David "Junior" Kimbrough, quite possibly the most important blues guitarist of the second half of the 20th century, redefined blues. Junior's approach to music was so hugely different from anything that came before him that he ranks among the three greatest bluesmen of all time: Son House, Bukka White, and Fred McDowell. An originator, Junior did more than build on a certain tradition or style. Junior re-imagined the blues; he made a sound for himself.
Junior couldn't remember the exact date he deliberately set out to create music but knew the reasons. He was still a young man and had gone as far as he could go at the John Deere dealership he had taken up work with. If Junior was gonna make his mark in the world, he'd have to do it with a guitar. Up until then he'd been playing the same country blues standards, as well as the contemporary hits of Little Milton and Albert King, in the same jukes and clubs that his long-time friend and rival R.L. Burnside played. And then Junior stopped playing covers and stopped taking requests. Determined not to become just another "entertainer" or "performer," Junior realized playing covers only helped the composers or the artist who first recorded the song. He wasn't going to help anybody, ever again. From then on, Junior would play Junior.
He never gave up his rural habits, like throwing parties every Sunday night with his furniture dragged out in the yard so more people could fit. Before long, he had to rent a one-bedroom apartment to get a break from the chaos he'd started at home. Junior's old house became more than a club. It was an entity: it was Junior's Place--and without help from any signs or telephones, locals gathered on Sunday nights to drink and dance. Junior understood music, and had a gift for songwriting. During this time he began developing the music that was first recorded in the mid-'80s for a Memphis State single.
Unfortunately, Junior didn't release his first album until 1992, when he was 62, but when he finally made his first album, All Night Long (produced by Robert Palmer for Fat Possum Records), the world took notice. Rolling Stone was the first to acknowledge Junior and awarded the album four stars. In addition to giving his music long overdue exposure, All Night Long gave the Fat Possum label hope. Unfortunately Junior, being in his sixties, as well as having various medical problems, was not physically able to tour now that he finally had the support of a record company. There were notable exceptions: a string of dates with Iggy Pop, and several tours with the Fat Possum Circus (a package deal). But the news traveled-- to hear Junior you had to go to Mississippi. Rock bands such as the Rolling Stones, Sonic Youth, and U2 made pilgrimages to Holly Springs to experience his club and hear Junior with his son Kinney Malone on drums and Garry Burnside on bass. Junior went on to record Sad Days, Lonely Nights, Most Things Haven't Worked Out and the posthumously released God Knows I Tried (all on Fat Possum). In addition to the 36 children he claimed, Junior had also put his brand on the blues.
Junior was 67 when died of heart failure on January 17, 1998 at Mildred Washington's (his companion of 30 years) apartment in the Holly Springs public housing project, watching TV on her couch. Junior Kimbrough still kept a one-room bachelor's apartment at the time of his death: immaculately clean, with nothing whatsoever on the walls or tables, no pictures, no tour posters, nothing. Junior knew what he had accomplished, and didn't need any souvenirs. RIP.
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"Sounds like it was not only recorded live, but recorded live down a tin can to a tape recorder at the other end of a phone, and sounding great for it!" - Mark Lamarr, BBC Radio 2
There is currently a search for two types of bands for record label consideration.
*** Note: PLEASE IDENTIFY IF YOU ARE IN GROUP 1 OR 2 IN THE SUBJECT LINE OF YOUR RESPONSE. Emails are being reviewed by different representatives.
1. A Pop/Rock/Commercial band with female lead. Band must consist of 2 guitars (Prefer both guitar players to be of lead caliber. However, one lead and one rhythm is acceptable), keyboard/piano, bass, and drums. Lead vocal, followed by backing vocals, in that order, is a plus as it relates to other members of the group. Average age of the band cannot exceed 28 years of age.
* Group must have an outstanding lead vocalist. ** Musicianship throughout the entire band must be very strong. *** Group cannot currently be under any contract of any type that is related to the music industry.
2. A Modern Rock band with male lead. Must be a complete band but there are no prerequisites as it relates to the make up of the band. Average age of the band cannot exceed 23 years of age.
* Group must have an outstanding lead vocalist. ** Musicianship throughout the entire band must be very strong. *** Group cannot currently be under any contract of any type that is related to the music industry.
XXX - If you meet the minimum qualifications as described above. Email a link for your MySpace Page and if applicable, a link for your website to: recordingartistsearch@gmail.com
Only send one email with your links. Due to the volume of responses normally received for these types of opportunities. After review of your material, you will only be contacted if there is an interest in attending one of your shows by a label representative. As such please to not send any follow up emails regarding selections. If you were not contacted back, there was not an interest.
Thank You.
PS: Before You Enter Any MySpace Contests You Might Want To Also Review The Website At: www.st
*Review by Maple Blues Magazine Online: Stu Heydon 3rd Degree Self Windsor-born Stu Heydon is a veteran bluesman with his first CD as a leader. He began his career playing with Detroit’s legendary Bobo Jenkins, to whom this CD is dedicated. A charter member of the Windsor/Detroit scene, he was also a long time member of the Wild Child Butler band after he re-located to Windsor. So he knows about the blues. Although he has since moved to Carmel CA, he recorded much of this album at Grant Avenue Studio in Hamilton with our A-List players: Prakash John & Jordan John are on bass & drums, Mike Branton on rhythm guitar, Les Smith on harp and Michael Fonfara/Bob Phillips/Dennis Keldie on keyboards. The result is a solid program of original songs. “Middle Of The Night” is a chugging opener that reminds me of Coco Montoya or John Mayall. “Closing Time”, at a similar tempo, is another one of the highlights – a packed seven minutes that goes by too quickly. The B3/lead guitar sound he likes reaches its peak on the title instrumental, a jazzy delight. The slow blues “Fooled Myself” features a lengthy solo by the unheralded Les Smith although solo may not be the right word. Heydon simply sings over the hard-working band, much as a jazz singer might. It’s unusual but works very well here. As a singer, he has a fairly limited range but he knows that and he uses it well. “Sleazy” is another instrumental with Heydon taking a good solo. Check out his web site at www.stuheydon.com. - John Valenteyn, jvalenteyn8724@rogers.com
Gitarist Stu Heydon speelt al jarenlang blues en verdiende daardoor tijdens the Motor Cities Blues Awards, de "Lifetime Achievement Award", deelde 't podium met zowat de halve top van het blueskruim en deed zowat elk betekenisvol bluesfestival in Amerika. Ook zijn er weinig stijlen binnen de blues die nog geheimen voor hem hebben. Late night jams in Bobo Jenkins befaamde studio elke zaterdag avond met de beste bluesmuzikanten van Detroit' waren een perfecte leerschool voor
Will Scott's new album, GNAWBONE is here!!! The CD is available at CDBaby and other online retailers.
Over three years in the making, GNAWBONE is Scott's fully-produced studio debut and features a crack team of hand-picked musicians as well as guest performances by Jan Bell, Jolie Holland, Samantha Parton, and Preacher Boy (the album's producer).
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