around and who unexpectedly attended a Radiohead performance. In 1992, during rehearsals for their first album with producers Sean Slade and Paul Q. Kolderie, Radiohead spontaneously performed "Creep". Yorke jokingly described the song as the band's "Scott Walker song", which Slade and Kolderie mistook to mean the song was a cover. After some failed attempts to record other songs and Kolderie suggested Radiohead play "Creep" again.
They recorded it in a single take. After the band assured Kolderie that "Creep" was an original song, he called EMI to tell them to consider it as Radiohead's first single. While the recording had minimal overdubs and the band had not intended to release it, the producers were impressed; the middle eight featured a guitar solo from Greenwood. When guitarist Ed O'Brien pointed out that the chord progression was the same as "The Air That I Breathe", a 1972 song by the Hollies, Yorke wrote a new middle eight, using that song's vocal melody. According to Greenwood, "It was funny to us in sort of feeding something like that into. It's a bit of change."The version issued for radio play replaces the line "so fucking special" with "so special". Radiohead worried that issuing a censored version would be selling out, but decided it was acceptable since their idols Sonic Youth had done the same thing. During the recording session for the censored lyrics, Kolderie convinced Yorke to rewrite the first verse, telling him he thought Yorke could do better.
The G–B–C–Cm chord progression is repeated throughout the song, only alternating between arpeggiated chords in the verses and last chorus and loud power chords during the first two choruses. In G major, these may be interpreted as "I–III–IV–iv". According to Guy Capuzzo, the ostinato musically portrays "the song's obsessive lyrics, which depict the'self-lacerating rage of an unsuccessful crush'." For example, the "highest pitches of the ostinato form a prominent chromatic line that'creeps' up down, involving scale degrees 5 ^ – ♯ 5 ^ – 6 ^ – ♭ 6 ^.... Ascend, the lyrics strain towards optimism...descend, the subject sinks back into the throes of self-pity... The guitarist's fretting hand mirrors this contour"; when the song shifts from the verse to the chorus, Jonny Greenwood plays three blasts of guitar noise. Greenwood said. O'Brien said: "That's the sound of Jonny trying to fuck the song up, he didn't like it the first time we played it, so he tried spoiling it. And it made the song." During the song's outro, Jonny Greenwood plays a piano figure.
Kolderie forgot to add the piano part during the final mix until the end of the song, but the band approved of the result. According to Yorke, "Creep" tells the tale of an inebriated man who tries to get the attention of a woman to whom he is attracted by following her around. In the end, he feels he subconsciously is her; when asked about "Creep" in 1993, Yorke said: "I have a real problem being a man in the'90s... Any man with any sensitivity or conscience toward the opposite sex would have a problem. To assert yourself in a masculine way without looking like you're in a hard-rock band is a difficult thing to do... It comes back to the music we write, not effeminate, but it's not brutal in its arrogance, it is one of the things I'm always trying: To assert a sexual persona and on the other hand trying to negate it." Jonny Greenwood said the song was in fact a happy song about "recognizing what you are". EMI released "Creep" as a single in September 1992, when it reached number 78 on the UK Singles Chart, selling 6,000 copies.
Radio 1 refrained from playing it. Radiohead moved to a second single, "Anyone Can Play Guitar", to promote Pablo Honey, released a non-album single, "Pop Is Dead". Towards the end of 1992, DJ Yoav Kutner played "Creep" on Israeli radio, having been introduced to the song by a EMI representative, it became a national hit. Radiohead set up tour dates in the country to capitalise on the success. "Creep" had similar success in New Zealand and Scandinavian countries. Around the same time, the San Francisco, California radio station KITS added the song to its playlist, soon other radio stations along the American West Coast followed suit. A censored version of the song was released to radio stations, and, by the second half of 1993, the song had become a hit nationwide, charting at number 34 on the Billboard Hot 10
Radiohead are an English rock band formed in Abingdon-on-Thames in 1985. The band consists of Thom Yorke, brothers Jonny Greenwood and Colin Greenwood, Ed O'Brien and Philip Selway, they have worked with producer Nigel Godrich and cover artist Stanley Donwood since 1994. After signing to EMI in 1991, Radiohead released their debut single "Creep" in 1992, it became a worldwide hit after the release of Pablo Honey. Their popularity and critical standing rose in the United Kingdom with the release of their second album, The Bends. Radiohead's third album, OK Computer, brought them international fame; the group's next albums Kid A and Amnesiac, recorded marked a dramatic change in style, incorporating influences from experimental electronic music, 20th-century classical music and jazz. Kid A divided listeners but was named the best album of the decade by Rolling Stone and The Times. Radiohead's sixth album, Hail to the Thief, mixed rock and electronic music with lyrics inspired by the War on Terror, was the band's final album for EMI.
