Little Walter - Moonshine Blues

Harmonica virtuoso Little Walter (May 1, 1930 – February 15, 1968) was a key contributor to bluesman Muddy Waters’ music through most of the 1950s. Both as a sideman and bandleader, Little Walter revolutionized the sound of blues harmonica through amplification, clasping a mike to the harp as he played. While he may not have been the first bluesman to play amplified harmonica, he explored its possibilities most fully. He was inarguably a musical genius. Little Walter could make an inexpensive, portable “mouth organ” moan and roar like a full horn section or produce an unearthly, haunting wail. Moreover, he was a tasteful and sympathetic accompanist. As journalist Robert Palmer wrote of Little Walter’s contribution to Waters’ music, “The harp lines wrapped themselves around Muddy’s vocals, now chording like an organ, now filling melodically like a horn.”

Little Walter was born Marion Walter Jacobs in rural Louisiana. Little Walter made his way north to Chicago via stops in New Orleans and Monroe, Louisiana; St. Helena, Arkansas; Memphis, Tennessee; and St. Louis, Missouri, arriving in the Windy City in 1947. That same year, he made his first recordings for the local Ora Nelle label. Little Walter and Muddy Waters first appeared on a session together when both backed Jimmy Rogers in 1949. Waters backed Little Walter on a session for Parkway Records in January 1950. That August, Little Walter first backed Muddy for the Chess label, and in October, they recorded the Waters classic “Louisiana Blues.” Nearly a year after Little Walter’s initial appearance on a Muddy Waters session for Chess, he used an amplified harmonica for the first time on a groundbreaking July 1951 session that yielded “She Moves Me.” Waters was among the earliest to recognize that blues possessed a formidable power when electrified, and with Jimmy Rogers on electric guitar and Little Walter on amplified harp, he had the hottest blues band in Chicago. Little Walter split from Waters’ band after an instrumental showcase of his that was popular with crowds – “Your Cat Will Play,” retitled “Juke” when he recorded it – became a huge solo hit. A classic juke-joint instrumental, “Juke” topped the R&B chart for eight weeks in the fall of 1952.

In addition to harmonica, Little Walter played guitar, sang and wrote songs. He recruited a backing band from the Chicago club scene (whom he rechristened the Jukes, after his big song), and they recorded and toured throughout the Fifties. On his own, Little Walter charted 14 Top Ten R&B hits for the Chess label’s Checker subsidiary. One of these, “My Babe” – written by Willie Dixon and featuring the melody from the spiritual “This Train” – went to Number One. Other sizable hits from Little Walter included “Sad Hours,” “Mean Old World,” “Blues With a Feeling,” “You’re So Fine,” “Oh, Baby” and ‘Last Night.” At Leonard Chess’s behest, Little Walter continued recording with Muddy Waters, too, adding his unmistakable harmonica to such classics as “I’m Your Hoochie Coochie Man” and “Trouble No More.”

Little Walter’s had a pervasive influence on succeeding generations of harmonica players, especially in Britain, where he was revered by a rising generation of blues-smitten rock and rollers. Unfortunately, his predilection for drinking, fighting and self-destructive behavior caught up with him. Little Walter died in 1968, at the age of 37, from head injuries suffered in a street brawl.

The Little Walter Foundation

Little Walter's Jump - Little Walter live

Little Walter playing acoustically (E harp, 2nd position - key of B), Hound Dog Taylor on guitar. From American Folk Blues Festival 1967, Germany.

Harmonica virtuoso Little Walter (May 1, 1930 – February 15, 1968) was a key contributor to bluesman Muddy Waters’ music through most of the 1950s. Both as a sideman and bandleader, Little Walter revolutionized the sound of blues harmonica through amplification, clasping a mike to the harp as he played. While he may not have been the first bluesman to play amplified harmonica, he explored its possibilities most fully. He was inarguably a musical genius. Little Walter could make an inexpensive, portable “mouth organ” moan and roar like a full horn section or produce an unearthly, haunting wail. Moreover, he was a tasteful and sympathetic accompanist. As journalist Robert Palmer wrote of Little Walter’s contribution to Waters’ music, “The harp lines wrapped themselves around Muddy’s vocals, now chording like an organ, now filling melodically like a horn.”

Little Walter was born Marion Walter Jacobs in rural Louisiana. Little Walter made his way north to Chicago via stops in New Orleans and Monroe, Louisiana; St. Helena, Arkansas; Memphis, Tennessee; and St. Louis, Missouri, arriving in the Windy City in 1947. That same year, he made his first recordings for the local Ora Nelle label. Little Walter and Muddy Waters first appeared on a session together when both backed Jimmy Rogers in 1949. Waters backed Little Walter on a session for Parkway Records in January 1950. That August, Little Walter first backed Muddy for the Chess label, and in October, they recorded the Waters classic “Louisiana Blues.” Nearly a year after Little Walter’s initial appearance on a Muddy Waters session for Chess, he used an amplified harmonica for the first time on a groundbreaking July 1951 session that yielded “She Moves Me.” Waters was among the earliest to recognize that blues possessed a formidable power when electrified, and with Jimmy Rogers on electric guitar and Little Walter on amplified harp, he had the hottest blues band in Chicago. Little Walter split from Waters’ band after an instrumental showcase of his that was popular with crowds – “Your Cat Will Play,” retitled “Juke” when he recorded it – became a huge solo hit. A classic juke-joint instrumental, “Juke” topped the R&B chart for eight weeks in the fall of 1952.

In addition to harmonica, Little Walter played guitar, sang and wrote songs. He recruited a backing band from the Chicago club scene (whom he rechristened the Jukes, after his big song), and they recorded and toured throughout the Fifties. On his own, Little Walter charted 14 Top Ten R&B hits for the Chess label’s Checker subsidiary. One of these, “My Babe” – written by Willie Dixon and featuring the melody from the spiritual “This Train” – went to Number One. Other sizable hits from Little Walter included “Sad Hours,” “Mean Old World,” “Blues With a Feeling,” “You’re So Fine,” “Oh, Baby” and ‘Last Night.” At Leonard Chess’s behest, Little Walter continued recording with Muddy Waters, too, adding his unmistakable harmonica to such classics as “I’m Your Hoochie Coochie Man” and “Trouble No More.”

Little Walter’s had a pervasive influence on succeeding generations of harmonica players, especially in Britain, where he was revered by a rising generation of blues-smitten rock and rollers. Unfortunately, his predilection for drinking, fighting and self-destructive behavior caught up with him. Little Walter died in 1968, at the age of 37, from head injuries suffered in a street brawl.

