Misplaced Pages

#650349

57-523: Bill Wyman's Rhythm Kings are an English blues rock band founded and led by bassist Bill Wyman of the Rolling Stones . Other personnel have varied depending on availability, an arrangement described in The Telegraph as "a fluctuating squad of veterans". Their concerts and albums tend to emphasize cover songs of blues, R&B and early rock and roll hits from the 1950s. Wyman formed

114-471: A " Mount Rushmore of a blues song". Singer and writer Billy Vera noted "if T-Bone had done nothing more in his career than write and record this one tune, his esteemed place in the history of American music would be guaranteed". As an early electric blues guitar soloist, Walker influenced a generation of blues musicians. In several interviews, B.B. King has stated that "Stormy Monday" inspired him to begin playing electric guitar: My greatest musical debt

171-453: A "club combo" or West Coast-blues style with a small back-up band. The style, as heard in " Driftin' Blues " (one of the biggest hits of the 1940s), evokes a more intimate musical setting than the prevailing jump-blues dance-hall style. Accompanying Walker is pianist Lloyd Glenn , bassist Arthur Edwards, drummer Oscar Lee Bradley, and horn players John "Teddy" Bruckner (trumpet) and Hubert "Bumps" Myers (tenor saxophone). A key feature of

228-489: A 1962 recording by Lou Rawls that was included on Rawls' Stormy Monday album with Les McCann . However, according to music writer David Whiteis, "its propulsive, pop-tinged groove and Latimore's own jubilant vocal directness made this incarnation of the classic entirely his own". The song was not initially promoted as a potential hit single; however, radio audiences responded so positively that it became his first major hit. "Stormy Monday" eventually reached number 27 on

285-543: A Break, Baby" as one of the first artists for the Los Angeles-based record company. Music writer Bill Dahl described the songs as "the first sign of the T-Bone Walker that blues guitar aficionados know and love, his fluid, elegant riffs and mellow, burnished vocals setting a standard that all future blues guitarists would measure themselves by". Shortly thereafter, his recording career was interrupted by

342-534: A form of heavy rock. Jimmy Page , who replaced Beck in the Yardbirds, followed suit with Led Zeppelin and became a major force in the 1970s heavy metal scene. Other blues rock musicians in the 1970s include Dr. Feelgood , Rory Gallagher and Robin Trower . Beginning in the early 1970s, American bands such as Aerosmith fused blues with a hard rock edge. Blues rock grew to include Southern rock bands, like

399-402: A little guitar ninth chord figure. That was a unique thing and it became T-Bone's signature. And that chord line seems to have grabbed everybody because everybody plays it with that line in it. And it's almost like a law, that you have to, when you play 'Stormy Monday.' Walker also plays twelve bars of single-string guitar solo, which writer Lenny Carlson has described as "remain[ing] largely in

456-681: A prayer asking for the Lord's help because the singer's "Crazy about my baby, yeah send her back to me". Black & White Records released "Call It Stormy Monday (But Tuesday Is Just as Bad)" in November 1947. It entered Billboard's Most Played Juke Box Race Records chart on January 24, 1948, and reached number five during a six-week stay. It was T-Bone Walker's second highest charting single (1947's "Bobby Sox Blues" reached number three). According to an article in Billboard for April 30, 1949,

513-439: A singer and dancer with jazz and early jump-blues bands, such as Les Hite and his orchestra, but by 1940 was playing electric guitar and singing in his own small combos. His particular style of jazz-influenced blues guitar and showmanship, which included playing the guitar behind his neck and while doing the splits , brought him to the attention of Capitol Records . In July 1942, Walker recorded " Mean Old World " and "I Got

570-419: A solo section where "the rhythm shifts effortlessly into an uptempo 6/8-time jazz feel". The key is usually major , but can also be minor , such as in " Black Magic Woman ". One notable difference is the frequent use of a straight eighth-note or rock rhythm instead of triplets usually found in blues. An example is Cream 's " Crossroads ". Although it was adapted from Robert Johnson 's " Cross Road Blues ",

