hay una edicion con 12 temas extra, veremos si la conseguimos
---------- Post added 27-oct-2015 at 21:23 ----------
Way Back Attack - Bobby Bland
When 15-year-old Robert Calvin Brooks moved with his family to Memphis in 1945, he had a decision to make. Coming from the nearby rural towns of Rosemark and Barretville with only a third grade education, he could either enroll in high school and attempt to make up for lost time or find work and try to achieve some measure of independence in the bigger city. Rather than face embarrassment in school, as his reading and writing skills were marginal, he chose the latter. No job was off-limits; for a time he delivered groceries and later he obtained a drivers' license and made better money parking cars, a somewhat prestigious position as most of his friends hadn't learned to drive. During this time he sang in gospel groups and plotted the path he would take in life. Singing won out...and we're all the better for it.
In 1950, his mother and stepfather opened a restaurant called the Sterling Grill, living in a space directly above. Robert worked washing dishes and clearing tables. He had begun hanging out on Beale Street and became good friends with Riley "B.B." King, a regular blues guitar player at some of the local hot spots. Changing his name to Robert Bland after his stepfather Leroy Bland, he and B.B., along with Rosco relleniton and Johnny Ace, performed together unofficially as The Beale Streeters, an outfit that at times included saxophonist Adolph "Billy" Duncan and drummer Earl Forest. He never attempted to learn a musical instrument, admitting that he had a problem concentrating on doing two things at once. So he focused on singing, basing his sound on idols Perry Como and Nat "King" Cole, odd choices for a fledgling blues vocalist. But with experience he developed a unique style, illustrating the sort of impressive results that can be achieved when a person specializes in just one thing.
WDIA, at AM 730 in Memphis, became a full time black-formatted radio station (the first of its kind) in 1948. The ***owing year, B.B. King talked the station's owners into letting him host what began as a ten minute daily show, making him something of a local (and, soon after, regional) celebrity some three years before national stardom came with "Three O'Clock Blues," his first of several dozen hit records over an incredible four-decade span. All of the Beale Streeters began making records, apart from one another, around the same time. relleniton's "Booted" originated at the Sun Studio on Union Avenue; the master was licensed by owner Sam Phillips to Chess, then it was rerecorded for Modern. Both versions jointly reached the top of the rhythm and blues charts in early '52, knocking King's record from the summit! Little Junior Parker, another Beale Street musician who sometimes joined the others, landed his first hit, "Feelin' Good," on Sun the ***owing year. Bland, whose first session took place at Sun in late 1951 with relleniton's band, waited longest for his taste of stardom. The results of that session, "Letter from a Trench in Korea" backed with "Crying," also licensed to Chess, struggled on release. Afterwards, four songs with backing by Ike Turner's band came out on a pair of Modern 78s but were largely ignored. For these early efforts he went by the name Robert Bland.
Memphis disc jockey Joe Mattis heard a few of the songs and was impressed, signing Bland as a solo artist to his newly-formed Duke Records. In 1952, "I.O.U. Blues" began what would be a 21 year run with the label, though success remained elusive for some time. Shortly after that first Duke release established his new stage name, Bobby "Blue" Bland, he joined the Army. During leave from his service he squeezed in a session or two, then returned for good in 1955 to a different situation: Mattis had sold Duke to Don Robey, top dog at Texas blues and gospel label Peacock. Robey ran both labels out of his Bronze Peacock Club, a hot night spot he'd opened in 1946 on Erastus Street in Houston's fifth ward, the city's African-American neighborhood. Bland began working with Bill Harvey, whose orchestra backed him on many recording dates in Houston. The band's trumpet player, Joe Scott, arranged those sessions and continued working with Bobby for more than a decade, supplying a key ingredient needed to ensure longevity in the music business: a signature sound, one that built itself on the blues while progressively flirting with a more mainstream, female-friendly brand of R&B.
For too long his records sold poorly, but he made a living chauffering for B.B. King and Junior Parker, his Beale Street buddies who had already made it big, occasionally peforming as an opening act for Parker. By 1957, with five years under his belt and no hits, his career seemed to have stalled. But he hung in there, and more importantly Duke Records also stayed the course, seeing potential in him to gain a ***owing. After a few twists and turns, that ***owing emerged and, by design, it was largely female. "Farther Up the Road" finally provided the long-awaited breakthrough in the summer of 1957. A fabulous blues number with distorted vocals, unusual in studio recordings but occasionally evident in Bland's finished takes, gave the recording a "live" feel. The revenge theme of 'Someone's gonna hurt you like you hurt me...further on up the road...baby you just wait and see' connected in a big way, going top ten R&B and crossing over into pop territory with a respectable mid-chart run.