The Little Walter Foundation

Raul Seixas - O Dia Em Que A Terra Parou

Hoje Raulzito estaria completando 68 anos de idade. Vamos celebrar e relembrar.

Magic Slim & the Teardrops - Going to Mississippi

This big man of the blues was born Morris Holt in Torrence, Mississippi on August 7th, 1937.  His mother and father were sharecroppers; they lived on a farm and they all would get up early in the mornings and slop the hogs, feed the chickens, catch the mule and go out into the fields. "I still had to go to the field until I got age enough to leave home.  I got little jobs around there when I was 13 and that was when I got my hand hurt.  I hurt it in a cotton gin. I was at the gin and my hand got caught on a piece of wire going up in there, and I grabbed it and before I could turn it loose, I lost my little pinky finger."  Slim showed his musical talents early, singing in his church choir and playing piano.  After his accident he couldn't play the piano anymore because he didn't have that little pinky finger so he picked up the guitar.  He made his first guitar out of bailing wire from a broom, which he nailed to a wall.  "My Mama whopped me when I tore up her broom," he said, "but she let me keep on using it.  My Mama said later that if she had known what I'd be into later, she wouldn't have given me a whopping."

It was in 1955 when Slim made his first trip to Chicago, to play for Magic Sam, a friend of his from home.  Magic Sam also gave Slim tips on playing the guitar, and it was Sam who called his bass player "Magic Slim," because back then Slim was lean and tall and he learned from Sam quickly.  Sam told Slim to develop his own guitar style.  "Magic Sam told me, don't try to play like him, and don't try to play like no one else; he said get a sound of your own."  Slim did get a sound of his own; his guitar tone is tough and cutting, united with a virbato formed by his fingers against the strings to reproduce the sound of a slide guitar while still being able to bend the note.  Slim said, "I slide with my finger.  I use nothing on my finger, a lot of players try to get a sound like me and I play the same guitar everybody else plays."

He passed away on February 21, 2013.

Spam in May 2013

• May in figures
• Spam in the spotlight
  • Spammers target Microsoft
  • May's 'holiday' spam
• The geographical distribution of spam sources
• Malicious attachments in email
  • Special features of malicious spam
• Phishing
• Conclusion

Source: Securelist

China's Supercomputer Regains No. 1 Ranking - ScienceInsider

China's Supercomputer Regains No. 1 Ranking - ScienceInsider

China has regained the top spot on a list of the world's most powerful supercomputers. The latest version of a semiannual ranking posted yesterday shows that Tianhe-2, built by China's National University of Defense Technology, was clocked at 33.86 petaflops (a petaflop is a thousand trillion floating point operations per second). That's nearly twice as powerful as the 17.59 pflops performance of Titan, a supercomputer at Oak Ridge National Laboratory in Tennessee, which led the previous Top 500 list put out by a team of supercomputer researchers in the United States and Germany.


Tianhe-2 marks the second time a Chinese machine has been a world-beater. Tianhe-1 grabbed the top spot in November 2010 before relinquishing it 6 months later to Japan's K computer. China's second ascent demonstrates the country's sustained commitment to funding high performance computing, says Jack Dongarra, a computer scientist at the University of Tennessee, Knoxville, who closely follows international supercomputing trends. "It shows no signs of changing, only increasing," Dongarra says about China's investment in supercomputing.

The United States remains the overall supercomputing leader, with 252 of the top 500 systems. But China is in second place, with 66 machines. Japan, the United Kingdom, France, and Germany fill out the top six, with 30, 29, 23, and 19 systems, respectively.

Source: Science Insider

Little Walter - Rollin' and Tumblin'

Harmonica virtuoso Little Walter (May 1, 1930 – February 15, 1968) was a key contributor to bluesman Muddy Waters’ music through most of the 1950s. Both as a sideman and bandleader, Little Walter revolutionized the sound of blues harmonica through amplification, clasping a mike to the harp as he played. While he may not have been the first bluesman to play amplified harmonica, he explored its possibilities most fully. He was inarguably a musical genius. Little Walter could make an inexpensive, portable “mouth organ” moan and roar like a full horn section or produce an unearthly, haunting wail. Moreover, he was a tasteful and sympathetic accompanist. As journalist Robert Palmer wrote of Little Walter’s contribution to Waters’ music, “The harp lines wrapped themselves around Muddy’s vocals, now chording like an organ, now filling melodically like a horn.”

Little Walter was born Marion Walter Jacobs in rural Louisiana. Little Walter made his way north to Chicago via stops in New Orleans and Monroe, Louisiana; St. Helena, Arkansas; Memphis, Tennessee; and St. Louis, Missouri, arriving in the Windy City in 1947. That same year, he made his first recordings for the local Ora Nelle label. Little Walter and Muddy Waters first appeared on a session together when both backed Jimmy Rogers in 1949. Waters backed Little Walter on a session for Parkway Records in January 1950. That August, Little Walter first backed Muddy for the Chess label, and in October, they recorded the Waters classic “Louisiana Blues.” Nearly a year after Little Walter’s initial appearance on a Muddy Waters session for Chess, he used an amplified harmonica for the first time on a groundbreaking July 1951 session that yielded “She Moves Me.” Waters was among the earliest to recognize that blues possessed a formidable power when electrified, and with Jimmy Rogers on electric guitar and Little Walter on amplified harp, he had the hottest blues band in Chicago. Little Walter split from Waters’ band after an instrumental showcase of his that was popular with crowds – “Your Cat Will Play,” retitled “Juke” when he recorded it – became a huge solo hit. A classic juke-joint instrumental, “Juke” topped the R&B chart for eight weeks in the fall of 1952.

In addition to harmonica, Little Walter played guitar, sang and wrote songs. He recruited a backing band from the Chicago club scene (whom he rechristened the Jukes, after his big song), and they recorded and toured throughout the Fifties. On his own, Little Walter charted 14 Top Ten R&B hits for the Chess label’s Checker subsidiary. One of these, “My Babe” – written by Willie Dixon and featuring the melody from the spiritual “This Train” – went to Number One. Other sizable hits from Little Walter included “Sad Hours,” “Mean Old World,” “Blues With a Feeling,” “You’re So Fine,” “Oh, Baby” and ‘Last Night.” At Leonard Chess’s behest, Little Walter continued recording with Muddy Waters, too, adding his unmistakable harmonica to such classics as “I’m Your Hoochie Coochie Man” and “Trouble No More.”

