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Blues","url":"https://www.last.fm/tag/Classic+Blues"}]},"bio":{"links":{"link":{"#text":"","rel":"original","href":"https://last.fm/music/Freddie+King/+wiki"}},"published":"10 Feb 2006, 20:14","summary":"\nFreddie King (September 3, 1934 – December 28, 1976), thought to have been born as Frederick Christian in Gilmer, Texas, originally recording as Freddy King, and nicknamed \"the Texas Cannonball\", was an influential African-American blues guitarist and singer. He is often mentioned as one of \"the Three Kings\" of electric blues guitar, along with Albert King and B.B. King (though he was the youngest of the three).\n\nKing's mother, Ella May King, and her brother, who both played the guitar, began teaching him to play at the age of six. Read more on Last.fm","content":"\nFreddie King (September 3, 1934 – December 28, 1976), thought to have been born as Frederick Christian in Gilmer, Texas, originally recording as Freddy King, and nicknamed \"the Texas Cannonball\", was an influential African-American blues guitarist and singer. He is often mentioned as one of \"the Three Kings\" of electric blues guitar, along with Albert King and B.B. King (though he was the youngest of the three).\n\nKing's mother, Ella May King, and her brother, who both played the guitar, began teaching him to play at the age of six. He liked and imitated the music of Lightnin' Sam Hopkins and saxophonist Louis Jordan. He moved with his family from Texas to the southside of Chicago in 1950. There, at age 16 he used to sneak in to local clubs, where he heard blues music performed by the likes of Muddy Waters, Howlin' Wolf, T-Bone Walker, Elmore James, and Sonny Boy Williamson. Howlin Wolf took him under his wing (or paw), and Freddie also began jamming with Muddy Waters' sidemen, who included Eddie Taylor, Jimmy Rogers, Robert Lockwood Jr. and Little Walter.\n\nBy 1952 he had started gigged at night and working days in a steel mill (by then he had married a Texas girl, Jessie Burnett). He got occasional work as a sideman on recording sessions. Two bands that he played with during this period were the Sonny Cooper Band, and Early Payton's Blues Cats. He formed the first band of his own, the Every Hour Blues Boys, with guitarist Jimmy Lee Robinson and drummer Sonny Scott.\n\nIn 1953 he made some recordings for Parrot. In 1956 he recorded \"Country Boy\", a duet with Margaret Whitfield, and \"That's What You Think\", an uptempo blues. This was for a local label, El-Bee. Robert Lockwood Jr. appeared as a sideman on guitar.\n\nIn 1959 he met Sonny Thompson, a pianist who worked for the King/Fedreal label. In 1960, he himself signed with that label; while there he often shared songwriting credits, and participated in marathon recording sessions, with Thompson. On August 26, 1960, he recorded \"Have You Ever Loved a Woman\" and \"Hide Away\", which were to become two of his most popular tunes. His debut release for the label was \"You've Got To Love Her with Feeling\". His second release on King/Federal was \"I Love the Woman\". \"Hide Away\" was used as the B side for this disk; that tune, a 12-bar mid-tempo shuffle in E with an infectious theme in the head section, and a memorable stop-time break that featured some robust-sounding work on the bass strings, was destined to become one of his signiature numbers. It was an adaptation of a tune by Hound Dog Taylor. It was named \"Hide Away\" after a popular bar in Chicago. Strictly an instrumental -- guitar with rhythm section -- it delighted everyone by crossing over and reaching #29 on the pop chart. It was later covered by Eric Clapton, Stevie Ray Vaughan, the Canadian guitarist Jeff Healy, and likely a majority of the bar blues bands on Planet Earth. After the success of \"Hide Away\", the label, which was presided over by one Syd Nathan, got Freddie and Sonny Thompson to work on making more instrumentals. This they did, producing over 30 of them during the next five years. The following is a partial list: \"The Stumble,\" \"Low Tide,\" \"Wash Out,\" \"Sidetracked\", \"San-Ho-Zay,\" \"Heads Up,\" \"Onion Rings,\" and \"The Sad Nite Owl\". Freddie became popular with a young white audience, in Britain as well as the United States, and his playing was a major influence on the upcoming breed of rock guitarists. During this period he was touring frequently along with the big R&B acts of the day such as Sam Cooke, Jackie Wilson, James Brown. His band included his brother Benny Turner on bass; and Tyrone Davis, who would later become known in his own right, was the driver and valet.\n\nOn the personal side, Freddie was fond, perhaps overly fond, of the Chicago night life. His official website refers to him \"Gambling til dawn in the backroom of Mike's cleaners.\" His wife, now with six children, decided to move back to Texas. Once there, she called Syd Nathan and demanded that he send her some of the royalty money due to her husband. To his credit, he sent her two thousand dollars, with which she made the down payment on a house. Realising that the family were definitely not coming back to Chicago, Freddie, in the spring of 1963, himself moved back to Texas to rejoin them.\n\nHis contract with King/Federal expired in 1966. That same year, while making a series of appearances on an R&B program called \"The!!!Beat\", he was noticed by Atlantic Records front man King Curtis, and in 1968 he signed with the Atlantic subsidiary, Cotillion Records. He released two records for them (see Recordings), both of which showcased his vocal talents. They were not overwhelming commercial successes; however, his first overseas tour, in 1968, was a resounding triumph, being extended from one month to three. He was \"amazed by his popularity in England.\"1\n\nIn 1969 he hired a young member of the \"counter culture\", Jack Calmes, to be his manager. Calmes got him booked at the 1969 Texas Pop Festival, alongside Led Zeppelin and others; and got him signed to Leon Russell's new label, Shelter Records. Shelter records was based in Oklahoma, and featured blues/rock performers such as Linda Ronstadt and Joe Cocker. The company treated Freddie as an important artist, flying him to Chicago to the former Chess studios for th recording of his first album, and giving him a supporting cast of top-calibre session musicians -- including Russell, a rock pianist.