627-578: Is a stub . You can help Misplaced Pages by expanding it . Blues rock Blues rock started with rock musicians in the United Kingdom and the United States performing American blues songs. They typically recreated electric Chicago blues songs, such as those by Willie Dixon , Muddy Waters , and Jimmy Reed , at faster tempos and with a more aggressive sound common to rock. In the UK, the style

SECTION 10

#1732787343651

684-534: Is a song written and recorded by American blues electric guitar pioneer T-Bone Walker . It is a slow twelve-bar blues performed in the West Coast blues -style that features Walker's smooth, plaintive vocal and distinctive guitar work. As well as becoming a record chart hit in 1948, it inspired B.B. King and others to take up the electric guitar. "Stormy Monday" became Walker's best-known and most-recorded song. In 1961, Bobby "Blue" Bland further popularized

741-472: Is also often played at a fast tempo, again distinguishing it from the blues. Blues rock songs often follow typical blues structures, such as twelve-bar blues , sixteen-bar blues , etc. They also use the I - IV - V progression, though there are exceptions, some pieces having a "B" section, while others remain on the I. The Allman Brothers Band 's version of " Stormy Monday ", which uses chord substitutions based on Bobby "Blue" Bland 's 1961 rendition, adds

798-461: Is included in the Grammy, Rock and Roll, and Blues Foundation halls of fame as well as the U.S. Library of Congress' National Recording Registry. T-Bone Walker was one of the earliest musicians to use the electric guitar. After moving to Los Angeles around 1936, he began performing regularly in the clubs along Central Avenue, then the center of the city's jazz and blues music scene. He started as

855-570: Is performing 'Call It Stormy Monday'". Due to its length, "Call It Stormy Monday (But Tuesday Is Just as Bad)" is shortened to "Call It Stormy Monday" or most often "Stormy Monday". Confusingly, it is also sometimes referred to as "Stormy Monday Blues", the same title as the 1942 song by Billy Eckstine and Earl Hines. According to T-Bone Walker, he specifically gave his song the longer name to set it apart. However, trouble ensued when other artists began recording it using these shortened names. Walker blamed Duke Records owner Don Robey for giving it

912-422: Is to T-Bone ...'Stormy Monday' was the first tune. 'They call it Stormy Monday', sang T-Bone, 'but Tuesday's just as bad'. Yes, Lord! The first line, the first thrilling notes, the first sound of his guitar, and the attitude in his voice was riveting. I especially loved 'Stormy Monday'—and I still sing it today. According to music journalist Charles Shaar Murray, other musicians similarly inspired to take up

969-422: The 1942–44 musicians' strike and the diversion of shellac (a key material used in the manufacture of the then-standard ten-inch 78 rpm phonograph record ) for the U.S. war effort during World War II . By 1946, Walker signed with producer Ralph Bass and Black & White Records . Although there is conflicting information regarding the recording date , "Call It Stormy Monday (But Tuesday Is Just as Bad)"

1026-693: The Chicago blues musicians Elmore James , Albert King , and Freddie King , who began incorporating rock and roll elements into their blues music during the late 1950s to early 1960s. 1963 marked the appearance of American rock guitar soloist Lonnie Mack , whose idiosyncratic, fast-paced electric blues guitar style came to be identified with the advent of blues rock as a distinct genre. His instrumentals from that period were recognizable as blues or rhythm and blues tunes, but he relied heavily upon fast-picking techniques derived from traditional American country and bluegrass genres. The best-known of these are

1083-566: The 1963 Billboard hit singles " Memphis " and "Wham!". Around the same time, the Paul Butterfield Blues Band was formed. Fronted by blues harp player and singer Paul Butterfield , it included two members from Howlin' Wolf 's touring band, bassist Jerome Arnold and drummer Sam Lay , and later two electric guitarists, Mike Bloomfield and Elvin Bishop . In 1965, its debut album, The Paul Butterfield Blues Band

