Nitty-Gritty Music Radio

British Blues legend John Mayall has died at the age of 90.
"In a 2014 interview with The Guardian, John reflected, “blues is about – and it’s always been about – that raw honesty with which it expresses our experiences in life, something which all comes together in this music, in the words as well. Something that is connected to us, common to our experiences.” That raw honesty, connection, community and playing of his will continue to affect the music and culture we experience today, and for generations to come.

I wouldn’t change anything." he told Classic Rock in 2016. "I mean, if you look at all the stuff I’ve done over the years – I’ve explored every kind of variation on the blues – it’s all added up to a wonderful career. I haven’t had hit records, but I’ve always had the artistic freedom to create music the way I want."

Musicians attested to what it meant to play with Mayall. “As far as being a blues-guitar sideman, the Bluesbreakers gig is the pinnacle. That’s Mount Everest,” said Walter Trout. “You could play with B.B. King or Buddy Guy, but you’re just gonna play chords all night. This guy features you. You get to play solos. He yells your name after every song, brings you to the front of the stage, and lets you sing. He creates a place for you in the world.”

“The reason I choose musicians is what they bring to the table, and I enjoy their work, and I want to give them an opportunity to express themselves because that’s what I hired them for,” Mayall said in a 2016 interview with Blues Blast. “So I enjoy their playing and fortunately, being a bandleader, I get to choose who I want to play with. So, I indulge my own musical enjoyment. … Improvisation is the main thing. You have your structure of the musical piece, and then you embellish it in whatever direction that evening’s performance entails. So, it’s always been the bedrock of everything I’ve done. The whole idea is to create music as you’re playing. The improvisational thing is the main part of it. You’re exploring the music.”

Photo by Michael Putland

Out from the barrio
You hear my rhythm on your radio
You feel the turning of the world, so soft and slow
It's turning you round and round...

Carlos Santana / Rob Thomas - Smooth 1999 Live Video Carlos Santana / Rob Thomas - Smooth (Album Supernatural 1999) A Evening Supernatural With Carlos Santana & Friends Live Concert 1999 Guitar - Carlos Santana...

𝙰𝚗𝚍 𝚒𝚏 𝚢𝚘𝚞 𝚐𝚒𝚟𝚎 𝚖𝚎 𝚠𝚎𝚎𝚍, 𝚠𝚑𝚒𝚝𝚎𝚜, 𝚊𝚗𝚍 𝚠𝚒𝚗𝚎
𝙰𝚗𝚍 𝚢𝚘𝚞 𝚜𝚑𝚘𝚠 𝚖𝚎 𝚊 𝚜𝚒𝚐𝚗
𝙸'𝚕𝚕 𝚋𝚎 𝚠𝚒𝚕𝚕𝚒𝚗'
𝚃𝚘 𝚋𝚎 𝚖𝚘𝚟𝚒𝚗'

Willin' (2023 Remaster) Provided to YouTube by Rhino/Warner RecordsWillin' (2023 Remaster) · Little FeatSailin' Shoes℗ 2023 Warner Records Inc., a Warner Music Group Company. All Ri...

...𝙇𝙤𝙬 𝙧𝙞𝙙𝙚𝙧 𝙞𝙨 𝙖 𝙧𝙚𝙖𝙡 𝙜𝙤𝙚𝙧...

WAR - Low Rider (Official Video) [Remastered in 4K] Watch the original music video for WAR - Low Rider from 'Why Can't We Be Friends?' (1975) newly remastered from the original 16MM film reels. For our friends...

French singer Francoise Hardy, who shot to international stardom in the 1960s, has died aged 80.

Hardy became a pop icon in the 1960s with Mick Jagger describing her as his ideal woman. Bob Dylan also wrote a poem for her and her androgynous style was imitated around the world.

Hardy’s first single in 1962 sold a million copies, making her an instant star of the "Ye-Ye" (after the Beatles "yeah, yeah, yeah") generation of post-war French pop singers.

"Singing is not something that comes easily to me," Hardy, who thought of herself as a melody-maker first and foremost, told the French-German Arte channel in a documentary.

But soon a parallel career as a cover girl beckoned, and the singer's thick fringe and bohemian style were seen everywhere.

Jacob Phillips / The Standard
Photo: Jean-Marie Périer/

Ｉｆ Ｉ Ｃｏｕｌｄ， ｔｈｅｎ Ｉ ｗｏｕｌｄ．．．

Asleep at the Wheel - If I Could I own nothing of this song, simply sharing it, all copyright goes to the artists, and record labels.