Their subsequent releases have pioneered alternative release platforms such as pay-what-you-want and BitTorrent. Their eighth album, The King of Limbs, an exploration of rhythm, was developed using extensive looping and sampling. A Moon Shaped Pool prominently featured Jonny Greenwood's orchestral arrangements. Radiohead had sold more than 30 million albums worldwide by 2011, their work places in both listener polls and critics' lists of the best music of the 1990s and 2000s. In 2005, they were ranked 73rd in Rolling Stone's list of "The Greatest Artists of All Time". In 2009, Rolling Stone readers voted Radiohead the second-best artist of the 2000s, they were inducted into the Rock and Roll Hall of Fame in 2019. The members of Radiohead met while attending Abingdon School, an independent school for boys in Abingdon, Oxfordshire. Guitarist and singer Thom Yorke and bassist Colin Greenwood were in the same year, guitarist Ed O'Brien and drummer Philip Selway the year above, multi-instrumentalist Jonny Greenwood, brother of Colin, two years below.
In 1985, they formed On a Friday, the name referring to the band's usual rehearsal day in the school's music room. Jonny was the last to join, first on harmonica and keyboards, but soon became the lead guitarist. According to Colin, the band members picked their instruments because they wanted to play music together, rather than through an interest in the particular instrument: "It was more of a collective angle, if you could contribute by having someone else play your instrument, cool." At one point, On a Friday featured a saxophone section. The band disliked the school's strict atmosphere—the headmaster once charged them for using a rehearsal room on a Sunday—and found solace in the school's music department, they credited their music teacher for introducing them to jazz, film scores, postwar avant-garde music, 20th-century classical music. Oxfordshire and the Thames Valley had an active independent music scene in the late 1980s, but it centred on shoegazing bands such as Ride and Slowdive.
Although all but Jonny had left Abingdon by 1987 to attend university, On a Friday continued to rehearse on weekends and holidays. At the University of Exeter, Yorke played with the band Headless Chickens, performing songs including future Radiohead material, he met artist Stanley Donwood, who created artwork for Radiohead. In 1991, On a Friday regrouped, sharing a house on the corner of Magdalen Road and Ridgefield Road, Oxford; as On a Friday continued to perform in Oxford, including more performances at the Jericho Tavern, record labels and producers became interested. Chris Hufford, Slowdive's producer and co-owner of Oxford's Courtyard Studios, attended an early On a Friday concert at the Jericho Tavern. Impressed, he and his partner Bryce Edge became On a Friday's managers. In late 1991, after a chance meeting between Colin and EMI A&R representative Keith Wozencroft at Our Price, the record shop where Colin worked, On a Friday band signed a six-album recording contract with EMI. At the label's request, the band changed their name.