Little Walter’s had a pervasive influence on succeeding generations of harmonica players, especially in Britain, where he was revered by a rising generation of blues-smitten rock and rollers. Unfortunately, his predilection for drinking, fighting and self-destructive behavior caught up with him. Little Walter died in 1968, at the age of 37, from head injuries suffered in a street brawl.

The Little Walter Foundation

Big Bill Broonzy 1957

Big Bill Broonzy performs "Worried Man Blues," "Hey, Hey" and "How You Want It Done."
From the DVD "A Musical Journey: The Films of Pete, Toshi and Dan Seeger." More info at http://www.guitarvideos.com/products/vestapol-dvds/a-musical-journey-the-films-of-pete-toshi-and-dan-seeger-1957-1964

Despite years of research, the details of William Lee Conley Broonzy's birth date remain problematic. He may have been born on 26 June 1893 - the date of birth he often gave - or according to Bill's twin sister Laney, it may have been in 1898. Laney claimed to have documents to prove that. However, definitive research undertaken by Bob Reisman (see www.amazon.co.uk or www.amazon.com search book "I Feel So Good") has changed the picture.

Bill often regaled audiences with tales of his birth on 26 June 1893 and that of his twin sister Laney and of his father's response to being told he had twins to care for. He claimed to have served in the US Army in France from 1918 - 1919 and to have been invited by a record company to travel to the Delta following a major flood in 1927: Turns out, that a good deal of this was fiction at worst and faction at best.

Robert Reisman's impeccable research suggests a birth date for Bill of 26th June 1903 (and in Jefferson County, Arkansas, not Scott Mississippi as previously suggested). Laney was not a twin at all but four years older than Bill. (She was born in 1898).

Bill spoke and sang about experiences in the US army and of his return from France to Arkansas/Mississippi. It turns out though, that the reported army experience was Bill's factional description of an amalgam of the stories told by black soldiers returning from overseas. A trip Bill claimed to have made to Mississippi in 1927 to the flooding was similarly untrue, but was a factional account into which Bill inserted himself.

Broonzy is/was not even his real name. He was born into the world with the name Lee Conly (note spelling) Bradley; and so it goes on.

Bill's father Frank Broonzy (Bradley) and his mother, Mittie Belcher had both been born into slavery and Bill was one of seventeen children. His first instrument was a violin which he learned to play with some tuition from his uncle, his mother's brother, Jerry Belcher. Bob Reisman suggests that there is little evidence that Jerry Belcher existed.

In Arkansas, the young Bill (Lee) worked as a violinist in local churches at the same time as working as a farm hand. He also worked as a country fiddler and local parties and picnics around Scott Mississippi. Between 1912 and 1917, Bill (Lee) worked as an itinerant preacher in and around Pine Bluff. It is not known why he changed his name.

Later, he worked in clubs around Little Rock. In about 1924, Big Bill moved to Chicago Illinois, where as a fiddle player he played occasional gigs with Papa Charlie Jackson. During this time he learned to play guitar and subsequently accompanied many blues singers, both in live performance and on record. Bill made his first recordings in 1927 (just named Big Bill) and the 1930 census records him as living in Chicago and (working as a labourer in a foundry) and his name was recorded as 'Willie Lee Broonsey' aged 28. He was living with his wife Annie (25) and his son Ellis (6).

Over the years, Big Bill became an accomplished performer in his own right. Through the 1930s he was a significant mover in founding the small group blues (singer, guitar, piano, bass drums) sound that typified Chicago bues.

On 23 December, 1938, Big Bill was one of the principal solo performers in the first "From Spirituals to Swing" concert held at the Carnegie Hall in New York City. In the programme for that performance, Broonzy was identified in the programme only as "Big Bill" (he did not become known as Big Bill Broonzy until much later in his career) and as Willie Broonzy. He was described as:

"...the best-selling blues singer on Vocalion's 'race' records, which is the musical trade designation for American Negro music that is so good that only the Negro people can be expected to buy it."

The programme recorded that the Carnegie Hall concert "will be his first appearance before a white audience".

Big Bill was a stand-in for Robert Johnson, who had been murdered in Mississippi in August that year. Hammond heard about Johnson's death just a week before the concert was due to take place. According to John Sebastian (1939) Big Bill bought a new pair of shoes and travelled to New York by bus for the concert. Where he travelled from is, however, left dangling. The inference of the text is that it was from Arkansas, but as noted above, by by late 1938 Bill was established as a session man and band leader, and as a solo performer in Chicago. Within weeks of the 1938 concert Bill was recording with small groups in a studio in the windy city.

In the 1938 programme, Big Bill performed (accompanied by boogie pianist Albert Ammons) "It Was Just a Dream" which had the audience rocking with laughter at the lines,

"Dreamed I was in the White House, sittin' in the president's chair.
I dreamed he's shaking my hand, said "Bill, I'm glad you're here".
But that was just a dream. What a dream I had on my mind.
And when I woke up, not a chair could I find"

Little Walter - Key To The Highway

Shortly after his friend Broonzy's death in 1958, in an apparent tribute to him, Little Walter recorded "Key to the Highway" as a Chicago blues. The session took place sometime in August and backing Walter (vocals and harmonica) were Muddy Waters (slide guitar), Luther Tucker (guitar), Otis Spann (piano), Willie Dixon (bass), and George Hunter or Francis Clay (drums). The song was a hit, spending fourteen weeks in the Billboard R&B chart where it reached #6 in 1958.

Harmonica virtuoso Little Walter (May 1, 1930 – February 15, 1968) was a key contributor to bluesman Muddy Waters’ music through most of the 1950s. Both as a sideman and bandleader, Little Walter revolutionized the sound of blues harmonica through amplification, clasping a mike to the harp as he played. While he may not have been the first bluesman to play amplified harmonica, he explored its possibilities most fully. He was inarguably a musical genius. Little Walter could make an inexpensive, portable “mouth organ” moan and roar like a full horn section or produce an unearthly, haunting wail. Moreover, he was a tasteful and sympathetic accompanist. As journalist Robert Palmer wrote of Little Walter’s contribution to Waters’ music, “The harp lines wrapped themselves around Muddy’s vocals, now chording like an organ, now filling melodically like a horn.”

