My heart groans, the sky is crying -- another icon of my age has passed. The King is dead--Long Live The King ...NY Times obit
King was born in a small cabin on a cotton plantation outside of Berclair, Mississippi, to Albert King and Nora Ella Farr on September 16, 1925.
In 1930, when King was four years old, his father abandoned the family, and his mother married another man. Because Nora Ella was too poor to raise her son, King was raised by his maternal grandmother Elnora Farr in Kilmichael, Mississippi. Over the years, King has developed one of the world's most identifiable guitar styles. He borrowed from Blind Lemon Jefferson, T-Bone Walker and others, integrating his precise and complex vocal-like string bends and his left hand vibrato, both of which have become indispensable components of rock guitarist's vocabulary. His economy and phrasing has been a model for thousands of players, from Eric Clapton and George Harrison to Jeff Beck. King has mixed traditional blues, jazz, swing, mainstream pop, and jump into a unique sound. In King's words, "When I sing, I play in my mind; the minute I stop singing orally, I start to sing by playing Lucille." King grew up singing in the gospel choir at Elkhorn Baptist Church in Kilmichael. At the age of 12, he purchased his first guitar for $15.00 although another reference indicates he was given his first guitar by his cousin, Bukka White. In 1943, King left Kilmichael to work as a tractor driver and play guitar with the Famous St. John's Quartet of Inverness, Mississippi, performing at area churches and on WGRM in Greenwood, Mississippi.
In 1946, King followed his cousin Bukka White to Memphis, Tennessee. White took him in for the
next ten months. However, King shortly returned to Mississippi, where he decided to prepare himself better for the next visit, and returned to West Memphis, Arkansas, two years later in 1948. He performed on Sonny Boy Williamson's radio program on KWEM in West Memphis, where he began to develop a local audience for his sound. King's appearances led to steady engagements at the Sixteenth Avenue Grill in West Memphis and later to a ten-minute spot on the legendary Memphis radio station WDIA. King's Spot became so popular, it was expanded and became the Sepia Swing Club.
Initially he worked at WDIA as a singer and disc jockey, gaining the nickname Beale Street Blues Boy, which was later shortened to Blues Boy and finally to B.B. It was there that he first met T-Bone Walker. "Once I'd heard him for the first time, I knew I'd have to have [an electric guitar] myself. 'Had' to have one, short of stealing!", he said.
In 1949, King began recording songs under contract with Los Angeles-based RPM Records. Many of King's early recordings were produced by Sam Phillips, who later founded Sun Records. Before his RPM contract, King had debuted on Bullet Records by issuing the single "Miss Martha King" (1949), which did not chart well. "My very first recordings [in 1949] were for a company out of Nashville called Bullet, the Bullet Record Transcription company," King recalls. "I had horns that very first session. I had Phineas Newborn on piano; his father played drums, and his brother, Calvin, played guitar with me. I had Tuff Green on bass, Ben Branch on tenor sax, his brother, Thomas Branch, on trumpet, and a lady trombone player. The Newborn family were the house band at the famous Plantation Inn in West Memphis."
Performing with his famous guitar, Lucille King assembled his own band; the B.B. King Review, under the leadership of Millard Lee. The band initially consisted of Calvin Owens and Kenneth Sands (trumpet), Lawrence Burdin (alto saxophone), George Coleman (tenor saxophone), Floyd Newman
(baritone saxophone), Millard Lee (piano), George Joyner (bass) and Earl Forest and Ted Curry (drums). Onzie Horne was a trained musician elicited as an arranger to assist King with his compositions. By his own admission, he cannot play chords well and always relies on improvisation. This was followed by tours across the USA with performances in major theaters in cities such as Washington, D.C., Chicago, Los Angeles, Detroit and St. Louis, as well as numerous gigs in small clubs and juke joints of the southern US states.
In the winter of 1949, King played at a dance hall in Twist, Arkansas. In order to heat the hall, a barrel half-filled with kerosene was lit, a fairly common practice at the time. During a performance, two men began to fight, knocking over the burning barrel and sending burning fuel across the floor. The hall burst into flames, which triggered an evacuation. Once outside, King realized that he had left his guitar inside the burning building. He entered the blaze to retrieve his beloved guitar, a Gibson hollow electric. Two people died in the fire. The next day, King learned that the two men were fighting over a woman named Lucille. King named that first guitar Lucille, as well as every one he owned since that near-fatal experience, as a reminder never again to do something as stupid as run into a burning building or fight over women.
King meanwhile toured the entire "Chitlin' circuit" and 1956 became a record-breaking year, with 342 concerts booked. The same year he founded his own record label, Blues Boys Kingdom, with headquarters at Beale Street in Memphis. There, among other projects, he produced artists such as Millard Lee and Levi Seabury.
In the 1950s, B.B. King became one of the most important names in R&B music, amassing an impressive list of hits including "3 O'Clock Blues", "You Know I Love You," "Woke Up This Morning," "Please Love Me," "When My Heart Beats like a Hammer," "Whole Lotta Love," "You Upset Me Baby," "Every Day I Have the Blues", "Sneakin' Around," "Ten Long Years," "Bad Luck," "Sweet Little Angel", "On My Word of Honor," and "Please Accept My Love." In 1962, King signed to ABC-Paramount Records, which was later absorbed into MCA Records, and this hence into his current label, Geffen Records. In November 1964, King recorded the Live at the Regal album at the Regal Theater in Chicago, Illinois.
A repost by request: This originally came from PresLives and all thanks go to him.