📻[𝙷𝚎𝚛𝚎 𝙸 𝚊𝚖 𝚜𝚝𝚞𝚌𝚔 𝚒𝚗 𝚝𝚑𝚎 𝚖𝚒𝚍𝚍𝚕𝚎 𝚠𝚒𝚝𝚑 𝚢𝚘𝚞]📻

Stuck in the Middle with You Provided to YouTube by Parlophone UKStuck in the Middle with You · Gerry RaffertyRest In Blue℗ under exclusive licence to Parlophone Records Limited, ℗ 2021 ...

Down in Louisiana, where the alligators grow so mean, lived a girl, that I swear to the world, Made the alligators look tame.



https://youtu.be/JyXHxh3Sye0

...𝚃𝚑𝚎𝚢'𝚛𝚎 𝚘𝚗𝚕𝚢 𝚙𝚞𝚝𝚝𝚒𝚗𝚐 𝚒𝚗 𝚊 𝚗𝚒𝚌𝚔𝚎𝚕 𝚊𝚗𝚍 𝚝𝚑𝚎𝚢 𝚠𝚊𝚗𝚝 𝚊 𝚍𝚘𝚕𝚕𝚊𝚛 𝚜𝚘𝚗𝚐...

MELANIE The Nickel Song ('71) Well you know, I don't know so many things, but I know what's been goin' on...https://www.patreon.com/MelanieSafka

B.B. King working on his album 'B.B. King In London', June 1971.
B.B King: “We asked for some British musicians to sit in with us. There was Peter Green and a whole lot of people. When we heard from Ringo, I said, ‘Oh yes, please… The Beatles.’”
Dave Chapman: “BB didn’t bring any sidemen over to London with him, but we got lucky because people like Bobby Keys and Jim Price and Dr John were already in Europe on other projects, like The Stones’ Exile On Main St album, so it was quite convenient for them to come along.”
Pete Wingfield (keyboards, Jellybread): “I was 23 when we did the In London session, so still a relatively callow youth. Mike Vernon rang me the night before and asked if I could get along to Command Studios for a BB King session. Mike suggested it might be a good idea to cobble a song together so, with the brazenness of relative youth, that’s what I did. I wrote Power Of The Blues specially for that session, wrote it overnight. Started with the title and went from there. I custom-made it to the max to be suitable for BB King. For example, even then he had a reputation of being something of a road warrior, on the road 300 days a year, so that was what I built the lyric around, and a mention of Lucille, which was his guitar.

“I didn’t have time to do a demo, I just had the lyric scribbled on a bit of paper, plonked it in front of B, and he was the most amenable of gentlemen. I think he appreciated someone having an idea rather than just waiting to be told what to do. He was completely open to it and happy to fit in with my idea of how to do it.”

Paul Butler (guitarist, Jellybread): “Like Pete, I was called up the night before, and it wasn’t until I got to Command Studios that I even knew it was a BB King session. I was wearing a shirt in which I used to play rugby when I was 14, but B was wearing a jacket and tie, very old- school, very smart.

“B was just a lovely, lovely guy, but he was also absolutely switched on to the music. I’ve backed a lot of people, Lightnin’ Slim, Eddie ‘Guitar’ Burns, and they would change chords whenever they felt like it, which is fine if you’re playing solo but, in a band, everybody has to know what’s happening. Technically, BB’s music was much sharper and you realised that you had to know what you were doing. I think he knew, though, as soon as we started to play, that we’d be good working with him.

“When you play on a BB King album, he’s the man and you’re there to back him, make him sound as good as he can. The first thing we did was called something like Getting To Know You, and it was basically just a jam. It didn’t get onto the album. I think we did three or four tracks all told that day. It was a one-day session, but quite a long day. I remember Jeremy Spencer [Fleetwood Mac] was there that day, but he didn’t play.”

Dave Chapman: “BB was not only supremely talented, he was also perhaps the nicest person I met in my 25 years in the music business. I remember one day the weather was dreadful, a force-eight gale, rain hammering down. My secretary, Denise, had an umbrella so she offered to walk BB from the studio to the Dorchester Hotel, where he was staying. As they walked along the umbrella started to leak and they both got absolutely soaked by the time they reached the hotel, which BB just thought was very funny. Several months later, when the album came out, there was a note on the cover saying, ‘Thanks to Denise with the leaky umbrella’. That was typical of BB. He never forgot anybody. It absolutely made her day.”

Command was conveniently located for the ABC-Dunhill off ices, but the lion’s share of the sessions took place at Olympic Studios, where Alexis Korner, one of the godfathers of British blues, proved to be an important contributor to the proceedings.

BB King: “There was a guy from England called Alexis Korner. He was a good player. He told me he had learned to play from a fella called Big Bill Broonzy. And boy, could he play.”

by Johnny Black ( Classic Rock )

(Photo by Estate Of Keith Morris)

...𝘾𝙤𝙢𝙚 𝙪𝙥 𝙖𝙣𝙙 𝙨𝙚𝙚 𝙢𝙚, 𝙢𝙖𝙠𝙚 𝙢𝙚 𝙨𝙢𝙞𝙡𝙚...