Little Walter was born Marion Walter Jacobs in rural Louisiana. Little Walter made his way north to Chicago via stops in New Orleans and Monroe, Louisiana; St. Helena, Arkansas; Memphis, Tennessee; and St. Louis, Missouri, arriving in the Windy City in 1947. That same year, he made his first recordings for the local Ora Nelle label. Little Walter and Muddy Waters first appeared on a session together when both backed Jimmy Rogers in 1949. Waters backed Little Walter on a session for Parkway Records in January 1950. That August, Little Walter first backed Muddy for the Chess label, and in October, they recorded the Waters classic “Louisiana Blues.” Nearly a year after Little Walter’s initial appearance on a Muddy Waters session for Chess, he used an amplified harmonica for the first time on a groundbreaking July 1951 session that yielded “She Moves Me.” Waters was among the earliest to recognize that blues possessed a formidable power when electrified, and with Jimmy Rogers on electric guitar and Little Walter on amplified harp, he had the hottest blues band in Chicago. Little Walter split from Waters’ band after an instrumental showcase of his that was popular with crowds – “Your Cat Will Play,” retitled “Juke” when he recorded it – became a huge solo hit. A classic juke-joint instrumental, “Juke” topped the R&B chart for eight weeks in the fall of 1952.

In addition to harmonica, Little Walter played guitar, sang and wrote songs. He recruited a backing band from the Chicago club scene (whom he rechristened the Jukes, after his big song), and they recorded and toured throughout the Fifties. On his own, Little Walter charted 14 Top Ten R&B hits for the Chess label’s Checker subsidiary. One of these, “My Babe” – written by Willie Dixon and featuring the melody from the spiritual “This Train” – went to Number One. Other sizable hits from Little Walter included “Sad Hours,” “Mean Old World,” “Blues With a Feeling,” “You’re So Fine,” “Oh, Baby” and ‘Last Night.” At Leonard Chess’s behest, Little Walter continued recording with Muddy Waters, too, adding his unmistakable harmonica to such classics as “I’m Your Hoochie Coochie Man” and “Trouble No More.”

Little Walter’s had a pervasive influence on succeeding generations of harmonica players, especially in Britain, where he was revered by a rising generation of blues-smitten rock and rollers. Unfortunately, his predilection for drinking, fighting and self-destructive behavior caught up with him. Little Walter died in 1968, at the age of 37, from head injuries suffered in a street brawl.

The Little Walter Foundation

Big Bill Broonzy - Hey Hey

Despite years of research, the details of William Lee Conley Broonzy's birth date remain problematic. He may have been born on 26 June 1893 - the date of birth he often gave - or according to Bill's twin sister Laney, it may have been in 1898. Laney claimed to have documents to prove that. However, definitive research undertaken by Bob Reisman (see www.amazon.co.uk or www.amazon.com search book "I Feel So Good") has changed the picture.

Bill often regaled audiences with tales of his birth on 26 June 1893 and that of his twin sister Laney and of his father's response to being told he had twins to care for. He claimed to have served in the US Army in France from 1918 - 1919 and to have been invited by a record company to travel to the Delta following a major flood in 1927: Turns out, that a good deal of this was fiction at worst and faction at best.

Robert Reisman's impeccable research suggests a birth date for Bill of 26th June 1903 (and in Jefferson County, Arkansas, not Scott Mississippi as previously suggested). Laney was not a twin at all but four years older than Bill. (She was born in 1898).

Bill spoke and sang about experiences in the US army and of his return from France to Arkansas/Mississippi. It turns out though, that the reported army experience was Bill's factional description of an amalgam of the stories told by black soldiers returning from overseas. A trip Bill claimed to have made to Mississippi in 1927 to the flooding was similarly untrue, but was a factional account into which Bill inserted himself.

Broonzy is/was not even his real name. He was born into the world with the name Lee Conly (note spelling) Bradley; and so it goes on.

Bill's father Frank Broonzy (Bradley) and his mother, Mittie Belcher had both been born into slavery and Bill was one of seventeen children. His first instrument was a violin which he learned to play with some tuition from his uncle, his mother's brother, Jerry Belcher. Bob Reisman suggests that there is little evidence that Jerry Belcher existed.

In Arkansas, the young Bill (Lee) worked as a violinist in local churches at the same time as working as a farm hand. He also worked as a country fiddler and local parties and picnics around Scott Mississippi. Between 1912 and 1917, Bill (Lee) worked as an itinerant preacher in and around Pine Bluff. It is not known why he changed his name.

Later, he worked in clubs around Little Rock. In about 1924, Big Bill moved to Chicago Illinois, where as a fiddle player he played occasional gigs with Papa Charlie Jackson. During this time he learned to play guitar and subsequently accompanied many blues singers, both in live performance and on record. Bill made his first recordings in 1927 (just named Big Bill) and the 1930 census records him as living in Chicago and (working as a labourer in a foundry) and his name was recorded as 'Willie Lee Broonsey' aged 28. He was living with his wife Annie (25) and his son Ellis (6).

Over the years, Big Bill became an accomplished performer in his own right. Through the 1930s he was a significant mover in founding the small group blues (singer, guitar, piano, bass drums) sound that typified Chicago bues.

On 23 December, 1938, Big Bill was one of the principal solo performers in the first "From Spirituals to Swing" concert held at the Carnegie Hall in New York City. In the programme for that performance, Broonzy was identified in the programme only as "Big Bill" (he did not become known as Big Bill Broonzy until much later in his career) and as Willie Broonzy. He was described as:

"...the best-selling blues singer on Vocalion's 'race' records, which is the musical trade designation for American Negro music that is so good that only the Negro people can be expected to buy it."

The programme recorded that the Carnegie Hall concert "will be his first appearance before a white audience".

Big Bill was a stand-in for Robert Johnson, who had been murdered in Mississippi in August that year. Hammond heard about Johnson's death just a week before the concert was due to take place. According to John Sebastian (1939) Big Bill bought a new pair of shoes and travelled to New York by bus for the concert. Where he travelled from is, however, left dangling. The inference of the text is that it was from Arkansas, but as noted above, by by late 1938 Bill was established as a session man and band leader, and as a solo performer in Chicago. Within weeks of the 1938 concert Bill was recording with small groups in a studio in the windy city.