Radiohead recorded their debut release, the Drill EP, with Chris Hufford and Bryce Edge at Courtyard Studios. Released in May 1992, its chart performance was poor; the band enlisted Paul Kolderie and Sean Slade, who had worked with US indie bands Pixies and Dinosaur Jr. to produce their debut album, recorded in an Oxford studio in 1992. With the release of the "Creep" single that year, Radiohead began to receive attention in the British music press, not all of it favourable. Radiohead released their debut album, Pablo Honey, in February 1993, it stalled at number 22 in the UK charts, as "Creep" and its follow-up s
Blues is a music genre and musical form, originated in the Deep South of the United States around the 1870s by African Americans from roots in African musical traditions, African-American work songs and the folk music of white Americans of European heritage. Blues incorporated spirituals, work songs, field hollers, shouts and rhymed simple narrative ballads; the blues form, ubiquitous in jazz and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes thirds or fifths flattened in pitch, are an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove. Blues as a genre is characterized by its lyrics, bass lines, instrumentation. Early traditional blues verses consisted of a single line repeated four times, it was only in the first decades of the 20th century that the most common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars.
Early blues took the form of a loose narrative relating the racial discrimination and other challenges experienced by African-Americans. Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa; the origins of the blues are closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is dated to after the ending of slavery and the development of juke joints, it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century; the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience white listeners.
In the 1960s and 1970s, a hybrid form called blues rock developed, which blended blues styles with rock music. The term Blues may have come from "blue devils", meaning sadness; the phrase blue devils may have been derived from Britain in the 1600s, when the term referred to the "intense visual hallucinations that can accompany severe alcohol withdrawal". As time went on, the phrase lost the reference to devils, "it came to mean a state of agitation or depression." By the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition. In lyrics the phrase is used to describe a depressed mood, it is in this sense of a sad state of mind that one of the earliest recorded references to "the blues" was written by Charlotte Forten aged 25, in her diary on December 14, 1862.
She was a free-born black from Pennsylvania, working as a schoolteacher in South Carolina, instructing both slaves and freedmen, wrote that she "came home with the blues" because she felt lonesome and pitied herself. She overcame her depression and noted a number of songs, such as Poor Rosy, that were popular among the slaves. Although she admitted being unable to describe the manner of singing she heard, Forten wrote that the songs "can't be sung without a full heart and a troubled spirit", conditions that have inspired countless blues songs; the lyrics of early traditional blues verses often consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called "AAB" pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars. Two of the first published blues songs, "Dallas Blues" and "Saint Louis Blues", were 12-bar blues with the AAB lyric structure.
W. C. Handy wrote; the lines are sung following a pattern closer to rhythmic talk than to a melody. Early blues took the form of a loose narrative. African-American singers voiced his or her "personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, hard times"; this melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved. The lyrics relate troubles experienced within African American society. For instance Blind Lemon Jefferson's "Rising High Water Blues" tells of the Great Mississippi Flood of 1927: "Backwater rising, Southern peoples can't make no time I said, backwater rising, Southern peoples can't make no time And I can't get no hearing from that Memphis girl of mine."Although the blues gained an association with misery and oppression, the lyrics could be humorous and raunchy: "Rebecca, get your big legs off of me, Rebecca, get your big legs off of m
George "Buddy" Guy is an American blues guitarist and singer. He is an exponent of Chicago blues and has influenced eminent guitarists including Eric Clapton, Jimi Hendrix, Jimmy Page, Keith Richards, Stevie Ray Vaughan, Jeff Beck, Gary Clark Jr. and John Mayer. In the 1960s, Guy played with Muddy Waters as a house guitarist at Chess Records and began a musical partnership with the harmonica player Junior Wells. Guy was ranked 23rd in Rolling Stone magazine's "100 Greatest Guitarists of All Time", his song "Stone Crazy" was ranked 78th in the Rolling Stone list of the "100 Greatest Guitar Songs of All Time". Clapton once described him as "the best guitar player alive". In 1999, Guy wrote the book Damn Right, his autobiography, When I Left Home: My Story, was published in 2012. Guy was raised in Lettsworth, Louisiana, he began. He was given a Harmony acoustic guitar, decades in Guy's lengthy career, was donated to the Rock and Roll Hall of Fame. In the early 1950s Guy began performing with bands in Baton Rouge.