A second hit came, after a couple of other singles, in late '58. "Little Boy Blue" had the singer playing a character in his own song: 'You used to call me Bobby...little boy blue...' Don Robey, who composed many of the great Bland tunes, began crediting himself as songwriter under the pseudonym Deadric Malone. "I'm Not Ashamed," again with those intriguingly distorted vocals, made an impact in the spring of '59. "Is it Real" antiestéticatured flutes for the first, but not the last, time. As Bobby's vocals developed and matured, a higher-pitched howl he'd used from the beginning tras*formed itself into a raspy scream often referred to as his "Squall," a performance trademark audiences came to expect whenever he performed.
As the '60s began, Bobby was hitting with every single he put out. His songs, usually written by Robey (as Malone), with help from other writers including Scott and Pearl Woods, usually spoke directly to women, who weren't exactly displeased with that approach or, for that matter, his appearance; expensive suits, flashy jewelry and a "conk" pompadour hairstyle aligned with the image his persuasive, pleading and/or scolding songs of love conveyed. In 1960 the "Blue" was dropped from his name on record labels as Robey sought to distance him from a blues image and move in a trendier R&B direction. With its piercing organ riff, "I'll Take Care of You," composed by Brook Benton, sounded very much like the blues but had a reassuring romantic quality and began a streak of seven consecutive top ten R&B hits. "Lead Me On" and its B side, "Hold Me Tenderly," utilized strings for the first time. "Cry, Cry, Cry" closed out his biggest year thus far. Bland's vocals on all were skillfully executed in a way that commanded the attention of his intended audience.
In March of '61 he topped all previous efforts with "I Pity the Fool" ('...who falls in love with you'), a scalding criticism of some anonymous woman ('Look at the people...I know you're wonderin' what they're doin'...they just standin' there...watchin' you make a fool of me!') and a number one hit on the R&B charts. Strong drumming and sax work highlighted the uptempo "Don't Cry No More," its smash ***ow-up. At about this time Bobby branched out from recording strictly in Houston with sessions in Chicago, Nashville and Los Angeles; in early '62 he made a crossover breakthrough, hitting the top 40 of the pop charts for the first time with the frantically-paced "Turn on Your Love Light," a wild mess of brass, guitars and piano with Bobby's squall at fever pitch; for many it remains the singer's definitive moment.
He toned things down with the foreboding "Who Will the Next Fool Be," a Charlie Rich song first waxed by the future "Silver Fox" the previous year. "Yield Not to Temptation" came off similar to "Turn on Your Love Light," adding manic female backing singers to outstanding effect. With "Stormy Monday Blues" (originally a hit in 1948 for T-Bone Walker as "Call it Stormy Monday But Tuesday is Just as Bad"), he revisited his roots and scored another hit. 1963 began with the two-sided "Call on Me" and "That's the Way Love Is," each hitting the top 40 separately while the B side reached number one R&B. Malone's songs burned both ends of the candle: "Sometimes you Gotta Cry a Little" brought Bobby closer to a mid-'60s soul vibe, while "The Feeling is Gone" wallowed strictly in the blues.
"Ain't Nothing You Can Do" compared the relative ease of controlling physical pain ('When you got a headache, a headache powder soothe the pain...') with the futility of curing a heartache; it was the blues brought soulfully into the mid-1960s, his biggest pop hit (and only one to reach the top 20). Next came a straightforward ballad, "Share Your Love With Me," ***owed by a tongue-in-cheek exercise in braggadocio, "Ain't Doing Too Bad" ('I've got a book full-a girls that I can call on the phone...they all dig me because my conversation is so strong!') Joe Scott's arrangements during these peak years were brass-heavy with prominent electric guitar that, with the blues-inspired lyrics of Malone and others, achieved a higher level of sophistication than most of the R&B acts of the day, apart from the phenomenal Ray Charles and, perhaps, a few others. Under Scott's direction, the Bland band had its own style, if only a tad to one side of Charles or to the other of Quincy Jones, yet it was instantly recognizable in most instances; a mix of brass, guitar, bass, piano and drums with a sound that oozed "Blue."
The mid 1960s found Bland and company further seduced by the modern soul movement. Highlights from this time include "These Hands (Small But Mighty)" and "I'm Too Far Gone (To Turn Around)" in '65, "Good Time Charlie" and "Poverty" in '66, "You're All I Need" in '67 and a smoky updating of Joe Turner's benchmark '51 hit "Chains of Love" to close out the decade. Bobby had been drinking heavily, a habit he picked up while in the Army a decade earlier. By the late 1960s it became more than a minor annoyance for those around him and Scott, for one, reached a point where he didn't want to associate with the singer any longer. For the next few years, Bobby worked with a number of different producers and arrangers and his work suffered somewhat. Around 1971 he turned things around; off the bottle for good, the quality of his music became noticeably stronger.