In the 1938 programme, Big Bill performed (accompanied by boogie pianist Albert Ammons) "It Was Just a Dream" which had the audience rocking with laughter at the lines,

"Dreamed I was in the White House, sittin' in the president's chair.
I dreamed he's shaking my hand, said "Bill, I'm glad you're here".
But that was just a dream. What a dream I had on my mind.
And when I woke up, not a chair could I find"

Junior Wells with Buddy Guy - We're Ready and Ships On The Ocean

Junior Wells' Chicago Blues Band with Buddy Guy From the album Hoodoo Man Blues - 1965

Musicians
Junior Wells - vocals , harmonica
Buddy Guy - guitar
Jack Myers - bass
Bill Warren - drums

He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack. Amazingly, Junior Wells (December 9, 1934 – January 15, 1998) kept at precisely this sort of thing for over 40 years; he was an active performer from the dawn of the '50s until his death in the late '90s. Born in Memphis, Wells learned his earliest harp licks from another future legend, Little Junior Parker, before he came to Chicago at age 12. In 1950, the teenager passed an impromptu audition for guitarists Louis and David Myers at a house party on the South Side, and the Deuces were born. When drummer Fred Below came aboard, they changed their name to the Aces.
Little Walter left Muddy Waters in 1952 (in the wake of his hit instrumental "Juke"), and Wells jumped ship to take his place with Waters. That didn't stop the Aces (who joined forces with Little Walter) from backing Wells on his initial sessions for States Records, though -- his debut date produced some seminal Chicago blues efforts, including his first reading of "Hoodoo Man," a rollicking "Cut That Out," and the blazing instrumentals "Eagle Rock" and "Junior's Wail." More fireworks ensued the next year when he encored for States with a mournful "So All Alone" and the jumping "Lawdy! Lawdy!" (Muddy Waters moonlighted on guitar for the session). Wells was already exhibiting his tempestuous side -- he was allegedly AWOL from the Army at the time.

In 1957, Wells hooked up with producer Mel London, who owned the Chief and Profile logos. The association resulted in many of Wells' most enduring sides, including "I Could Cry" and the rock & rolling "Lovey Dovey Lovely One" in 1957, the grinding national R&B hit "Little by Little" (with Willie Dixon providing vocal harmony) in 1959, and the R&B-laced classic "Messin' with the Kid" in 1960 (sporting Earl Hooker's immaculate guitar work). Wells' harp was de-emphasized during this period on record in favor of his animated vocals. With Bob Koester producing, the harpist cut an all-time classic LP for Delmark in 1965. Hoodoo Man Blues vividly captured the feel of a typical Wells set at Theresa's Lounge, even though it was cut in a studio. With Buddy Guy (initially billed as "Friendly Chap" due to his contract with Chess) providing concise lead guitar, Wells laid down definitive versions of "Snatch It Back and Hold It," "You Don't Love Me," and "Chitlin' con Carne."

The harpist made his second appearance on the national R&B lists in 1968 with a funky James Brown-tinged piece, "You're Tuff Enough," for Mercury's feisty Blue Rock logo. Wells had been working in this bag for some time, alarming the purists but delighting R&B fans; his brass-powered 1966 single for Bright Star, "Up in Heah," had previously made a lot of local noise. After a fine mid-'70s set for Delmark (On Tap), little was heard from Wells on vinyl for an extended spell, though he continued to enjoy massive appeal at home (Theresa's was his principal haunt for many a moon) and abroad (whether on his own or in partnership with Guy; they opened for the Rolling Stones on one memorable tour and cut an inconsistent but interesting album for Atco in the early '70s).

Toward the end of his career, Wells just didn't seem to be into recording anymore; a pair of sets for Telarc in the early '90s were major disappointments, but his last studio session, 1997's Come on in This House, found him on the rebound and the critics noticed: the album won the W.C. Handy Blues Award for Traditional Blues Album in 1997. Even when he came up short in the studio, Wells remained a potent live attraction, cutting a familiar swaggering figure, commanding the attention of everyone in the room with one menacing yelp or a punctuating blast from his amplified harmonica. He continued performing until he was diagnosed with lymphatic cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells stayed in the coma until he passed away on January 15, 1998. A handful of compilations were released shortly after his death, as was the film Blues Brothers 2000, which featured a cameo by Wells.

Junior Wells with Buddy Guy - Snatch It Back And Hold It and Hey Lawdy Mama

Junior Wells' Chicago Blues Band with Buddy Guy From the album Hoodoo Man Blues - 1965

Musicians
Junior Wells - vocals , harmonica
Buddy Guy - guitar
Jack Myers - bass
Bill Warren - drums

He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack. Amazingly, Junior Wells (December 9, 1934 – January 15, 1998) kept at precisely this sort of thing for over 40 years; he was an active performer from the dawn of the '50s until his death in the late '90s. Born in Memphis, Wells learned his earliest harp licks from another future legend, Little Junior Parker, before he came to Chicago at age 12. In 1950, the teenager passed an impromptu audition for guitarists Louis and David Myers at a house party on the South Side, and the Deuces were born. When drummer Fred Below came aboard, they changed their name to the Aces.
Little Walter left Muddy Waters in 1952 (in the wake of his hit instrumental "Juke"), and Wells jumped ship to take his place with Waters. That didn't stop the Aces (who joined forces with Little Walter) from backing Wells on his initial sessions for States Records, though -- his debut date produced some seminal Chicago blues efforts, including his first reading of "Hoodoo Man," a rollicking "Cut That Out," and the blazing instrumentals "Eagle Rock" and "Junior's Wail." More fireworks ensued the next year when he encored for States with a mournful "So All Alone" and the jumping "Lawdy! Lawdy!" (Muddy Waters moonlighted on guitar for the session). Wells was already exhibiting his tempestuous side -- he was allegedly AWOL from the Army at the time.

In 1957, Wells hooked up with producer Mel London, who owned the Chief and Profile logos. The association resulted in many of Wells' most enduring sides, including "I Could Cry" and the rock & rolling "Lovey Dovey Lovely One" in 1957, the grinding national R&B hit "Little by Little" (with Willie Dixon providing vocal harmony) in 1959, and the R&B-laced classic "Messin' with the Kid" in 1960 (sporting Earl Hooker's immaculate guitar work). Wells' harp was de-emphasized during this period on record in favor of his animated vocals. With Bob Koester producing, the harpist cut an all-time classic LP for Delmark in 1965. Hoodoo Man Blues vividly captured the feel of a typical Wells set at Theresa's Lounge, even though it was cut in a studio. With Buddy Guy (initially billed as "Friendly Chap" due to his contract with Chess) providing concise lead guitar, Wells laid down definitive versions of "Snatch It Back and Hold It," "You Don't Love Me," and "Chitlin' con Carne."