While living there, he worked as a custodian at Louisiana State University. Soon after moving to Chicago on September 25, 1957, Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for Cobra Records, he recorded sessions with Junior Wells for Delmark Records under the pseudonym Friendly Chap in 1965 and 1966. Guy's early career was impeded by conservative business choices made by his record company, Chess Records, his label from 1959 to 1968, which refused to record Guy playing in the novel style of his live shows. Leonard Chess, Chess Records founder, denounced Guy's playing as "noise". In the early 1960s, Chess tried recording Guy as a solo artist with R&B ballads, jazz instrumentals and novelty dance tunes, but none of these recordings were released as a single. Guy's only Chess album, I Left My Blues in San Francisco, was released in 1967. Most of the songs belong stylistically to the era's soul boom, with orchestrations by Gene Barge and Charlie Stepney.
Chess used Guy as a session guitarist to back Muddy Waters, Howlin' Wolf, Little Walter, Sonny Boy Williamson, Koko Taylor and others. In 1965, Guy participated in the European tour American Folk Blues Festival, he appeared onstage at the March 1969 "Supershow" in Staines, which included Eric Clapton, Led Zeppelin, Jack Bruce, Stephen Stills, Buddy Miles, Glenn Campbell, Roland Kirk, Jon Hiseman, the Misunderstood. In 1972, he established The Checkerboard Lounge, with partner L. C. Thurman. Guy's career took off during the blues revival of early 1990s, it was sparked by Clapton's request that Guy be part of the "24 Nights" all-star blues guitar lineup at London's Royal Albert Hall. Guy subsequently signed with Silvertone Records. Guy performs a month of shows each January at Buddy Guy's Legends. In 2015, Alan Harper, a British blues fan, published the book Waiting for Buddy Guy: Chicago Blues at the Crossroads. While Guy's music is labelled Chicago blues, his style is unique and separate, his music can vary from the most traditional, deepest blues to a creative and radical gumbo of the blues, avant rock and free jazz that changes with each performance.
As the New York Times music critic Jon Pareles noted in 2004, Mr. Guy, 68, mingles anarchy, deep blues and hammy shtick in ways that keep all eyes on him.... Loves extremes: sudden drops from loud to soft, or a sweet, sustained guitar solo followed by a jolt of speed, or a high, imploring vocal cut off with a rasp.... Whether he's singing with gentle menace or bending new curves into a blue note, he is a master of tension and release, his every wayward impulse was riveting. In an interview taped on April 14, 2000, for the Cleveland college station WRUW-FM, Guy said, The purpose of me trying to play the kind of rocky stuff is to get airplay... I find myself kind of searching, hoping I'll hit the right notes, say the right things, maybe they'll put me on one of these big stations, what they call'classic'...if you get Eric Clapton to play a Muddy Waters song, they call it classic, they will put it on that station, but you'll never hear Muddy Waters. When inducting Guy into the Rock and Roll Hall of Fame, Eric Clapton said, "No matter how great the song, or performance, my ear would always find him out.
He stood out in the mix by virtue of the originality and vitality of his playing." Beck recalled the night he and Vaughan performed with Guy at Buddy Guy's Legends club in Chicago: "That was just the most incredible stuff I heard in my life. The three of us all jammed and it was so thrilling; that is as close you can come to the heart of the blues." Former Rolling Stones bassist Bill Wyman said, Guitar Legends do not come any better than Buddy Guy. He is feted by his peers and loved by his fans for his ability to make the guitar both talk and cry the blues; such is Buddy's mastery of the guitar that there is no guitarist that he cannot imitate. Guy was a judge for the 8th annual Independent Music Awards to support independent artists. Guy has influenced the styles of subsequent artists such as Reggie Sears and Jesse Marchant of JBM. On February 21, 2012, Guy performed in concert at the White House for President Barack Obama and First Lady Michelle Obama. During the finale of the concert, he persuaded the President to sing a few bars of "Sweet Home Chicago".
On September 20, 1996, Guy was inducted into Guitar Center's Hollywood Rockwalk. Guy has won seven Grammy Awards, for his work on electric and acoustic guitars and for contemporary and traditional forms of b