Steve Harley And Cockney Rebel - Make Me Smile (Come Up And See Me) (1975) (HD) Steve Harley And Cockney Rebel - Make Me Smile (Come Up And See Me) (1975) (HD)An old favourite of mine cleaned up the video & audio... enjoy... :-)

𝚂𝚘𝚢 𝚊𝚕𝚊𝚌𝚛á𝚗 𝚙𝚎𝚕ú,
𝚀𝚞𝚎 𝚙𝚒𝚌𝚊 𝚎𝚗 𝚎𝚕 𝚍𝚎𝚜𝚒𝚎𝚛𝚝𝚘.
𝙲𝚞𝚊𝚗𝚍𝚘 𝚜𝚎 𝚟𝚊 𝚕𝚊 𝚕𝚞𝚣...

El Rayo-X - David Lindley & Jackson Browne

░ CAT WALK ░




🎼 Flaco Jimenez & Lee Roy Palmer
📷

https://youtu.be/twg-nQPmfAM

Muddy Waters

In 1941, Alan Lomax showed up at Muddy’s home down on the Stovall plantation in Mississippi. Lomax had with him a portable recording rig, and they set it up in Muddy’s home. This would be the first recordings of Muddy Waters.

“He brought his stuff down and recorded me right in my house…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.”

In 1943, Muddy Waters headed to Chicago… 😎

🎙️ 🎸 🎶

📸 by Sylvia Pitcher.

A message from Leilah, Jeordie and Beau Jarred

Dear Ones,

This is the hardest post for us to write, and there are so many things we want to say, first, and there’s no easy way except to say it… Mom passed, peacefully, out of this world and into the next on January, 23rd, 2024.

We are heartbroken, but want to thank each and every one of you for the affection you have for our Mother, and to tell you that she loved all of you so much! She was one of the most talented, strong and passionate women of the era and every word she wrote, every note she sang reflected that.

Our world is much dimmer, the colors of a dreary, rainy Tennessee pale with her absence today, but we know that she is still here, smiling down on all of us, on all of you, from the stars.

We ask tonight, Wednesday January 24th, at 10pm central time, each of you lights a candle in honor of Melanie. Raise, raise them high, high up again. Illuminate the darkness, and let us all be connected in remembrance of the extraordinary woman who was wife, mother, grandmother, great-grandmother and friend to so very many people.

We are planning a Celebration of Life for Mom and it will be open to all of you who want to come and celebrate her. The details will be announced as soon as they are in place. We look forward to seeing you there.

At this time please allow us, her family, privacy as we grieve for her, remember her, and figure out how to navigate this crazy world without her.

Thank you all for your love - you meant so very much to her.

Love and Peace,

Leilah, Jeordie, and Beau Jarred

Bonnie Raitt: My role models were people that were aging, just getting more experienced and richer in their tones and in their musical abilities. Those that continued to stretch and try new things have always been an inspiration, whether it's Mick [Jagger] and Keith [Richards] or Tony Bennett or my dad or B.B. King or Charles and Ruth Brown— all of the people that I was so lucky enough to be touring with and look up to as my mentors, they seem to embrace being older and their position of emeritus, you know, being honored. The older they got, the more treasured that they were. I was grateful that I didn't have to be worried about that. I just never even think about it, except when I'm asked all the time, "What's it like to get older in the business?"

I mean, I wasn't aiming for commercial success, crossover success, but I watched a lot. I keep an eye on the industry. ... I was basically a live music artist that made my living that way, and always have been. But as I've watched other parts of the business that are more mainstream, those artists get booted off a little bit when they hit their late 40s or their late 30s. I was dismayed by that, but that's not really my end of the business.

- Jewly Hight / The Guardian

Photo: Michael Dobo

Today is National DJ Day. But I think it should be National Listener Day, because it's you the listener who make our job so very special. So Thank YOU!

Wild thing
You make my heart sing
You make everything groovy
Wild thing

The Troggs - Wild Thing Music video by The Troggs performing Wild Thing. © 1966 Mercury Records Limitedhttp://vevo.ly/ZbbOYt

Billy Gibbons

While talkin’ about Texas Blues…

“Nobody gets away from the infectious allure of those straight-ahead licks. The inventiveness of that high-and-lonesome sound remains solid and stridently strong to this day.” - Billy Gibbons (from Blues Blast Magazine)