\n\nAs were many of the top bluesmen of his generation, he was now playing what he affectionately called the \"Fillmore circuit\", playing alongside the big rock acts of the day for a young, mainly white, audience. As a result of his touring with Eric Clapton, the two became good friends -- Clapton held him in very high esteem -- and following his term at Shelter Records, Freddie signed with the label Clapton was recording for, RSO. His first album there, Burglar, was produced by Clapton, and had him playing on several tracks.\n\nHe continued to tour heavily. He died in Dallas in 1976 from a heart attack and complications arising from bleeding ulcers and pancreatitis. He was just 42 years of age.\n Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply."}}57:T25e5,{"id":"d6ae4b23-965f-485a-b2c2-66c43ffaef20","type":"Person","type-id":"b6e035f4-3ce9-331c-97df-83397230b0df","score":100,"gender-id":"36d3d30a-839d-3eda-8cb3-29be4384e4a9","name":"Freddie King","sort-name":"King, Freddie","gender":"male","country":"US","area":{"id":"489ce91b-6658-3307-9877-795b68554c98","type":"Country","type-id":"06dd0ae4-8c74-30bb-b43d-95dcedf961de","name":"United States","sort-name":"United States","life-span":{"ended":null}},"begin-area":{"id":"69546058-e609-47e6-bd56-2a3660776b1c","type":"City","type-id":"6fd8f29a-3d0a-32fc-980d-ea697b69da78","name":"Gilmer","sort-name":"Gilmer","life-span":{"ended":null}},"end-area":{"id":"e96f1c0d-721b-470d-a9c4-0aa2d89cf9e7","type":"City","type-id":"6fd8f29a-3d0a-32fc-980d-ea697b69da78","name":"Dallas","sort-name":"Dallas","life-span":{"ended":null}},"disambiguation":"US blues singer & 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Read more on Last.fm","content":"Muddy Waters (McKinley Morganfield, Issaquena County, Mississippi, April 4, 1913 - Westmont, Illinois, April 30, 1983) was an American blues musician and is generally considered \"the father of Chicago Blues.\" His career spanned over thirty years and he produced what are considered to be some of the finest blues songs ever, such as Hoochie Coochie Man, Mannish Boy and Got My Mojo Working. \n\nMuddy Waters is generally considered one of the most influential bluesmen of all time. His fondness for playing in mud earned him the nickname \"Muddy\" at an early age. He later changed it to \"Muddy Water\" and finally \"Muddy Waters\".\n\nWaters was born McKinley Morganfield in Issaquena County, Mississippi in 1913 (He later told people that he was born in 1915 in Rolling Fork, Mississippi; the reason for this remains unknown). His grandmother Della Grant raised him after his mother died in 1918. Waters started out on harmonica but by age seventeen he was playing the guitar at parties and \"fish fries\", emulating two blues artists who were extremely popular in the south, Son House and Robert Johnson. \"His thick heavy voice, the dark coloration of his tone and his firm almost solid personality were all clearly derived from House,\" wrote Peter Guralnick in Feel Like Going Home, but the embellishments which he added, the imaginative slide technique and more agile rhythms, were closer to Johnson.\"\n\nIn 1940 Waters moved to St. Louis before playing with Silas Green a year later and returning back to Mississippi. In the early part of the decade he ran a juke house, complete with gambling, moonshine, a jukebox and live music courtesy of Muddy himself. In the Summer of 1941 Alan Lomax came to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. \"He brought his stuff down and recorded me right in my house,\" Waters recalled in Rolling Stone, \"and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, `I can do it, I can do it.'\" Lomax came back again in July of 1942 to record Waters again. Both sessions were eventually released as Down On Stovall's Plantation on the Testament label.\n\nIn 1943 Waters headed north to Chicago in hopes of becoming a full-time professional. He lived with a relative for a short period while driving a truck and working in a factory by day and playing at night. Big Bill Broonzy was the leading bluesman in Chicago until his death in 1958 and the city was a very competitive market for a newcomer to become established. Broonzy helped Waters out by letting him open Broonzy's show in the rowdy clubs. In 1945 Waters's uncle gave him his first electric guitar, which enabled him to be heard above the noisy crowds. In 1946 Waters recorded some tunes for Mayo Williams at Columbia but they were never released. Later that year he began recording for Aristocrat, a newly-formed label run by two brothers, Leonard and Phil Chess. In 1947 Waters played guitar with Sunnyland Slim on piano on the cuts \"Gypsy Woman\" and \"Little Anna Mae.\" These were also shelved, but in 1948 Waters's \"I Can't Be Satisfied\" and \"I Feel Like Going Home\" became big and his popularity in clubs began to take off. Soon after, Aristocrat changed their name to Chess and Waters's signature tune, \"Rollin' Stone\", became a smash hit.\n\nThe Chess brothers would not allow Waters to use his own musicians (Jimmy Rogers and Blue Smitty) in the studio; instead he was only provided with a backing bass by Big Crawford. However, by 1952 Waters was recording with perhaps the best blues group ever: Little Walter Jacobs on harmonica; Jimmy Rogers on guitar; Elgin Evans on drums; Otis Spann on piano; Big Crawford on bass; and Waters handling vocals and second guitar. The band recorded a string of blues classics during the early 1950s with the help of bassist/songwriter Willie Dixon. \"Hoochie Coochie Man\" (Number 8 on the R&B charts), \"I Just Want to Make Love to You\" (Number 4), and \"I'm Ready\". These three were \"the most macho songs in his repertoire,\" wrote Robert Palmer in Rolling Stone. \"Muddy would never have composed anything so unsubtle. But they gave him a succession of showstoppers and an image, which were important for a bluesman trying to break out of the grind of local gigs into national prominence.