The harpist made his second appearance on the national R&B lists in 1968 with a funky James Brown-tinged piece, "You're Tuff Enough," for Mercury's feisty Blue Rock logo. Wells had been working in this bag for some time, alarming the purists but delighting R&B fans; his brass-powered 1966 single for Bright Star, "Up in Heah," had previously made a lot of local noise. After a fine mid-'70s set for Delmark (On Tap), little was heard from Wells on vinyl for an extended spell, though he continued to enjoy massive appeal at home (Theresa's was his principal haunt for many a moon) and abroad (whether on his own or in partnership with Guy; they opened for the Rolling Stones on one memorable tour and cut an inconsistent but interesting album for Atco in the early '70s).

Toward the end of his career, Wells just didn't seem to be into recording anymore; a pair of sets for Telarc in the early '90s were major disappointments, but his last studio session, 1997's Come on in This House, found him on the rebound and the critics noticed: the album won the W.C. Handy Blues Award for Traditional Blues Album in 1997. Even when he came up short in the studio, Wells remained a potent live attraction, cutting a familiar swaggering figure, commanding the attention of everyone in the room with one menacing yelp or a punctuating blast from his amplified harmonica. He continued performing until he was diagnosed with lymphatic cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells stayed in the coma until he passed away on January 15, 1998. A handful of compilations were released shortly after his death, as was the film Blues Brothers 2000, which featured a cameo by Wells.

Junior Wells - Messin' With The Kid

Montreux 1974 from the dvd "Muddy Waters - Messin' with the blues"

He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack. Amazingly, Junior Wells (December 9, 1934 – January 15, 1998) kept at precisely this sort of thing for over 40 years; he was an active performer from the dawn of the '50s until his death in the late '90s. Born in Memphis, Wells learned his earliest harp licks from another future legend, Little Junior Parker, before he came to Chicago at age 12. In 1950, the teenager passed an impromptu audition for guitarists Louis and David Myers at a house party on the South Side, and the Deuces were born. When drummer Fred Below came aboard, they changed their name to the Aces.
Little Walter left Muddy Waters in 1952 (in the wake of his hit instrumental "Juke"), and Wells jumped ship to take his place with Waters. That didn't stop the Aces (who joined forces with Little Walter) from backing Wells on his initial sessions for States Records, though -- his debut date produced some seminal Chicago blues efforts, including his first reading of "Hoodoo Man," a rollicking "Cut That Out," and the blazing instrumentals "Eagle Rock" and "Junior's Wail." More fireworks ensued the next year when he encored for States with a mournful "So All Alone" and the jumping "Lawdy! Lawdy!" (Muddy Waters moonlighted on guitar for the session). Wells was already exhibiting his tempestuous side -- he was allegedly AWOL from the Army at the time.

In 1957, Wells hooked up with producer Mel London, who owned the Chief and Profile logos. The association resulted in many of Wells' most enduring sides, including "I Could Cry" and the rock & rolling "Lovey Dovey Lovely One" in 1957, the grinding national R&B hit "Little by Little" (with Willie Dixon providing vocal harmony) in 1959, and the R&B-laced classic "Messin' with the Kid" in 1960 (sporting Earl Hooker's immaculate guitar work). Wells' harp was de-emphasized during this period on record in favor of his animated vocals. With Bob Koester producing, the harpist cut an all-time classic LP for Delmark in 1965. Hoodoo Man Blues vividly captured the feel of a typical Wells set at Theresa's Lounge, even though it was cut in a studio. With Buddy Guy (initially billed as "Friendly Chap" due to his contract with Chess) providing concise lead guitar, Wells laid down definitive versions of "Snatch It Back and Hold It," "You Don't Love Me," and "Chitlin' con Carne."

The harpist made his second appearance on the national R&B lists in 1968 with a funky James Brown-tinged piece, "You're Tuff Enough," for Mercury's feisty Blue Rock logo. Wells had been working in this bag for some time, alarming the purists but delighting R&B fans; his brass-powered 1966 single for Bright Star, "Up in Heah," had previously made a lot of local noise. After a fine mid-'70s set for Delmark (On Tap), little was heard from Wells on vinyl for an extended spell, though he continued to enjoy massive appeal at home (Theresa's was his principal haunt for many a moon) and abroad (whether on his own or in partnership with Guy; they opened for the Rolling Stones on one memorable tour and cut an inconsistent but interesting album for Atco in the early '70s).

Toward the end of his career, Wells just didn't seem to be into recording anymore; a pair of sets for Telarc in the early '90s were major disappointments, but his last studio session, 1997's Come on in This House, found him on the rebound and the critics noticed: the album won the W.C. Handy Blues Award for Traditional Blues Album in 1997. Even when he came up short in the studio, Wells remained a potent live attraction, cutting a familiar swaggering figure, commanding the attention of everyone in the room with one menacing yelp or a punctuating blast from his amplified harmonica. He continued performing until he was diagnosed with lymphatic cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells stayed in the coma until he passed away on January 15, 1998. A handful of compilations were released shortly after his death, as was the film Blues Brothers 2000, which featured a cameo by Wells.

Junior Wells & Buddy Guy - Little By Little

Junior Wells & Buddy Guy - Little By Little , PBS "SOUNDSTAGE" At WTTW TV STUDIOS, CHICAGO,IL,17-DEC-1971

He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack. Amazingly, Junior Wells (December 9, 1934 – January 15, 1998) kept at precisely this sort of thing for over 40 years; he was an active performer from the dawn of the '50s until his death in the late '90s. Born in Memphis, Wells learned his earliest harp licks from another future legend, Little Junior Parker, before he came to Chicago at age 12. In 1950, the teenager passed an impromptu audition for guitarists Louis and David Myers at a house party on the South Side, and the Deuces were born. When drummer Fred Below came aboard, they changed their name to the Aces.
Little Walter left Muddy Waters in 1952 (in the wake of his hit instrumental "Juke"), and Wells jumped ship to take his place with Waters. That didn't stop the Aces (who joined forces with Little Walter) from backing Wells on his initial sessions for States Records, though -- his debut date produced some seminal Chicago blues efforts, including his first reading of "Hoodoo Man," a rollicking "Cut That Out," and the blazing instrumentals "Eagle Rock" and "Junior's Wail." More fireworks ensued the next year when he encored for States with a mournful "So All Alone" and the jumping "Lawdy! Lawdy!" (Muddy Waters moonlighted on guitar for the session). Wells was already exhibiting his tempestuous side -- he was allegedly AWOL from the Army at the time.

