Feelin’ Kind of Blue(sy)

Buddy Guy on MySpace: “When I first came to Chicago,” says Guy, “most musicians were still sitting down in front of music stands—even if they couldn’t read music, they did it just to look more serious. Then Guitar Slim got wild and kicked them all off stage, and I was wild like that, too”.

Ian M : Despite years of research, the details of William Lee Conley Broonzy’s birth remain problematic. He may have been born on 26 June 1893 – the date of birth he often gave – or according to Bill’s twin sister Laney, it may have been in 1898. Laney claimed to have documents to prove that.

Jessie Mae Hemphill Foundation : Ever since a stroke left Jessie Mae partially paralyzed, she knows a vulnerability that she had clearly never experienced. This same stroke rendered her unable to play guitar, effectively ending a successful career that was on the rise.

The African American Registry : Roosevelt Sykes joined Decca Records in 1935, where his popularity blossomed. There was absolutely nothing downbeat about this large effervescent blues pianist, whose lengthy career spanned the pre-war and postwar eras with no interruption whatsoever.

allmusic : Like so many young blues artists, Little Junior (as he was known then) got his first recording opportunity from talent scout Ike Turner, who brought him to Modern Records for his debut session as a leader in 1952.

The Stax Site : As a teenager in Greenville, Mississippi, Little Milton would play black clubs at the weekend and white honky-tonks during the week. He learnt country songs from listening to the Grand Ole Opry and he would joke, “I could have been another Charley Pride.”

Albert Cummings : Working Man (Blind Pig), Albert’s summer of 2006 blockbuster release, is the culmination to date of a guitar hero’s career just taking off. A punchy, stomping cover of Merle Haggard’s blue collar standard ‘Working Man Blues’ brings it all home for the master builder and musician.

Houston Institute for Culture : “People have learned how to strum a guitar, but they don’t have the soul. They don’t feel it from the heart. It hurts me. I’m killin’ myself to tell them how it is.” Lightnin’ Hopkins criticized musicians he believed were detached from real life in a 1968 interview with the Los Angeles Times. Lightnin’ Hopkins saw his popularity come and go, but for five decades he has remained an essential influence for many dedicated musicians and an inspiration to loyal fans.

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