1140-548: The 1990s, which saw guitarists Gary Moore , Jeff Healey , and Kenny Wayne Shepherd become popular concert attractions. Female blues singers such as Bonnie Raitt , Susan Tedeschi , Sue Foley , Joanne Shaw Taylor and Shannon Curfman recorded blues rock albums. Groups such as the Jon Spencer Blues Explosion and the White Stripes brought an edgier, more diverse style into the 2000s, while

1197-667: The Allman Brothers Band , ZZ Top and Lynyrd Skynyrd , while the British scene, except for the advent of groups such as Status Quo and Foghat , became focused on heavy metal innovation. While blues rock and hard rock shared many similarities in the early 1970s, more traditional blues styles influenced blues rock in the 1980s, when the Fabulous Thunderbirds , Stevie Ray Vaughan , Georgia Satellites and Robert Cray recorded their best-known works, and

SECTION 20

#1732787343651

1254-618: The Black Keys returned to basics. Gary Clark Jr. , known for his fusing of blues, rock and soul, has been classified as a blues rock artist, with Rolling Stone ' s Jonathan Bernstein referring to Clark's albums Blak and Blu (2012) and The Story of Sonny Boy Slim (2015) as "steeped in a sleek, modern blues-rock production style". Formed in 2017, Bulls of Prey is a successful Hungarian band in this genre. Stormy Monday " Call It Stormy Monday (But Tuesday Is Just as Bad) " (commonly referred to as " Stormy Monday ")

1311-619: The Doors and Big Brother and the Holding Company with Janis Joplin , also adapted songs by blues artists to include elements of rock. Butterfield, Canned Heat, and Joplin performed at the Monterey (1967) and Woodstock (1969) festivals. In the UK, several musicians honed their skills in a handful of British blues bands, primarily those of Cyril Davies and Alexis Korner . While the early British rhythm and blues groups, such as

1368-506: The O2 in London. In 2009, ex-Rolling Stones guitarist Mick Taylor was invited as a guest performer with Wyman's Rhythm Kings. The band have not performed live since 2014, and last released a studio album - Studio Time - in 2018. Studio albums Live albums Compilation albums Singles Video albums This article on a United Kingdom band or other musical ensemble

1425-565: The Rhythm Kings after leaving the Rolling Stones in 1993 following their worldwide tour in support of Steel Wheels and a short hiatus from the music industry, citing a desire to work in smaller clubs and avoid the pressure of being in one of the most successful rock bands in the world. On 10 December 2007, Wyman and his band appeared alongside a reunited Led Zeppelin at the Ahmet Ertegun Tribute Concert at

1482-474: The Rolling Stones , the Yardbirds , and the Animals , incorporated American R&B , rock and roll , and pop , John Mayall took a more distinctly electric blues approach. In 1966, he released Blues Breakers with Eric Clapton , the first of several influential blues rock albums. When Eric Clapton left Mayall to form Cream , they created a hybrid style with blues, rock, and jazz improvisation , which

1539-479: The US, Johnny Winter , the early Allman Brothers Band , and ZZ Top represented a hard rock trend, along with Led Zeppelin , Ten Years After , Savoy Brown , and Foghat in the UK. In the 1980s, more traditional blues styles influenced blues rock, which continues into the 2000s, with more of a return to basics. Along with hard rock, blues rock songs became the core of the music played on album-oriented rock radio in

1596-444: The United States, and later the classic rock format established there during the 1980s. Blues rock can be characterized by bluesy improvisation , extended boogie jams typically focused on electric guitar solos, and often a heavier, riff -oriented sound and feel to the songs than found in typical Chicago-style blues . Blues rock bands "borrow[ed] the idea of an instrumental combo and loud amplification from rock & roll". It