\"\n\nWaters reigned over the 1950s Chicago blues scene; he was its most popular artist and led its tightest band, fueled by hits from Willie Dixon, its strongest composer. On all these fronts, however, Waters contended with fierce competition from the gravel-voiced singer Howlin' Wolf. Wolf's band rivaled Waters's all-star lineup, notably featuring the now-legendary guitarist Hubert Sumlin. Wolf also competed with Waters for the songwriting attention of Willie Dixon and recorded a large number of Dixon tunes. Nonetheless, Waters consistently retained an edge in popularity and esteem. Both Waters and Wolf are held in immense regard by modern rock and blues aficionados, but Waters scored far more chart hits and is generally considered to be the more commercially successful and the more well-known of the two; especially to the casual listener.\n\nBy 1954, Waters was at the height of his career. \"By the time he achieved his popular peak, Muddy Waters had become a shouting, declamatory kind of singer who had forsaken his guitar as a kind of anachronism and whose band played with a single pulsating rhythm,\" wrote Guralnick in his Listener's Guide.\n\nThe success of Waters's ensemble paved the way for others in his group to break away and enjoy their own solo careers. In 1952 Little Walter left when his single \"Juke\" became a hit (although he would continue to play on Muddy's recording sessions until the late '50s), and in 1955 Rogers quit to work exclusively with his own band, which had been a sideline until that time. Waters could never recapture the glory of his pre-1956 years as the pressures of being a leader led him to use various studio musicians for quite a few years thereafter.\n\nHe headed to England in 1958 and shocked audiences (whose only previous exposure to blues had come via the acoustic folk/blues sounds of acts such as Sonny Terry & Brownie McGhee and Big Bill Broonzy) with loud, amplified electric guitar and a thunderous beat. His performance at the Newport Jazz Festival in 1960, which was recorded and released as his first live album (see At Newport 1960), helped to turn on a whole new generation to Waters' sound. He expressed dismay when he realized that members of his own race were turning their backs to the genre while a Caucasian audience had shown increasing respect for the blues.\n\nA major inspiration for the British beat explosion in the 1960s.\nHowever, for the better part of twenty years (since his last big hit in 1956, \"I'm Ready\") Waters was put on the back shelf by the Chess label and recorded albums with various \"popular\" themes: Brass And The Blues, Electric Mud, etc. In 1972 he went back to England to record The London Muddy Waters Sessions with four hotshot rockers—Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell — but their playing wasn't up to his standards. \"These boys are top musicians, they can play with me, put the book before 'em and play it, you know,\" he told Guralnick. \"But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An if you change my sound, then you gonna change the whole man.\"\n\nWaters's sound was basically Delta country blues electrified, but his use of microtones, in both his vocals and slide playing, made it extremely difficult to duplicate and follow correctly. \"When I plays onstage with my band, I have to get in there with my guitar and try to bring the sound down to me,\" he said in Rolling Stone. \"But no sooner than I quit playing, it goes back to another, different sound. My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play.\"\n\nIn 1977 Johnny Winter convinced his label, Blue Sky, to sign Waters, the beginning of a fruitful partnership. Waters's \"comeback\" LP, Hard Again, was recorded in just two days and was a return to original Chicago sound he had created 25 years earlier. Producer/guitarist Winter pushed Waters to his limit. Former Waters sideman James Cotton contributed harmonica on the Grammy Award-winning album and a brief but well received tour followed. \"He sounds happy, energetic and out for business,\" stated Dan Oppenheimer in Rolling Stone. \"In short, Muddy Waters is kicking in another mule's stall.\"\n\nThe importance of Muddy Waters' 1977 album Hard Again cannot be overstated, and its place as a near universal favorite in the Muddy Waters catalog is no mistake. Recorded in the last decade of his life, it was the first studio collaboration between Waters and guitarist Johnny Winter, who acted as producer on his last four albums -- the others are I'm Ready, King Bee, and Muddy \"Mississippi\" Waters Live -- for Blue Sky, a Columbia subsidiary. The true revelation here is Waters, whose vigor and fire are renewed; he's hungry for the music and completely in possession of his prowess and power as the true King of the Blues. At 64, Waters was revving up for one final go and Winter recorded him like the champ he was. The Muddy Waters Blues Band was one of the crack outfits on the scene at the time and included guitarist Bob Margolin, pianist Pinetop Perkins, and drummer Willie \"Big Eyes\" Smith were on this session. Winter was on board playing guitar in addition to producing, and Waters asked James Cotton to play harp on the session and he brought his bassist Charles Calmese for the date. According to Margolin's amazingly warm and informative anecdotal liner notes, Waters never picked up his guitar during these sessions. It hardly matters, from the opening roar of \"Mannish Boy,\" with shouts and hollers throughout, with incendiary guitars to the old-style Delta blues of \"I Can't Be Satisfied,\" with a National steel solo by Winter to Cotton's screeching intro to \"The Blues Had a Baby,\" to the moaning closer \"Little Girl,\" Hard Again is rock solid. Its live feel heralds back to the Chess days, and its cooperative musicianship and intimate, good time vibe have rarely been replicated since that time -- and never on a major label. The expanded reissue includes one bonus track, an outtake called \"Walking Through the Park,\" that could have been part of the original album without a problem -- the other outtake ended up on King Bee. Margolin's notes state that while the album has been remastered, it was not remixed because its sound holds up. This has the feel of an old-time blues record and the listener can hear -- even on CD -- the sound of the wood room it was recorded in as well as the camaraderie of the players. Hard Again showcased Waters as a blues lion, and in its grooves lies all the evidence for the legend he remains.