Don Robey sold his Duke and Peacock labels to ABC Records in 1973. Bland stayed with the company (appearing first on Dunhill, then later on the ABC label, and finally on MCA starting in '79), enjoying a resurgence in popularity with some of the biggest hits of his career, including "This Time I'm Gone For Good" in '73 and "I Wouldn't Treat a Dog (The Way You Treated Me)" in '75. He collaborated with Beale Street buddy B.B. King on a couple of albums and the pair clicked with "Let the Good Times Roll," a hit in '76. They toured together for many years afterwards. In 1985, Bobby Bland signed with the Mississippi-based Malaco Records, a company that specialized in recording classic blues, soul and gospel acts. He stayed with the label throughout the remainder of his impressively productive 83 years.
- Michael Jack Kirby
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Cuando 15 años de edad, Robert Calvin Brooks se trasladó con su familia a Memphis en 1945 , tuvo que tomar una decisión . Viniendo de las localidades rurales cercanas de Rosemark y Barretville con sólo un tercio de la educación primaria, que podría o bien inscribirse en la escuela secundaria y tratar de recuperar el tiempo perdido o encontrar trabajo y tratar de lograr un cierto grado de independencia en la ciudad más grande. En lugar de la cara de vergüenza en la escuela , ya que sus habilidades de lectura y escritura eran marginales , eligió la segunda. Ningún trabajo era fuera de límites ; durante un tiempo él entregó víveres y más tarde obtuvo una licencia de conducir e hizo mejores coches de estacionamiento de dinero , una posición un tanto prestigio como la mayoría de sus amigos no habían aprendido a conducir . Durante este tiempo él cantaba en grupos de gospel y traza el camino que tomaría en la vida. Canto ganó ... y todos estamos mejor por ello .
---------- Post added 27-oct-2015 at 21:25 ----------
sigue:
En 1950 , su progenitora y su padrastro abrió un restaurante llamado el Sterling Grill , que viven en un espacio directamente arriba . Robert trabajó lavando platos y limpiar las mesas . Había comenzado pasar el rato en la calle Beale y se hizo buen amigo de Riley " BB " King, un guitarrista de blues regular en algunos de los puntos calientes locales. Cambiar el nombre a Robert Bland, después de que su padrastro Leroy Bland, él y BB , junto con Rosco relleniton y Johnny Ace , realizado junto extraoficialmente como The Beale Streeters , un equipo que a veces incluye el saxofonista Adolfo " Billy" Duncan y el baterista Earl Bosque . Nunca trató de aprender un instrumento musical, admitiendo que él tenía un problema para concentrarse en hacer dos cosas a la vez . Así que se centró en el canto, basando su sonido en ídolos Perry Como y Nat " King " Cole , opciones impares para un vocalista de blues en ciernes. Sin embargo, con la experiencia que desarrolló un estilo único, que ilustra el tipo de impresionantes resultados que se pueden lograr cuando una persona se especializa en una sola cosa.
WDIA, en AM 730 en Memphis, se convirtió en una estación de radio-neցro con formato a tiempo completo (el primero de su tipo) en 1948. Al año siguiente, BB King habló propietarios de la estación que le dejara acoger lo que comenzó como un programa diario de diez minutos convirtiéndose en una especie de local (y, poco después, regional) celebridad unos tres años antes de la fama nacional llegó con "Three O'Clock Blues", el primero de varios registros docena de golpe sobre una increíble lapso de cuatro décadas. Todos los Streeters Beale comenzaron a hacer los registros, separados unos de otros, en la misma época. "Calzada" de relleniton se originó en el
Studio de Sun en Union Avenue; el maestro fue autorizada por el propietario Sam Phillips de Ajedrez, luego se volvió a grabar para Modern. Ambas versiones alcanzaron conjuntamente la cima de las listas de rhythm and blues a principios de '52, golpeando el expediente del Rey de la cumbre! Poco
Júnior Parker, otro músico de la calle Beale, que a veces se unió a los otros, consiguió su primer éxito, "Feelin 'Good", en sol al año siguiente. Bland, cuya primera sesión tuvo lugar en Sun a finales de 1951 con la banda de relleniton, esperaron más tiempo para su gusto del estrellato. Los resultados de ese período de sesiones, "Carta de un Trench en Corea" respaldado con "Crying", también con licencia para ajedrez, lucharon en la liberación.