1653-422: The album, and Bobby [Bland] said, 'Hey, man, I want to do that tune. Let's do that tune, just for me'. We said, 'Okay', and we sat there and did it, just the rhythm section. I think it was two takes. Wayne Bennett , the guitar player, wanted to change something. Hamp Simmons out of Houston played an old Kay electric bass. Rather than copy Walker's arrangement, Bland felt he had to do something different with

1710-466: The arrangement. Through the album's popularity and the group's concert performances, they brought "Stormy Monday" to the attention of rock audiences. Similarly, Latimore 's 1973 recording made it popular with a later R&B audience. "Stormy Monday" is one of the most popular blues standards, with numerous renditions. As well as being necessary for blues musicians, it is also found in the repertoires of many jazz, soul, pop, and rock performers. The song

1767-676: The bass "combines with drums to create and continually emphasize continuity in the regular metric drive". Rock music uses driving rhythms and electric guitar techniques such as distortion and power chords already used by 1950s electric blues guitarists, particularly Memphis bluesmen such as Joe Hill Louis , Willie Johnson and Pat Hare . Characteristics that blues rock adopted from electric blues include its dense texture, basic blues band instrumentation, rough declamatory vocal style, heavy guitar riffs , string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, and posturing performances. Precursors to blues rock included

Bill Wyman's Rhythm Kings - Misplaced Pages Continue

1824-540: The early-mid-1960s) and his power trios , the Jimi Hendrix Experience and Band of Gypsys , had a broad and lasting influence on the development of blues rock, especially for guitarists. Clapton continued to explore several musical styles and contributed to bringing blues rock into the mainstream. In the late 1960s, Jeff Beck , with his band the Jeff Beck Group , developed blues rock into

1881-560: The electric guitar upon hearing Walker's song include Clarence "Gatemouth" Brown , Lowell Fulson , and Albert King . "Stormy Monday" has become a standard of the blues and also has a broader appeal. In addition to being necessary for virtually all blues musicians, the song is known to performers in several other genres, who would not otherwise play any blues. Its popularity is such that one encyclopedia entry concludes, "What bluesman does not have his own version?" Billy Vera wrote "rest assured, as you read these notes, someone somewhere

1938-421: The feelings of lost love through the days of week, starting on Monday: "They call it stormy Monday, but Tuesday's just as bad". The mood improves by Friday, when "the eagle flies", a metaphor for payday, which allows for carousing on Saturday. The lyrics end with Sunday, "when the blues and spirituals converged [in] a continuation of a trend used by earlier Mississippi Delta blues singers" and conclude with

1995-432: The group, consisting of vocals, two electric guitars, bass guitar, organ, and drums. It demonstrates a different style of music, however, from most Allman Brothers pieces, due to its slow tempo. Duane Allman takes the first solo, with Gregg Allman's organ solo shifting to a jazz-waltz feel, and Dickey Betts ' guitar solo being the last before a vocal coda. By means of a careful tape edit, a harmonica solo by Thom Doucette

2052-409: The middle register, but it contains some gems, particularly in the use of space, phrasing, and melodic development". The horn accompaniment has been compared to that of Count Basie 's 1930s Kansas City jazz bands. Walker uses a standard I-IV-V twelve-bar blues structure for the song and it has been notated in 12/8 time in the key of G with a tempo of 66 beats per minute . The lyrics chronicle

2109-688: The pop chart and Bland made his fourth appearance on the music variety television program American Bandstand , where he performed it to dancing teenagers. Brothers Duane and Gregg Allman began performing "Stormy Monday" with their early group, the Allman Joys , and it later became part of the Allman Brothers Band 's repertoire. A March 1971 performance of the song at the Fillmore East concert hall in New York City

2166-523: The recording influenced many guitarists, including Duane Allman . When Duke Records released Bland's version, it was inexplicably re-titled "Stormy Monday Blues". The single reached number five during a thirteen-week stay on the R&;B chart. It was also included on Bland's 1962 album Here's the Man! , which reached number 53 on the Billboard album chart. Additionally, "Stormy Monday" went to number 43 on