\n\nIn 1978 Winter recruited Muddy's cohorts from the early '50s Walter Horton and Jimmy Rogers, and brought in the rest of Muddy's touring band at the time (harmonica player Jerry Portnoy, guitarist Luther Johnson, and bassist Calvin Jone) to record Waters's I'm Ready LP, which came close to the critical and commercial success of Hard Again.\n\nThe comeback continued in 1979 with the lauded LP Muddy \"Mississippi\" Waters Live. \"Muddy was loose for this one,\" wrote Jas Obrecht in Guitar Player, \"and the result is the next best thing to being ringside at one of his foot-thumping, head-nodding, downhome blues shows.\" Accompanied by Johnny Winter and his band, Muddy Waters turns in an enthusiastic performance on Muddy \"Mississippi\" Waters Live. The set list contains most of his biggest hits, and the sound quality and performances are mostly energetic. Muddy \"Mississippi\" Waters Live is a nice addition to the Muddy Waters catalog, but it's not nearly as essential as his earlier work. King Bee the following year concluded Water's reign at Blue Sky and all four LPs turned out to be his biggest-selling albums ever. King Bee was the last album Muddy Waters recorded. Coming last in a trio of triumphant studio outings, and produced by Johnny Winter, it is also a mixed bag. During the sessions for King Bee, Waters, his manager, and his band were all in dispute over money. According to the liner notes by Bob Margolin, the conflict arose from Waters' health being on the wane and him playing less. The bandmembers wanted more money for the fewer gigs they did play in order to make ends meet. Ultimately a split occurred and the band quit. Because of the tensions in the studio preceding the split, Winter felt the sessions had not produced enough solid material to yield an entire album. He subsequently filled out King Bee with outtakes from the Hard Again sessions. For the listener, King Bee is a leaner and meaner record. None of the good-time exuberance present on the previous two outings is present here. This is blues, direct and immediate, a snarling, growling album. The title track, \"Mean Old Frisco,\" \"Sad Sad Day,\" and \"I Feel Like Going Home,\" are all solid, razor-sharp blues with killer ensemble work and Waters in fine voice. The Sony Legacy issue features completely remastered sound and Margolin's candid notes, but it also hosts two bonus tracks from the King Bee sessions that Winter didn't see fit to release the first time. There's a redo of \"I Won't Go Down,\" a cut from the '50s that Waters sings in his lower baritone roar, and \"Clouds in My Heart,\" a deep, long, sad blues that is one of the great unearthed treasures in Waters catalog. This cut alone with all of its deep emotion and the sound of a band trying to hold the storm of emotions in check and failing is a masterpiece and one of the most amazing blues tunes of the last 30 years. While King Bee may have been considered last and least of Waters' Columbia albums, it is more than worth reconsidering.\n\nIn 1983 Waters died peacefully and unexpectedly in his sleep, aged 70. At his funeral, throngs of blues musicians showed up to pay tribute to one of the true originals of the art form. \"Muddy was a master of just the right notes,\" John Hammond Jr., told Guitar World. \"It was profound guitar playing, deep and simple. . . . more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.\" Following Waters's death, B.B. King told Guitar World, \"It's going to be years and years before most people realize how great he was to American music.\"\n\nTwo years after his death, the city that made Muddy Waters (and vice versa) honored their father by changing the name of 43rd Street to Muddy Waters Drive. \n\nHe is the father of blues musicians Big Bill Morganfield and Larry \"Mud Morganfield\" Williams.\n\nAttesting to the historic place of Muddy Waters in the development of the blues in Mississippi, a Mississippi Blues Trail marker has been placed in Clarksdale by the Mississippi Blues Commission designating the site of Muddy Waters' cabin to commemorate his importance.\n\nGrammy Awards\n1971 Best Ethnic or Traditional Folk Recording They Call Me Muddy Waters folk MCA/Chess winner \n1972 Best Ethnic or Traditional Folk Recording The London Muddy Waters Session folk MCA/Chess winner \n1975 Best Ethnic or Traditional Folk Recording The Muddy Waters Woodstock Album folk MCA/Chess winner \n1977 Best Ethnic or Traditional Folk Recording Hard Again folk Blue Sky winner \n1978 Best Ethnic or Traditional Folk Recording I'm Ready folk Blue Sky winner \n1979 Best Ethnic or Traditional Folk Recording Muddy \"Mississippi\" Waters Live folk Blue Sky winner \n\nThe Rock and Roll Hall of Fame listed four songs of Muddy Waters of the 500 songs that shaped rock.\n1950 Rollin' Stone \n1954 Hoochie Coochie Man \n1955 Mannish Boy \n1957 Got My Mojo Working \n\nThe Blues Foundation Awards\n1994 Reissue Album of the Year The Complete Plantation Recordings Winner \n1995 Reissue Album of the Year One More Mile Winner \n2000 Traditional Blues Album of the Year The Lost Tapes of Muddy Waters Winner \n2002 Historical Blues Album of the Year Fathers and Sons Winner \n2006 Historical Album of the Year Hoochie Coochie Man: Complete Chess Recordings, Volume 2, 1952-1958 Winner \n\nInductions\n1980 Blues Foundation Hall of Fame \n1987 Rock and Roll Hall of Fame \n1992 Grammy Lifetime Achievement Award \n\nU.S. Postage Stamp\n1994 29 cents Commemorative stamp U.S. Postal Service\n\nIn 2004 he was ranked #17 in Rolling Stone Magazine's list of the 100 Greatest Artists of All Time. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply."}}5a:T2322,{"id":"f86f1f07-d182-45ce-ae93-ef610880ca72","type":"Person","type-id":"b6e035f4-3ce9-331c-97df-83397230b0df","score":100,"gender-id":"36d3d30a-839d-3eda-8cb3-29be4384e4a9","name":"Muddy Waters","sort-name":"Muddy Waters","gender":"male","country":"US","area":{"id":"489ce91b-6658-3307-9877-795b68554c98","type":"Country","type-id":"06dd0ae4-8c74-30bb-b43d-95dcedf961de","name":"United States","sort-name":"United States","life-span":{"ended":null}},"begin-area":{"id":"75d4c601-3484-464b-9e7d-10db9fdd33b5","type":"County","type-id":"bcecec27-8bdb-3e00-8254-d948dda502fa","name":"Issaquena County","sort-name":"Issaquena County","life-span":{"ended":null}},"end-area":{"id":"5c99aed4-9848-48b3-8098-f9b801a82d6c","type":"City","type-id":"6fd8f29a-3d0a-32fc-980d-ea697b69da78","name":"Westmont","sort-name":"Westmont","life-span":{"ended":null}},"disambiguation":"blues 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A self-taught singer, songwriter, and film composer who plays the guitar, banjo and harmonica (among many other instruments), Mahal has done much to reshape the definition and scope of blues music over the course of his 50 year career by fusing it with non-traditional forms, including sounds from the Caribbean, Africa and the South Pacific. Read more on Last.fm","content":"Taj Mahal (born Henry Saint Clair Fredericks in New York City on May 17, 1942) is an American Grammy Award-winning blues musician who incorporates elements of world music into his music. A self-taught singer, songwriter, and film composer who plays the guitar, banjo and harmonica (among many other instruments), Mahal has done much to reshape the definition and scope of blues music over the course of his 50 year career by fusing it with non-traditional forms, including sounds from the Caribbean, Africa and the South Pacific.\n\nAfter college, Mahal moved to Los Angeles and formed the group Rising Sons with Ry Cooder in 1964. The group signed with Columbia Records and released one single and recorded another album which was not released by Columbia until 1992. Taj, frustrated with the mixed reaction to his music quit the group and went solo. Still with Columbia, he released a well received, self titled album in 1968, and based on its success released a second album, Natch'l Blues that same year. Two very different records - Giant Step, with his electric band, and solo De Ole Folks at Home - were released in 1969 together as a double album. This firmly established Taj as an American blues original. The double album The Real Thing, captured him live at this time, with a horn section.\n\nHe has received two Grammy awards in the category \"Best Contemporary Blues Album\", the first in 1997 for Señor Blues, and again in 2000 for Shoutin' in Key. He has performed on various film soundtracks including Sounder and Blues Brothers 2000, in which he also appeared. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply."}}5d:T207a,{"id":"4f48167c-29b8-4bde-a749-6803ce0a3922","type":"Person","type-id":"b6e035f4-3ce9-331c-97df-83397230b0df","score":100,"gender-id":"36d3d30a-839d-3eda-8cb3-29be4384e4a9","name":"Taj Mahal","sort-name":"Mahal, Taj","gender":"male","country":"US","area":{"id":"489ce91b-6658-3307-9877-795b68554c98","type":"Country","type-id":"06dd0ae4-8c74-30bb-b43d-95dcedf961de","name":"United States","sort-name":"United States","life-span":{"ended":null}},"begin-area":{"id":"7e037c94-d999-4611-a8fd-56e8770f2e3c","type":"District","type-id":"84039871-5e47-38ca-a66a-45e512c8290f","name":"Harlem","sort-name":"Harlem","life-span":{"ended":null}},"disambiguation":"US blues musician","ipis":["00019133899","00040672205"],"isnis":["0000000115988398"],"life-span":{"begin":"1942-05-17","ended":null},"tags":[{"count":1,"name":"folk"},{"count":3,"name":"blues"},{"count":2,"name":"blues 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King","profile":"American blues singer, guitarist, and songwriter born September 16, 1925 near Itta Bena, Mississippi and died May 14, 2015, Las Vegas, Nevada. B.B. is an abbreviation for 'Blues Boy'.\r\n\r\nKing is one of the most influential blues musicians of all time, earning the nickname \"The King of the Blues.\" He is considered one of the \"Three Kings of the Blues Guitar\" (along with [a=Albert King] and [a=Freddie King], none of whom are related). Since he started recording in the 1940s, he released over fifty albums. He previously worked as a tractor driver.\r\n\r\nIn his youth, he played on street corners for dimes, and would sometimes play in as many as four towns a night. In 1947, he hitchhiked to Memphis, TN, to pursue his music career. In Memphis, B.B. stayed with his cousin [a=Bukka White], one of the most celebrated blues performers of his time, who B.B. credits as one of his earliest mentors and teachers. King's first big break came in 1948 when he performed on [a=Sonny Boy Williamson]’s radio program on KWEM out of West Memphis. This radio performance led to steady engagements at the Sixteenth Avenue Grill in West Memphis and later to a ten-minute spot on the Memphis radio station WDIA. King's radio spot become so popular, it was expanded and became the “Sepia Swing Club.” As King worked at WDIA as a singer and disc jockey, he was given the catchy radio nickname \"Beale Street Blues Boy\", later shortened to \"Blues Boy\", and finally to \"B.B.