In 1957, Wells hooked up with producer Mel London, who owned the Chief and Profile logos. The association resulted in many of Wells' most enduring sides, including "I Could Cry" and the rock & rolling "Lovey Dovey Lovely One" in 1957, the grinding national R&B hit "Little by Little" (with Willie Dixon providing vocal harmony) in 1959, and the R&B-laced classic "Messin' with the Kid" in 1960 (sporting Earl Hooker's immaculate guitar work). Wells' harp was de-emphasized during this period on record in favor of his animated vocals. With Bob Koester producing, the harpist cut an all-time classic LP for Delmark in 1965. Hoodoo Man Blues vividly captured the feel of a typical Wells set at Theresa's Lounge, even though it was cut in a studio. With Buddy Guy (initially billed as "Friendly Chap" due to his contract with Chess) providing concise lead guitar, Wells laid down definitive versions of "Snatch It Back and Hold It," "You Don't Love Me," and "Chitlin' con Carne."

The harpist made his second appearance on the national R&B lists in 1968 with a funky James Brown-tinged piece, "You're Tuff Enough," for Mercury's feisty Blue Rock logo. Wells had been working in this bag for some time, alarming the purists but delighting R&B fans; his brass-powered 1966 single for Bright Star, "Up in Heah," had previously made a lot of local noise. After a fine mid-'70s set for Delmark (On Tap), little was heard from Wells on vinyl for an extended spell, though he continued to enjoy massive appeal at home (Theresa's was his principal haunt for many a moon) and abroad (whether on his own or in partnership with Guy; they opened for the Rolling Stones on one memorable tour and cut an inconsistent but interesting album for Atco in the early '70s).

Toward the end of his career, Wells just didn't seem to be into recording anymore; a pair of sets for Telarc in the early '90s were major disappointments, but his last studio session, 1997's Come on in This House, found him on the rebound and the critics noticed: the album won the W.C. Handy Blues Award for Traditional Blues Album in 1997. Even when he came up short in the studio, Wells remained a potent live attraction, cutting a familiar swaggering figure, commanding the attention of everyone in the room with one menacing yelp or a punctuating blast from his amplified harmonica. He continued performing until he was diagnosed with lymphatic cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells stayed in the coma until he passed away on January 15, 1998. A handful of compilations were released shortly after his death, as was the film Blues Brothers 2000, which featured a cameo by Wells.

Junior Wells - Hoodoman Blues

He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack. Amazingly, Junior Wells (December 9, 1934 – January 15, 1998) kept at precisely this sort of thing for over 40 years; he was an active performer from the dawn of the '50s until his death in the late '90s. Born in Memphis, Wells learned his earliest harp licks from another future legend, Little Junior Parker, before he came to Chicago at age 12. In 1950, the teenager passed an impromptu audition for guitarists Louis and David Myers at a house party on the South Side, and the Deuces were born. When drummer Fred Below came aboard, they changed their name to the Aces.
Little Walter left Muddy Waters in 1952 (in the wake of his hit instrumental "Juke"), and Wells jumped ship to take his place with Waters. That didn't stop the Aces (who joined forces with Little Walter) from backing Wells on his initial sessions for States Records, though -- his debut date produced some seminal Chicago blues efforts, including his first reading of "Hoodoo Man," a rollicking "Cut That Out," and the blazing instrumentals "Eagle Rock" and "Junior's Wail." More fireworks ensued the next year when he encored for States with a mournful "So All Alone" and the jumping "Lawdy! Lawdy!" (Muddy Waters moonlighted on guitar for the session). Wells was already exhibiting his tempestuous side -- he was allegedly AWOL from the Army at the time.

In 1957, Wells hooked up with producer Mel London, who owned the Chief and Profile logos. The association resulted in many of Wells' most enduring sides, including "I Could Cry" and the rock & rolling "Lovey Dovey Lovely One" in 1957, the grinding national R&B hit "Little by Little" (with Willie Dixon providing vocal harmony) in 1959, and the R&B-laced classic "Messin' with the Kid" in 1960 (sporting Earl Hooker's immaculate guitar work). Wells' harp was de-emphasized during this period on record in favor of his animated vocals. With Bob Koester producing, the harpist cut an all-time classic LP for Delmark in 1965. Hoodoo Man Blues vividly captured the feel of a typical Wells set at Theresa's Lounge, even though it was cut in a studio. With Buddy Guy (initially billed as "Friendly Chap" due to his contract with Chess) providing concise lead guitar, Wells laid down definitive versions of "Snatch It Back and Hold It," "You Don't Love Me," and "Chitlin' con Carne."

The harpist made his second appearance on the national R&B lists in 1968 with a funky James Brown-tinged piece, "You're Tuff Enough," for Mercury's feisty Blue Rock logo. Wells had been working in this bag for some time, alarming the purists but delighting R&B fans; his brass-powered 1966 single for Bright Star, "Up in Heah," had previously made a lot of local noise. After a fine mid-'70s set for Delmark (On Tap), little was heard from Wells on vinyl for an extended spell, though he continued to enjoy massive appeal at home (Theresa's was his principal haunt for many a moon) and abroad (whether on his own or in partnership with Guy; they opened for the Rolling Stones on one memorable tour and cut an inconsistent but interesting album for Atco in the early '70s).

Toward the end of his career, Wells just didn't seem to be into recording anymore; a pair of sets for Telarc in the early '90s were major disappointments, but his last studio session, 1997's Come on in This House, found him on the rebound and the critics noticed: the album won the W.C. Handy Blues Award for Traditional Blues Album in 1997. Even when he came up short in the studio, Wells remained a potent live attraction, cutting a familiar swaggering figure, commanding the attention of everyone in the room with one menacing yelp or a punctuating blast from his amplified harmonica. He continued performing until he was diagnosed with lymphatic cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells stayed in the coma until he passed away on January 15, 1998. A handful of compilations were released shortly after his death, as was the film Blues Brothers 2000, which featured a cameo by Wells.