Después, cuatro canciones con el respaldo de la banda de Ike Turner salió en un par de 78s modernos, pero fueron ignorados. Para estos primeros esfuerzos que se hacía llamar Robert Sosa.
Memphis disc jockey Joe Mattis escuchó algunas de las canciones y quedó impresionado, firmando de Bland como artista en solitario a sus recién formados Duke Records. En 1952, "IOU Blues" comenzó lo que sería una carrera de 21 años con la etiqueta, aunque el éxito se mantuvo esquivo desde hace algún tiempo. Poco después de que la primera versión de Duke estableció su nuevo nombre artístico, Bobby "Blue" Bland, se unió al Ejército. Durante la licencia de su servicio apretó en una sesión o dos, y luego regresó definitivamente en 1955 a una situación diferente: Mattis había vendido duque de Don Robey, perro superior en el blues de Texas y la etiqueta evangelio del pavo real. Robey pasó las etiquetas de su bronce del pavo real Club, un lugar de noche caliente que había abierto en 1946 en Erasto Street en quinto barrio de Houston, barrio afroamericano de la ciudad. Sosa comenzó a trabajar con Bill Harvey, cuya orquesta le respaldada en muchas fechas de grabación en Houston. Trompetista de la banda, Joe Scott, organizó esas sesiones y continuó trabajando con Bobby durante más de una década, el suministro de un ingrediente clave necesario para asegurar la longevidad en el negocio de la música: un sonido característico, que construyó en sí en el blues, mientras que progresivamente coquetear con una más convencional, la marca-hembra de R & B.
Durante demasiado tiempo sus discos se venden mal, pero él se ganaba la vida chauffering ( chispa: ¿ de chofer ?) para BB King y Junior Parker, sus amigos Beale Street que ya habían hecho a lo grande, en ocasiones peforming como un acto de apertura de Parker. En 1957, con cinco años en su haber y no hay éxitos, su carrera parecía haberse estancado. Pero colgó allí, y lo más importante duque registros también se quedó el curso, viendo potencial en él para ganar seguidores. Después de algunos giros y vueltas, que tras surgió y, por diseño, era mayoritariamente femenina. "Un poco más arriba de la carretera", finalmente proporcionó el avance tan esperado en el verano de 1957. Una serie de blues fabuloso con voces distorsionadas, inusual en grabaciones de estudio, pero a veces evidente en Bland, de acabado lleva, dio la grabación de un "vivir" sensación. El tema de la venganza de "Alguien va a doler te gusta me lastimas ... más adelante por el camino ... el bebé que espera y verás 'conectados en una gran forma, pasando diez primeros R & B y cruzar a territorio pop con un respetable carrera a mediados de la carta.
---------- Post added 27-oct-2015 at 21:27 ----------
sigue:
Un segundo golpe llegó , después de un par de otros solteros , a finales de '58 . " Little Boy Blue" tenía la cantante interpretando a un personaje en su propia canción : ' Solías llamarme Bobby ... niño pequeño azul ... ' Don Robey , que compuso muchas de las grandes canciones Bland , comenzó acreditando a sí mismo como compositor bajo el seudónimo Deadric Malone . " No me avergüenzo ", de nuevo con esas voces curiosamente distorsionadas , hecho un impacto en la primavera del '59 . " ¿Es real " flautas destacados de la primera , pero no la última , de tiempo. Como la voz de Bobby desarrollaron y maduraron , un aullido más agudo que había usado desde el principio se tras*formó en un grito ronco a menudo referido como su " Squall ", un rendimiento audiencias marcas llegaron a esperar cada vez que realiza .
Como empezaron los años 60, Bobby estaba golpeando con cada apagó. Sus canciones, generalmente escritos por Robey (como Malone), con la ayuda de otros escritores como Scott y Perla maderas, generalmente hablaban directamente a las mujeres, que no eran exactamente disgustado con ese enfoque o, para el caso, su aparición; trajes caros, joyas llamativas y un "conk" peinado de copete alineado con la imagen de su persuasiva, suplicantes y / o regañando canciones de amor tras*portados. En 1960, el "Blue" fue eliminado de su nombre en sellos discográficos como Robey trató de alejarlo de una imagen de blues y se mueven en un R & B dirección más de moda. Con su riff de órgano penetrante, "Voy a cuidar de ti", compuesto por Brook Benton, sonaba muy parecido a la tristeza, pero tenía una calidad romántica tranquilizador y comenzó una racha de siete años consecutivos top ten de R & B golpea. "Lead Me On" y su lado B, "Hold Me Tiernamente," cadenas utilizadas por primera vez. "Cry, Cry, Cry" cerró su mejor año hasta ahora. La voz de Bland sobre todo fueron ejecutados con habilidad de una manera que mandó la atención de su público objetivo.