\" \r\n\r\nIn the late 1940s and early 1950s, King was a part of the blues scene on Beale Street. \"Beale Street was where it all started for me\", King said. He performed with [a=Bobby Bland], [a=Johnny Ace], and [a=Earl Forest] in a group known as [a=The Beale Streeters]. In 1949, King made his recording debut on [l=Bullet (2)] ([l=Bullet Recording & Transcription Co.]) by issuing the single [url=https://www.discogs.com/release/7031392-BB-King-Miss-Martha-King-When-Your-Baby-Packs-Up-And-Goes]\"Miss Martha King\"[/url], which did not chart well. Later that year, he began a recording contract with Los Angeles-based [l=RPM Records (5)]. Many of King's early recordings were produced by [a=Sam Phillips (2)] (who later founded [l=Sun Record Company]). King's recording contract was followed by tours across the US, with performances in big city theatres as well as gigs in small clubs and juke joints in the southern United States. During one show in Twist, Arkansas, a fight broke out between two men and caused a fire. King evacuated with the rest of the crowd, but realizing he left his acoustic guitar inside, rushed back inside the burning building to retrieve it. He later discovered the two men were fighting over a woman named Lucille. Ever since, each one of B.B.’s trademark Gibson guitars has been called Lucille, as a reminder not to fight over women or run into any more burning buildings. \r\n\r\nIn 1952, B.B. had a number one hit with “Three O’Clock Blues,” and began touring nationally soon after. 1956 became a record-breaking year, with 342 concerts booked and three recording sessions. That same year he founded his own record label, [l=Blues Boys Kingdom], with headquarters at Beale Street in Memphis. In 1962, King signed to [l=ABC-Paramount] Records, which was later absorbed into [l=MCA Records]. In November 1964, King recorded the [m=107099] album, considered to be one of his finest recordings. In 1968, B.B. played at the [l=Newport Folk Festival] and at [a=Bill Graham (2)]’s [l=Fillmore West] on bills with the hottest contemporary rock artists of the day who idolized B.B. and helped to introduce him to a young white audience. In 1969, B.B. was chosen by [a=The Rolling Stones] as the opening act for their American tour. He won a 1970 Grammy Award for his version of the song \"The Thrill Is Gone\", which was a hit on both the Pop and R&B charts. It also gained the number 183 spot in Rolling Stone magazine's 500 Greatest Songs of All Time. From the 1980s until his death in 2015, he maintained a highly visible and active career, appearing on numerous television shows and performing as much as 300 nights a year.\r\n\r\nB.B. was inducted into the Blues Foundation Hall of Fame in 1984 and into the Rock And Roll Hall of Fame in 1987 (Performer).","urls":["https://www.bbking.com/","https://www.facebook.com/bbking","https://www.youtube.com/channel/UCRBh8rjd8umQiMMNB9_5D_w","https://en.wikipedia.org/wiki/B.B._King","https://www.britannica.com/biography/B-B-King","https://www.imdb.com/name/nm0454475/"],"namevariations":["B B King","B. B. \"Blues Boy\" King","B. B. 'Blues Boy' King","B. B. King","B. E. King","B. King","B. King Riley (B.B. King)","B. Riley King","B.B","B.B King","B.B.","B.B. \"Blues Boy\" King","B.B. (Blues Boy) King","B.B. King & The King's Men","B.B. King And His Band","B.B. ‘Blues Boy' King","B.B. キング","B.B.K ing","B.B.King","B.B.キング","B.E. King","B: B: King","BB King","BB. King","Bb King","Bi Bi King","B•B•King","B・B・キング","C. King","F. King","KIng","King","King - Riley","King Riley","King Riley B","King, B.B.","King, Riley B","King-King","Kins","P. King","Piley King","R King","R. B. King","R. King","R.B. King","R.King","Reily B. King","Rieley B. King","Riley","Riley \"B. B.\" King","Riley \"BB\" King","Riley 'B.B.' King","Riley (B.B.) King","Riley B King","Riley B, King","Riley B.","Riley B. \"B. B.\" King","Riley B. B. King","Riley B. KIng","Riley B. King","Riley B.B. King","Riley B.King","Riley Jr King","Riley King","Rioley King","Roley B. King","Rolley B. King","The King","比比金","Ｂ．Ｂ．キング"],"groups":[{"id":437878,"name":"The Louisiana Gator Boys","resource_url":"https://api.discogs.com/artists/437878","active":true},{"id":655884,"name":"B.B. King Orchestra","resource_url":"https://api.discogs.com/artists/655884","active":true},{"id":1880868,"name":"Gary Burton & Friends","resource_url":"https://api.discogs.com/artists/1880868","active":false},{"id":4004561,"name":"B.B. King & Ensemble","resource_url":"https://api.discogs.com/artists/4004561","active":true},{"id":6481253,"name":"Various Artists For Children's Promise","resource_url":"https://api.discogs.com/artists/6481253","active":true},{"id":9788497,"name":"Pinetop Perkins And Friends","resource_url":"https://api.discogs.com/artists/9788497","active":true}],"data_quality":"Needs Vote"}5f:T57a6,{"name":"B.B. 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B. King (b. September 16, 1925 in Itta Bena, Mississippi; died May 14, 2015 in Las Vegas) was a U.S. blues guitarist and songwriter. He is among the most respected electric guitarists; Rolling Stone magazine ranked him third in its list of the hundred greatest guitarists of all time.\n\nBorn as Riley B. King, he began broadcasting his music live on a Memphis radio station called WDIA. At first, he used the name The Peptikon Boy on air, which later was changed to The Beale Street Blues Boy, and then further shortened to just Blues Boy or B.B. Read more on Last.fm","content":"B. B. King (b. September 16, 1925 in Itta Bena, Mississippi; died May 14, 2015 in Las Vegas) was a U.S. blues guitarist and songwriter. He is among the most respected electric guitarists; Rolling Stone magazine ranked him third in its list of the hundred greatest guitarists of all time.\n\nBorn as Riley B. King, he began broadcasting his music live on a Memphis radio station called WDIA. At first, he used the name The Peptikon Boy on air, which later was changed to The Beale Street Blues Boy, and then further shortened to just Blues Boy or B.B.\n\nKing's first hit on the R&B charts was \"Three o'Clock in the Morning\" in 1951. He first found success outside the blues market with the 1968 remake of the Roy Hawkins tune, \"The Thrill Is Gone\", which became a hit on both pop and R&B charts, a rare feat. King's mainstream success continued throughout the 1970s with songs like \"To Know You Is to Love You\" and \"I Like to Live the Love\". From 1951 to 1985, King appeared on Billboard's R&B charts seventy-four times.\n\nKing continued to record until his 80's, compilations of classic songs with other top artists, and new collaborative material with artists like Eric Clapton.