Η Φωτογραφία της ημέρας.

[The Rebel]

[The Rebel]

[The Rebel]

Bill Wyman and Howlin’ Wolf.



“Because blues is based on the common ground shared by all people, black and white, young and old. Blues is the story of the human life, of its loves and struggles. All rock and roll, all jazz, all American music finds its roots in gospel music and in blues. Blues is not unhappy music”.
- Howlin’ Wolf
Qoute - Michael Erlewine interview. August 2nd, 1969.

[The Rebel]

1964 American Folk Blues Festival.
(British Tour).



Howlin Wolf, Willie Dixon, Sleepy John Estes, Sonny Boy Williamson, Sunnyland Slim, Sugar Pie Desanto, Lightnin Hopkins and Hubert Sumlin.

Wow!

[The Rebel]

[The Rebel]

Stevie Ray Vaughan and Huey Lewis.

SpoilerShow

“Around 1984 our tour was sold out. The agent said, “Who do you want to open?”

I said, “Stevie Ray Vaughan.” He said, “Who’s that?”

I said, “Check the record out.” I sent him the record. “He said, “It’s great. Let me check into it.”

Stevie Ray’s manager at the time asked for more money than they were worth. My agent said, “This is ridiculous. We can’t pay them this kind of money. They’re not worth anything. We’re just helping them by putting them on the tour. They should be paying us. Blah, blah, blah.”

I said, “Forget about it. Just pay him. Trust me. You’ll be glad you did.”

The first show was in Oklahoma City. I showed up early and went straight to the wings of the stage. Stevie Ray Vaughan and Double Trouble with Tommy Shannon and Chris Layton. They were just killing it. Then the song ended and there was a moment of dead silence. Then the audience started chanting, “Huey, Huey, Huey, Huey.”

I thought, “Oh my gosh. That’s horrible. These people don’t get this.” I couldn’t believe it.
Double Trouble finished their set. They were put off by the reaction and went into their bus.

I went onto their bus and told them, “Look, fellas, you’re tremendous. Here’s the thing, the audience is invested in us. They know our music. They play the record on the way to the venue. No matter how good you are, they’re bound to think that we’re going to be much, much better. There’s no way you’re going to score here.

“What’s going to happen is, when they go home tonight, they’re going to say, ‘Hey, you know what? That first band was pretty good.'”

I said, “Just relax. Have a great time. Believe me, this will be good for you guys.”

They did and we had a wonderful tour. Stevie Ray got on stage and played “Bad Is Bad” with us every single night. We just were inseparable for the whole tour.” - Huey Lewis.

[The Rebel]

Rory Gallagher.



“Playing live is much more natural for me. The instant reaction and the feedback from the audience is great for me. I really relish it. And if you play blues-based music, it's not really academic music or recital music. It really needs a bit of atmosphere and a bit of interplay and a bit of roughness, and you really get that with an audience.” - Rory Gallagher.

[The Rebel]

New York City, 1977.



Muddy Waters and Johnny Winter partying at Studio 54 with (The Blues Brothers ) Dan Ackroyd and John Belushi.

[The Rebel]

An unknown Jug Band dating back to the 1920’s in Kentucky.



“The early jug bands were made up of African American vaudeville and medicine show musicians. Music for entertainment — street musicians without much money. The term ‘Jug Band’ comes from building a band around some jug players. The jugs could be earth-ware or glass — as long as you could get a variety of tones, including rich low notes. There could be several jugs, played like tubas or trombones.

SpoilerShow

The swoop sounds that could be made gave the impression of sliding notes (like a trombone). A good player could get two octaves out of a good-sized jug. The rhythm section could be made up of guitars and/or banjos. If real guitars or banjos were not affordable, sometimes guitars and mandolins were made from the necks of discarded guitars fastened to large gourds. The gourds would be flattened for a soundhole on one side.

Banjos could be fashioned from a discarded guitar neck and a metal pie plate. The percussion instruments might be a washboard, spoons, pots, or anything homemade from common household articles. A bass made from an upside-down washtub with a broomstick and one string could be used like a slap doghouse bass fiddle. Sometimes a stovepipe was used as a sound chamber or a kazoo fashioned from a comb & tissue paper. All this was to set the stage for vocals — bawdy, funny or satirical, whatever got the best reaction from a crowd.” - Acoustic Music (website).

[The Rebel]

Snooky Pryor.
September 15, 1921 – October 18, 2006.

SpoilerShow

“He was born in Lambert, Mississippi, spent parts of his early life in Arkansas, Missouri and Illinois, and had a spell of army service in the early 1940s before settling in Chicago. He had been playing the harmonica since he was 14, and gigged in the evenings and at weekends, in clubs like the Jamboree and the 708, with a circle of musicians that included Floyd and his cousin Moody Jones, pianist Sunnyland Slim and guitarists Eddie Taylor and Homesick James”.

“Pryor's harmonica playing, less orchestral than Little Walter's, had a piercing, penetrating attack that no doubt cut through the chatter in a club as decisively as it sliced the surface-noise of crudely made 78s. His 1948 recordings for the entrepreneur Al Benson's Planet label, such as Telephone Blues or, with Johnny Young, My Baby Walked Out and Let Me Ride Your Mule, have an intensity that is all the more remarkable when one realises that only two or three musicians are involved. His very first recording, an instrumental simply titled Boogie, uses a line that Little Walter would employ several years later on his career-making hit, Juke.” - Tony Russell, (The Guardian).

“If you make up your mind to survive, you know you can make it”.
James Edward "Snooky" Pryor.

[The Rebel]

Carlos Santana.



“Blues was my first love. It was the first thing where I said, 'Oh man, this is the stuff.'
It just sounded so raw and honest, gut-bucket honest. From then, I started rebelling.”
- Carlos Santana.

[The Rebel]

Jeff Healey and Stevie Ray Vaughan.



Both left us way too soon.

[The Rebel]

Taj Mahal.



"You can't spend what you ain't got, you can't lose what you ain't never had: That's the blues.
It runs the rainbow of emotions. I enjoy it just because of that. Whatever happens in life, the blues has got a song for it, a phrase for it: "I've been down so long that down don't bother me. I've been down so long that up don't cross my mind." As far as I'm concerned, it stays solid for what humanity is at any time, so I love it." - Taj Mahal.