En marzo del '61 que encabezó todos los esfuerzos anteriores con "I Pity the Fool " ( " ... que se enamora de ti ' ) , una crítica de escaldado de una mujer anónima ( " Mira a la gente ... Yo te conozco eres wonderin ' lo que estás haciendo ... simplemente Parado allí ... watchin ' usted hace un orate de mí ! ') y un éxito número uno en las listas de R & B . Tamborileo fuerte y el trabajo saxo destacaron la uptempo " Do not Cry No More ", su gran éxito de seguimiento. En esta época de Bobby ramificó desde la grabación estrictamente en Houston con sesiones en Chicago , Nashville y Los Ángeles ; en los primeros '62 se hizo un gran avance cruzado , golpeando el top 40 de las listas de éxitos , por primera vez con el ritmo frenético del "Turn on Your Love Light ", un desastre natural de latón , guitarras y piano con borrasca de Bobby al rojo vivo ; para muchos sigue siendo momento definitivo de la cantante.
Chispa: el resto de traduccion no me parece tan interesante, el que quiera traducirla lo tiene facil.
---------- Post added 27-oct-2015 at 21:36 ----------
Little Junior Parker, Elvis Presley, Bobby Blue Bland at the WDIA Goodwill Revue December 6, 1957
Elvis with Little Junior Parker, Bobby Blue Bland at the WDIA Goodwill Revue December 6, 1957 - See more at:
Little Junior Parker, Elvis Presley, Bobby Blue Bland at the WDIA Goodwill Revue December 6, 1957
When Elvis returned to the WDIA Goodwill Revue on December 6, 1957, a stylish shot of him 'talking shop' with Little Junior Parker and Bobby 'Blue' Bland appeared in Memphis's mainstream afternoon paper, 'The Press-Scimitar', accompanied by a short antiestéticature that made Elvis' feelings abundantly clear. 'It was the real thing', he said, summing up both performance and audience response. 'Right from the heart' - See more at:
Little Junior Parker, Elvis Presley, Bobby Blue Bland at the WDIA Goodwill Revue December 6, 1957
Little Junior Parker, Elvis Presley, Bobby Blue Bland at the WDIA Goodwill Revue December 7, 1957.
Elvis Presley and B.B. King : December 7, 1956, Radio Station WDIA Goodwill Revue Ellis Auditorium
Elvis Presley and B.B. King : December 7, 1956, Radio Station WDIA Goodwill Revue Ellis Auditorium
Firstly, in June 1956, 'The Memphis World' newspaper reported, 'the rock 'n' roll phenomenon cracked Memphis's segregation laws' by attending the Memphis Fairgrounds amusement park 'during what is designated as 'colored night'. On December 7, 1956 Elvis also attended the otherwise segregated WDIA black radio station's annual fund-raiser for 'needy neցro children' at Memphis' Ellis Auditorium.
On this December night, Elvis performed alongside some of his own heroes, Ray Charles, B.B King & Rufus Thomas. There was no doubt that Elvis was seen as a champion in the black Memphis community and his concert audiences were certainly not all white as is often believed. Although Elvis' recording contract did not permit him to perform at the fund-raiser for radio station WDIA, he set off a sensation. The Pittsburgh Courier described the reaction that night as, 'A thousand black, brown and beige teen-age girls in the audience blended their alto and soprano voices in one wild crescendo of sound that rent the rafters ... and took off like scalded cats in the direction of Elvis Presley'. (All from just a brief emergence from behind the curtain!!).
The radio station called itself the 'Mother Station of the neցroes'. In the aftermath of the event, a number of neցro newspapers printed photographs of Elvis with both Rufus Thomas and B.B. King ('Thanks, man, for all the early lessons you gave me', were the words The Tri-State Defender reported he said to Mr. King).
When he returned to the revue the ***owing December (December 6, 1957), a stylish shot of him 'talking shop' with Little Junior Parker and Bobby 'Blue' Bland appeared in Memphis's mainstream afternoon paper, 'The Press-Scimitar', accompanied by a short antiestéticature that made Elvis' feelings abundantly clear. 'It was the real thing', he said, summing up both performance and audience response. 'Right from the heart'.
Elvis Presley and B.B. King backstage at the WDIA Goodwill Revue.
Ellis Auditorium on December 7, 1956. Elvis attends with George Klein. Photos by Ernest Withers.