\n\nFurther facts:\nEarly life\n\nKing was born in a cabin on a cotton plantation outside of Berclair, Mississippi, to Albert King and Nora Ella Farr on September 16, 1925. In 1930, his father left the family, and his mother married another man. King was raised by his maternal grandmother Elnora Farr in Kilmichael, Mississippi.[8]\nAs a kid, King sang in the gospel choir at Elkhorn Baptist Church in Kilmichael. It seems that at the age of 12, he purchased his first guitar for $15.00,[8] although another source indicates he was given his first guitar by Bukka White, his mother's first cousin (King's grandmother and White's mother were sisters).[9] 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.\nIn 1946, King followed 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 an audience. King's appearances led to steady engagements at the Sixteenth Avenue Grill in West Memphis and later to a ten-minute spot on the Memphis radio station WDIA. King's Spot became so popular, it was expanded and became the Sepia Swing Club.\nInitially 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.\nCareer\n\n1949–2005\nIn 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.\n\n\nPerforming with his famous guitar, Lucille\nKing 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),[17] 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[18] 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.\nIn 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 instrument, a Gibson hollow electric. 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 experience, as a reminder never again to do something as stupid as run into a burning building for a replaceable guitar.\nKing 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.\nIn 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\",[14] \"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.\" King was extremely busy during this period and made 342 appearances and 3 recording sessions in 1956 alone. 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.\nKing won a 1970 Grammy Award for the song \"The Thrill Is Gone\"; his version became a hit on both the pop and R&B charts, which was rare during that time for an R&B artist. It also gained the number 183 spot in Rolling Stone magazine's 500 Greatest Songs of All Time. He gained further visibility among rock audiences as an opening act on The Rolling Stones' 1969 American Tour. King's mainstream success continued throughout the 1970s with songs like \"To Know You is to Love You\" and \"I Like to Live the Love\".\nKing was inducted into the Blues Hall of Fame in 1980, and into the Rock and Roll Hall of Fame in 1987. In 2004 he was awarded the international Polar Music Prize, given to artists \"in recognition of exceptional achievements in the creation and advancement of music.\"\n\n\nB.B. King in concert in France 1989\nFrom the 1980s onward he has continued to maintain a highly visible and active career, appearing on numerous television shows and performing 300 nights a year. In 1988, King reached a new generation of fans with the single \"When Love Comes to Town\", a collaborative effort between King and the Irish band U2 on their Rattle and Hum album. Also that year King played for the 1988 Republican National Convention at the behest of the notorious Republican operative Lee Atwater. King has remained friendly with the Bush Family ever since and in 1990 was awarded the Presidential Medal of the Arts by George H.W. Bush and the Medal of Freedom by George W. Bush in 2008. In 2000, King teamed up with guitarist Eric Clapton to record Riding With the King. In 1998, King appeared in The Blues Brothers 2000, playing the part of the lead singer of the Louisiana Gator Boys, along with Clapton, Dr. John, Koko Taylor and Bo Diddley.\n2006–present: farewell tour and later activities[edit]\nOn 2006, King went on a \"farewell\" world tour, although he has been active ever since it ended. partly supported by Northern Irish guitarist Gary Moore, with whom King had previously toured and recorded, including the song \"Since I Met You Baby\". It started in the UK, and continued with performances in the Montreux Jazz Festival and in Zürich at the Blues at Sunset. During his show in Montreux at the Stravinski Hall he jammed with Joe Sample, Randy Crawford, David Sanborn, Gladys Knight, Lella James, Andre Beeka, Earl Thomas, Stanley Clarke, John McLaughlin, Barbara Hendricks and George Duke. The European leg of the Farewell Tour ended in Luxembourg on September 19, 2006, at the D'Coque Arena (support act: Todd Sharpville). In November and December, King played six times in Brazil.\nIn June 2006, King was present at a memorial of his first radio broadcast at the Three Deuces Building in Greenwood, Mississippi, where an official marker of the Mississippi Blues Trail was erected. The same month, a groundbreaking was held for a new museum, dedicated to King.[21] in Indianola, Mississippi.[22] The B.B. King Museum and Delta Interpretive Center opened on September 13, 2008. In late October 2006, he recorded a concert CD and DVD entitled B.B. King: Live at his B.B. King Blues Clubs in Nashville and Memphis. The four-night production featured his regular B.B. King Blues Band and captured his show as he performs it nightly around the world. It was his first live performance recording in 14 years.\n\n\nB.B. King at Roy Thomson Hall, Toronto, Ontario (May 2007)\nOn 2007, King played at Eric Clapton's second Crossroads Guitar Festival (Parts of this performance were subsequently aired in a PBS broadcast and released on the Crossroads II DVD.), contributed the song \"Goin' Home\", to Goin' Home: A Tribute to Fats Domino (with Ivan Neville's DumpstaPhunk), and \"One Shoe Blues\" to Sandra Boynton's children's album Blue Moo, accompanied by a pair of sock puppets in the video.\nIn the summer of 2008, King played at the Bonnaroo Music and Arts Festival in Manchester, Tennessee, the Chicago Blues Festival, and at the Monterey Blues Festival. On the winter, King was the closing act at the 51st Grammy Nomination Concert, and played at The Kennedy Center Honors Awards Show; his performance was in honor of actor Morgan Freeman. Also in 2008 he was inducted into the Hollywood Bowl Hall of Fame alongside Liza Minnelli and Sir James Galway, and Sirius XM Radio's Bluesville channel was renamed B.B. King's Bluesville.