Matt Murphy - Matt Guitar Boogie

Probably best known for playing behind the Blues Brothers (and appearing prominently in their 1980 hit movie), Matt "Guitar" Murphy deserves enshrinement in the blues-guitar hall of fame anyway. His jazz-tinged, stunningly advanced riffing behind Memphis Slim elevated the towering pianist's 1950s output for United and Vee-Jay Records to new heights.
Guitar playing ran in the Murphy household (which moved from Mississippi to Memphis when Matt was a toddler). Matt and his brother Floyd both made a name for themselves on the early-'50s Memphis scene (that's Floyd on Little Junior Parker & the Blue Flames' 1953 Sun waxings of "Feelin' Good" and "Mystery Train"). Matt played with Howlin' Wolf as early as 1948 (harpist Little Junior Parker was also in the band at the time). Murphy added hot licks to early sides by Parker and Bobby Bland for Modern before latching on with Memphis Slim's House Rockers in 1952. Normally, the veteran pianist eschewed guitarists altogether, but Murphy's talent was so prodigious that he made an exception.
Murphy's consistently exciting guitar work graced Slim's United waxings from 1952-1954 and his 1958-1959 platters for Vee-Jay. Another solid Memphis Slim LP for Strand in 1961 and dates with Chuck Berry, Otis Rush, Sonny Boy Williamson, Etta James, and the Vibrations at Chess preceded Murphy's memorable appearance on the 1963 American Folk Blues Festival tour of Europe (along with Slim, Sonny Boy Williamson, Muddy Waters, Lonnie Johnson, Big Joe Williams, Victoria Spivey, and Willie Dixon). On that pioneering tour (promoted by Lippmann and Rau), Murphy commanded the spotlight with a thrilling "Matt's Guitar Boogie" that showcased his ultra-clean rapid-fire picking.

Harpist James Cotton was the sweaty beneficiary of Murphy's prowess during much of the 1970s. Murphy's crisp picking matched Cotton's high-energy blowing on the harpist's 1974 Buddah album 100% Cotton (the guitarist penned a non-stop "Boogie Thing" for the set). From there, it was on to aiding and abetting John Belushi and Dan Aykroyd's antic mugging, both on stage and in the Blues Brothers flick (where he played Aretha Franklin's guitarist hubby, convinced to come out of retirement by the boys in black).

Murphy has toured as a bandleader in recent years, having recorded an album of his own in 1990, Way Down South, for Antone's (with brother Floyd on rhythm guitar). His repertoire encompasses blues, funk, jazz, R&B, and even a few of those Blues Brothers chestnuts (he usually carries someone in the entourage to sing 'em, Belushi-style).

Everybody Needs Somebody To Love - The Blues Brothers

The Blues Brothers are what can only be described as a musical, comedic, and cinematic legend. They have become part of our culture, and have spawned countless tribute acts all across the world.

In the 1970's, John Belushi, working with National Lampoon, met with Dan Aykroyd, then a host of a children's tv program, and owner of a speakeasy called the '505 Club'. Dan, from Toronto, put on a record called 'Straight Up', by the Downchild Blues Band. John was into rock music and heavy metal, and in spite of being from Chicago, wasn't familiar with blues music. After listening to 'Everything I need Almost', and 'Shotgun Blues', John began to think about putting a blues band together. Howard Shore (Saturday Night Live's musical director), who was also there, suggested the name 'The Blues Brothers'.


 When Dan came to audition for Saturday Night Live, he regularly met with John and listened to blues records. One time, Dan showed John the cover of an album by John Lee Hooker, which showed him wearing the hat and shades that would later become the Blues Brothers trademark look. John said 'If we ever put this together, this will be the look!'. The suits and the ties that they wore came from the Beatnik Era in the 50's and the 60's, where musicians would wear straight apparel, so that they could go out into straight society and not be hassled. Also, this was a reference to the 'Men in Black', the guys in black suits that always turn up when there are UFO sightings, and tell you to be quiet about it.

Before being hired for Saturday Night Live, the Blues Brothers went to the Lone Star Cafe and performed for the first time in their full outfits. They jammed with Room Full of Blues and Willie Nelson's band. Unfortunately, they didn't have a serious place to play, so Dan and John started talking with the Saturday Night Live band. Howard Shore suggested they do a blues number on the show. Dan and John were reluctant to do that, because they weren't ready to give away the look of the Blues Brothers. So instead, they performed their first song, 'King Bee' wearing bee costumes.

After the 'King Bee' number, Dan and John re-assessed things and realised that they had the look, the music and the act for the Blues Brothers. All that was missing was a band. So they decided to put one together and go on Saturday Night Live as a regular band, just like all the other guest bands that performed each week. Tom 'Bones' Malone, the trombone player in the Saturday Night Live band, suggested that they get Steve Cropper and Donald 'Duck' Dunn, both well known and legendary blues and soul musicians from the Stax Records era. Both agreed to join the band. The Blues Brothers became a merger of the electric Chicago Blues sound, and the Memphis Stax Records R&B sound, inspired by such musicians as Otis Redding, David Porter and Isaac Hayes. When asked what songs they would like to perform, Dunn and Cropper suggested they recut 'Soul Man'. The song went on to be a number 1 single. Matt 'Guitar' Murphy was also recruited as the lead guitar player for the band.

So, the Blues Brothers Band was complete, featuring some of the best musicians around at the time. The Blues Brothers decided to release a full album, so in 1978 they recorded a live concert at the Universal Amphitheatre. The album, called 'Briefcase Full of Blues', went on to sell 3.5 million copies.

After the album went double platinum, John Belushi invited Dan Aykroyd to join him in Hollywood, where they had been asked to do a Blues Brothers movie. Dan started to write a script for the movie, and spent all of his free time doing it. In the end it was so big, that when it came time to deliver it, he wrapped it in the cover of a phone book (because it was as thick as one) The script was over 300 pages long. Dan had not only written the Blues Brothers movie, but he had also written the sequel, called 'Return of the Blues Brothers'. The script contained every bit of information there was about the Blues Brothers, including the history of the band members, and detailed biographies of Jake and Elwood Blues.

Carl Perkins - Honey Don't

"Honey Don't" is a song written by Carl Perkins, originally released on January 1, 1956 as the B-side of the "Blue Suede Shoes" single, Sun 234. Both songs became rockabilly classics. Bill Dahl of Allmusic praised the song saying, "'Honey Don't actually outclasses its more celebrated platter-mate in some ways." It has been covered by more than 20 other artists, including The Beatles, Ronnie Hawkins and Johnny Rivers.

Spam in April 2013

Contents

• April in figures
• Spam in the spotlight
  • Events in the US and malicious spam
  • Fraud
  • Holiday spam
• The geographical distribution of spam sources
• Malicious attachments in email
• Phishing
• Conclusion

Source: Securelist

Black Sabbath - Blue Suede Shoes

We've already posted about Blues Suede Shoes here in Fiel do Rock. But today we'd like to present this fantastic version from 1970 performed by Black Sabbath original lineup.