Jazz great John McLaughlin described Jeff Beck as “the best guitarist alive”, Steve Vai as “unique in the most superlative use of the word”, and Noel Redding as his “personal favourite”. Queen’s Brian May said Beck “radically changed” his view of the guitar.
He drew upon styles including jazz, reggae, Bulgarian folk, western and Indian classical music, and influenced artists in an even wider circle of styles.
Beck’s only tool was the electric guitar and its ecosystem of pedals and amp. Despite evolutions and augmentations, this toolkit has largely stayed the same for guitarists over the past 60 years. Beck’s standard-tuned Stratocaster – with fuzz, distortion and echo pedals through Fender and Marshall amps – is, with just a little customisation to preserve tuning amid his vigorous string bending, about as classic and established as it gets.
Diverse styles explore these dimensions in differing ways. Blues tends to have a simple (but not easy) harmonic and scalar context, allowing high sophistication of articulation, pitch inflection, timbre and phrasing. Funk’s cyclical rhythmic and sometimes-only-one-chord context invites a deep connection with subtle rhythmic shifts. Pop requires ruthless commitment to melodic accessibility. Indian classical music has a drone and no harmony, allowing expressive engagement with a single pitch melody.

In general, music theory and tuition tends to see these dimensions in exact grids (a lattice of even rhythms, pitches and simple timbral markers), ignoring the vast expression between the cracks. Beck, however, engaged deeply with all of these dimensions, using their fullest range and internal nuance. His unorthodox technique was sculpted in an ego-less service to their creative expression.

He had an intuitive musical ear and technical control for sophisticated jazz harmonies, pitch inflection and melody, as well as a wide timbral finesse – from a barely audible fragile touch to a wall of dense noise. He interacted with amp feedback to turn the guitar’s usual “pluckiness” into anything from mechanical growls to uncannily vocal timbres, to other-worldly sustained flute sounds.
- The Conversation
Photo: Clive Arrowsmith

American blues was Eric Burdon’s first love. As an art student in Newcastle in the late 50s and early 60s, he soaked it all up.

“The blues pretty much meant the world to me,” he says. “It was my escape, and I made a crusade of it. I tuned in to guys like John Lee Ho**er and Muddy Waters, and found they were doing the same thing but in a much more sophisticated way; it was the first time we’d heard electric guitars. It sounded very exotic to a young hot teenager running around art school chasing the girls.”

When these great bluesmen passed through, the local promoters would ask Burdon and his mates – the music-loving “lags of Newcastle University” – to look after them.

“Back then, the Brits in every level of life didn’t know how to deal with black folks. Especially black Americans. So I was given the job of minding John Lee Ho**er when he came over, showing him around. I also used to sign his autographs; at that time he couldn’t even write his own name. He was really appreciative of that. When I eventually got to America with The Animals, the first thing I did was go to John Lee’s house in Detroit. We spent the better part of a week there.”

By Rob Hughes ( Classic Rock )
Photo by Michael Putland

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🎤 Little Feat
📷 Nitty-Gritty Photo

Bonnie Raitt

“You're right in saying that I was frustrated with the way that I sounded early on. I always wanted to sound like the most seasoned blueswomen that I'd ever heard, and like my idols that had lived the long and hard life, and a lot of the bluesmen who really just sounded as worn as they were. I drank and smoked and hung out and did everything I could to try to beat my voice into submission in my 20s, until about 27. I was on the road maybe 10 months of a year, and I think I made six albums in seven years. I can't even imagine the pace that I was going at. Finally, by the time I was 29 or 30, I actually thought I could sound almost like what I wanted to when I was singing. And by the time I was 40, it was an instrument that I could feel comfortable was really reflecting the age that I was at and experience that I'd had in the soul that I wanted to convey.” - Bonnie Raitt, (NPR)

📸 Ebet Roberts

Got nowhere to run to, baby, nowhere to hide.



🎤 Martha & The Vandellas
📷 Nitty-Gritty Photo

https://youtu.be/SbBcL0ztBww

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Nitty-Gritty Music Radio (2023) We like the music the way it should be, people with guitars singing on microphones

Koko Taylor

“I didn’t know Willie Dixon from Adam’s house cat, but he says to me, ‘I love the way you sound. We got plenty of men out here singing the blues, but the world needs a woman like you with your voice to sing the blues.’” - Koko Taylor

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𝙀𝙫𝙚𝙧𝙮𝙩𝙝𝙞𝙣𝙜, 𝙚𝙫𝙚𝙧𝙮𝙩𝙝𝙞𝙣𝙜, 𝙚𝙫𝙚𝙧𝙮𝙩𝙝𝙞𝙣𝙜 𝙜𝙤𝙣𝙣𝙖 𝙗𝙚 𝙖𝙡𝙧𝙞𝙜𝙝𝙩 𝙩𝙝𝙞𝙨 𝙢𝙤𝙧𝙣𝙞𝙣'

Muddy Waters - Mannish Boy (Live) Muddy Waters performs "Mannish Boy"http://vevo.ly/5VTX3N