2223-508: The remake as "luxurious" with Walker's guitar "so crisp and clear it seems as though he's sitting right next to you". Another recording, titled "Stormy Monday", is included on the 1968 album, Stormy Monday Blues for Bluesway Records . A later recording of the song, which uses chord substitutions similar to Bobby Bland's 1961 rendition , was included on The Sounds of American Culture series on NPR in 2008. In 1983, T-Bone Walker's original "Call It Stormy Monday (But Tuesday Is Just as Bad)"

2280-482: The single remained a "strong seller" for Black & White, although it had been out since 1947. The article also announced Capitol Records' purchase of all of Walker's Black & White released and unreleased master recordings and with it the four-year remainder of his recording contract. Two months later in June, Capitol reissued the single on their label. Walker made several different studio and live recordings of

2337-414: The song for various record companies during his career. In 1956, he recorded a version, titled "Call It Stormy Monday", with pianist Lloyd Glenn, bassist Billy Hadnott, and drummer Oscar Bradley (Glenn and Bradley had performed for the original 1947 recording). It was produced by Nesuhi Ertegun and is included on Walker's 1959 album, T-Bone Blues , for Atlantic Records . Writer Bill Dahl described

Bill Wyman's Rhythm Kings - Misplaced Pages Continue

2394-553: The song was titled "Stormy Monday", the single incorrectly listed "Hines-Eckstine" as the composers. American singer Bobby Bland recorded his interpretation of the song in Nashville, Tennessee, in September 1961, during the same session that produced the song, " Turn On Your Love Light ". Drummer John "Jabo" Starks recalled T-Bone Walker's 'Stormy Monday Blues' was supposed to be a 'throwaway' tune. We had already finished

2451-447: The song with an appearance in the pop record charts. Bland introduced a new arrangement with chord substitutions , which was later used in many subsequent renditions. His version also incorrectly used the title "Stormy Monday Blues", which was copied and resulted in royalties being paid to songwriters other than Walker. The Allman Brothers Band recorded an extended version for their first live album in 1971, with additional changes to

2508-476: The song's instrumentation is Walker's prominent guitar parts, including the extensive use of ninth chords , which gives the song its distinctive sound. Author Aaron Stang explained: "The real sound of this riff is based on starting each 9th chord a whole step (2 frets) above and sliding down. If we were to analyze this movement, the first chord is technically a 13th chord resolving down to a 9th chord". Guitarist Duke Robillard added The guitar chord line, it's

2565-475: The song. Most notably, his version features chord substitutions in bars seven through ten: This minor-chord progression had been used in several of Bland's songs, including his 1957 breakthrough number " Farther Up the Road ", and is found in many subsequent renditions of "Stormy Monday". Guitarist Wayne Bennett commented that he had been influenced by T-Bone Walker and Pee Wee Crayton ; Bennett's own playing on

2622-529: The words "stormy" or "Monday". The fact that both Walker's and the Eckstine/Hines song include "Stormy Monday" in the title has led to confusion regarding the songs' true titles and authorship . There are conflicting accounts about the recording date for "Call It Stormy Monday (But Tuesday Is Just as Bad)". In an interview, Walker claimed that he recorded the song in 1940 "just before the war" (the U.S. entered World War II December 7, 1941), but that it

2679-453: The wrong title for his artists, including Bobby Bland's 1962 rendition, which appeared as "Stormy Monday Blues". Bland's version, which was an R&B and pop chart hit, was subsequently copied by other artists, who also used the incorrect title. As a result, Walker lost out on royalties when his song was misnamed "Stormy Monday Blues" and the payments were forwarded to Eckstine, Hines, and Crowder. Even though Latimore's 1973 hit version of