Ella Washington was born and raised in Miami, Florida. Her talents first came to the attention of local R&B artists Paul Kelly and Clarence Reid, who helped launch her recording career in the mid-1960s and secured her a few local hits. She came to the attention of John R in 1967, who recorded her for Sound Stage 7 from 1967-1971. "He Called Me Baby" brought her the greatest commercial success, making #38 on the National R&B chart and #77 on Billboard. As you can hear from this collection, however, there are plenty of tracks here that could have been big hits if they had received the proper promotion.
A repost by request: I first heard of Tony Owens in a book on New Orleans R&B by Jeff Hannusch. Hannusch had mentioned that Owens was now a carriage driver over by Jackson Square, but the picture used in the book was so bad it was impossible to tell what he looked like. Eventually, I found the 45 that is in my jukebox post and I took down to the square to see if I could meet him. It took several tries but eventually I did meet him and in the course of chatting he told me about this disc. It was a bitch to find and of course there was no cheap copy anywhere, but eventually I managed to find one within reason. One of these days I'll get Tony to autograph it.
"Tony Owens has been singing professionally for over 35 years. He
started singing as a child in a little Baptist church in an old New
Orleans neighborhood called Zion City.
Tony recorded a smash hit song in the 1970s titled
"Confessing a Feeling" that skyrocketed in the national R&B charts.
He now has a CD on the market on the London-based Grapevine record
label, titled I Got Soul. (Now out of print) Commenting on his singing style, Tony says,
"If I can touch someone's heart in some way, if I could bring back a
pleasant memory, if I could make someone smile, if I could open
someone's eyes with a song, then I believe God would smile upon me, and
that is how I measure my personal success! I want people to say 'When
you hear Tony sing, you don't just hear him, you feel him.'" 
Having seen him twice in the past year or so, I must say that I'll miss Mel's yearly visit to New Orleans, he was a fine showman and had many enthusiastic fans here in the Crescent City. Cliff even saw him at a private party here and, of course, got to meet him and chat for a bit. A gracious and witty gentleman by Cliff's report.
Soul and rhythm and blues singer Mel Waiters has died at the age of 58.
Waiters was born and raised in San Antonio, Texas, where he honed is voice in both the church choir and in nightclubs beginning in the early 1970s. Before his recording career, he worked as a radio DJ and as an entertainer on military bases.
Waiters joined southern soul blues artists such as Marvin Sease, Denise LaSalle and Willie Clayton on the Jackson based Malaco recording label. The quartet often performed often on blues cruises, on package tours and at festivals together.
A pair of albums that made it clear that B.B.'s creative juices did not desert him with age - the first is a terrifically fun album of Louis Jordan music from 1999 where the King has Earl Palmer, Dr. John, Hank Crawford and David 'Fathead' Newman along for the ride. Turns out that his highness should have played jump blues more often because he is terrific at it!
A powerhouse pair of Savoy collections showcasing the Reverand James Cleveland with some of the greatest choirs on the planet. These are very dynamic recordings made in churches around the land, please, please, please TURN IT UP!! Learn the true meaning of 'raisin' the roof' as only a large choir can do! The power of Cleveland's voice in front is astounding....once more - turn it up and back away from the speakers, let's see what your stereo can do!
Brother King sings one for us from God's staircase...goodbye old friend, you remain in our thoughts and prayers.
A Sunday treat! A super foundation set.
My heart groans, the sky is crying -- another icon of my age has passed. The King is dead--Long Live The King ...NY Times obit
In 1946, King followed his cousin Bukka White to Memphis, Tennessee. White took him in for the 
next ten months. However, King shortly returned to Mississippi, where he decided to prepare himself better for the next visit, and returned to West Memphis, Arkansas, two years later in 1948. He performed on Sonny Boy Williamson's radio program on KWEM in West Memphis, where he began to develop a local audience for his sound. King's appearances led to steady engagements at the Sixteenth Avenue Grill in West Memphis and later to a ten-minute spot on the legendary Memphis radio station WDIA. King's Spot became so popular, it was expanded and became the Sepia Swing Club.
(baritone saxophone), Millard Lee (piano), George Joyner (bass) and Earl Forest and Ted Curry (drums). Onzie Horne was a trained musician elicited as an arranger to assist King with his compositions. By his own admission, he cannot play chords well and always relies on improvisation. This was followed by tours across the USA with performances in major theaters in cities such as Washington, D.C., Chicago, Los Angeles, Detroit and St. Louis, as well as numerous gigs in small clubs and juke joints of the southern US states.
In the winter of 1949, King played at a dance hall in Twist, Arkansas. In order to heat the hall, a barrel half-filled with kerosene was lit, a fairly common practice at the time. During a performance, two men began to fight, knocking over the burning barrel and sending burning fuel across the floor. The hall burst into flames, which triggered an evacuation. Once outside, King realized that he had left his guitar inside the burning building. He entered the blaze to retrieve his beloved guitar, a Gibson hollow electric. Two people died in the fire. The next day, King learned that the two men were fighting over a woman named Lucille. King named that first guitar Lucille, as well as every one he owned since that near-fatal experience, as a reminder never again to do something as stupid as run into a burning building or fight over women.
King meanwhile toured the entire "Chitlin' circuit" and 1956 became a record-breaking year, with 342 concerts booked. The same year he founded his own record label, Blues Boys Kingdom, with headquarters at Beale Street in Memphis. There, among other projects, he produced artists such as Millard Lee and Levi Seabury.