\n\n\nEuropean Tour 2009, Vienna, July 2009\nIn Summer 2009, King started a European Tour with concerts in France, Germany, Belgium, Finland and Denmark.\nKing performed at the Mawazine festival in Rabat, Morocco, on May 27, 2010.[23] In June 2010, King performed at 2010 Crossroads Guitar Festival with The Robert Cray Band, Jimmie Vaughan and Eric Clapton. In March 2010, King contributed to Cyndi Lauper's album Memphis Blues, which was released on June 22, 2010.\nOn 2011 King played at the Glastonbury Music Festival, and in The Royal Albert Hall, London, supported by Derek Trucks and Susan Tedeschi, Ronnie Wood, Mick Hucknall and Slash.\n\n\nBarack Obama and B.B. King singing \"Sweet Home Chicago\" on February 21, 2012\nOn February 21, 2012, King was among the performers of \"In Performance at the White House: Red, White and Blues\", during which Obama sang part of \"Sweet Home Chicago\".[24] King recorded for the debut album of rapper and producer Big K.R.I.T., who also hails from Mississippi.[25] On July 5, 2012, King performed a concert at the Byblos Festival, Lebanon.\nOn May 26, 2013, King appeared at New Orleans Jazz Festival[26]\nOver a period of 64 years, King has played in excess of 15,000 performances.\nA feature documentary about B.B. King narrated by Morgan Freeman, and directed by Jon Brewer was released on October 15, 2012.\nEquipment\n\nFor more information about King's guitar, see Lucille (guitar).\nB.B. King uses simple equipment. He played guitars made by different manufacturers early in his career: he played a Fender Telecaster on most of his recordings with RPM Records (USA).[29] However, he is best known for playing variants of the Gibson ES-355. In 1980 Gibson Guitar Corporation launched the B.B. King Lucille model. In 2005 Gibson made a special run of 80 Gibson Lucilles, referred to as the \"80th Birthday Lucille\", the first prototype of which was given as a birthday gift to King, and which he has been using ever since.\nKing uses Lab Series L5 2x12\" combo amp and has been using this amp for a long time. The amp was made by Norlin Industries for Gibson in the 1970s and '80s. Other popular L5 users are Allan Holdsworth and Ty Tabor of King's X. The L5 has an onboard compressor, parametric EQ, and four inputs. King has also used a Fender Twin Reverb.\nHe uses his signature model strings \"Gibson SEG-BBS B.B. King Signature Electric Guitar Strings\" with gauges: 10-13-17p-32w-45w-54w and D'Andrea 351 MD SHL CX (Medium .71mm, Tortoise Shell, Celluloid) Picks.\nB.B. King's Blues Club[edit]\n\n\n\nSign outside B.B. King's Blues Club on Beale Street, Memphis\nIn 1991, B.B. King's Blues Club opened on Beale Street in Memphis, and in 1994, a second club was launched at Universal City Walk in Los Angeles. A third club in New York City's Times Square opened in June 2000. Two further clubs opened at Foxwoods Casino in Connecticut in January 2002 and another in Nashville in 2003. A club in West Palm Beach opened in the fall of 2009 and an additional one, based in the Mirage Hotel, Las Vegas, opened in the winter of 2009. In 2007, a B.B. King's Blues Club in Orlando opened on International Drive. The Memphis, Nashville, Orlando, West Palm Beach and Las Vegas clubs are all the same company.\nLegacy\n\nKing is widely regarded as one of the most influential blues guitarists of all time, inspiring countless other electric blues and blues-rock guitarists.\nPhilanthropy\n\nIn 2001, King signed on as an official supporter of Little Kids Rock, a non-profit organization that provides free musical instruments and instruction to children in underprivileged public schools throughout the US. He sits on LKR's Honorary Board of Directors.\nTV appearances\n\nB.B. King has made guest appearances in numerous popular television shows, including The Cosby Show, The Young and the Restless, General Hospital, The Fresh Prince of Bel-Air, Sesame Street, Married... with Children, Sanford and Son, and Touched by an Angel. He has also made a cameo in the movie Spies Like Us. He voiced in the last episode of Cow and Chicken.\nPersonal life\n\nKing has been married twice, to Martha Lee Denton, 1946 to 1952, and to Sue Carol Hall, 1958 to 1966. Both marriages ended because of the heavy demands made on the marriage by King's 250 performances a year.It is reported that he has fathered 15 children and, as of 2004, had 50 grandchildren.He has lived with Type II diabetes for over 20 years and is a high-profile spokesman in the fight against the disease, appearing in advertisements for diabetes-management products along with American Idol season 9 contestant Crystal Bowersox.\nKing is an FAA licensed Private Pilot and learned to fly in 1963 at Chicago Hammond Airport in Lansing, IL (now Lansing Municipal Airport – KIGQ).He frequently flew to gigs, but under the advice of his insurance company and manager in 1995, King was asked to fly only with another licensed pilot; and as a result, King stopped flying around the age of 70.\nExternal video\n Oral History, B.B. King reflects on his greatest musical influences. interview date August 3, 2005, NAMM (National Association of Music Merchants) Oral History Library\nHis favorite singer is Frank Sinatra. In his autobiography King speaks about how he was, and is, a \"Sinatra nut\" and how he went to bed every night listening to Sinatra's classic album In the Wee Small Hours. King has credited Sinatra for opening doors to black entertainers who were not given the chance to play in \"white-dominated\" venues; Sinatra got B.B. King into the main clubs in Las Vegas during the 1960s. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply."}}60:T309a,{"id":"dcb03ce3-67a5-4eb3-b2d1-2a12d93a38f3","type":"Person","type-id":"b6e035f4-3ce9-331c-97df-83397230b0df","score":100,"gender-id":"36d3d30a-839d-3eda-8cb3-29be4384e4a9","name":"B.B. 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Freddie King

Freddie King played 3 shows