2736-504: Was included as one of the "500 Songs That Shaped Rock and Roll" by the Rock and Roll Hall of Fame in 1995. The U.S. National Recording Preservation Board selected the song in 2007 for inclusion in the Library of Congress ' National Recording Registry of "sound recordings that are culturally, historically or aesthetically significant". B.B. King biographer David McGee referred to it as

2793-557: Was inducted into the Blues Foundation Blues Hall of Fame in the "Classic of Blues Recording — Single or Album Track" category. Writing for the foundation, Jim O'Neal called it "one of the most influential records not only in blues history, but in guitar history". In 1991, it was inducted into the Grammy Hall of Fame which "honor[s] recordings of lasting qualitative or historical significance". The song

2850-474: Was not released because of war-time material restrictions. Journalist Dave Dexter , who worked for Capitol Records in the early 1940s, believed that Walker recorded it for Capitol before the Eckstine/Hines song (March 1942), but that it was not released because of the unavailability of shellac and the recording ban. However, Walker's first single as a band leader, "Mean Old World", which was recorded in July 1942,

2907-503: Was omitted from the issued version in 1971; it was restored to the song in the 1992 release of the Fillmore Concerts . At Fillmore East became one of the Allman Brothers Band's most popular and enduring albums; for rock audiences, their "Stormy Monday" became the definitive version of the song. American singer Latimore recorded "Stormy Monday" in 1973. His rendering of the song as an uptempo, jazz-influenced piece evokes

SECTION 50

#1732787343651

2964-439: Was popularized by groups such as the Rolling Stones , the Yardbirds , and the Animals , who put several blues songs into the pop charts. In the US, Lonnie Mack , the Paul Butterfield Blues Band , and Canned Heat were among the earliest exponents. Some of these bands also played long, involved improvisations as were then commonplace on jazz records. In the late 1960s and early 1970s, the style became more hard rock-oriented. In

3021-401: Was recorded and released on their At Fillmore East album in 1971. Their version is based on Bobby Bland's 1961 recording, but expanded to over eight minutes with improvised soloing. In the bottom of bar 8, they substituted the ♭III chord. Additionally, they substituted the V chord in bar 10 with a IVmin and the one in bar 12 with a V aug. The instrumentation of the song is typical of

3078-446: Was released as a single in November 1947. Meanwhile, " Stormy Monday Blues ", a jazz single by Earl Hines and His Orchestra with Billy Eckstine on vocals had become a number one hit on Billboard magazine's Harlem Hit Parade chart in 1942 and also reached number 23 in the magazine's pop chart. Credited to Eckstine, Hines, and Bob Crowder, the composition features a big band arrangement with different lyrics and does not include

3135-470: Was released in 1945 by Capitol. One sessionography places the recording of "Stormy Monday" on September 13, 1947, during his third session for Black & White Records. Blues writer Jim O'Neal noted that blues discographies do not show a recording date before 1947. The recording took place in Hollywood, California, and was produced by Black & White's Ralph Bass. "Stormy Monday" was performed in

3192-733: Was released. AllMusic 's Michael Erlewine commented, "Used to hearing blues covered by groups like the Rolling Stones, that first album had an enormous impact on young (and primarily White) rock players." The second album East West (1966) introduced extended soloing – the 13 minute instrumental title track included jazz and Indian raga influences – that served as a model for psychedelic and acid rock . In 1965, avid blues collectors Bob Hite and Alan Wilson formed Canned Heat . Their early recordings focused heavily on electric versions of Delta blues songs, but soon began exploring long musical improvisations (" jams ") built around John Lee Hooker songs. Other popular mid-1960s groups, such as

3249-479: Was the most innovative to date. British band Fleetwood Mac initially played traditionally-oriented electric blues, but soon evolved. Their guitarist Peter Green , who was Clapton's replacement with Mayall, brought many innovations to their music. Chicken Shack , early Jethro Tull , Keef Hartley Band and Climax Blues Band recorded blues rock songs. The electric guitar playing of Jimi Hendrix (a veteran of many American rhythm and blues and soul groups from

#650349