The Rolling Stones - Jumpin' Jack Flash

It's hard to write down a short note for a legend. A super group with more than sixty years of living history. And still on the road.

This way, take a look at Rolling Stones Artist Biography by Stephen Thomas Erlewine at ALLMUSIC or you can go directly to The Rolling Stones Official Web Site.

But you know, all you need to know is their music. And for that, you're on the right place.

The Rolling Stones - Sympathy For The Devil

It's hard to write down a short note for a legend. A super group with more than sixty years of living history. And still on the road.

This way, take a look at Rolling Stones Artist Biography by Stephen Thomas Erlewine at ALLMUSIC or you can go directly to The Rolling Stones Official Web Site.

But you know, all you need to know is their music. And for that, you're on the right place.

Recorded at Madison Square Garden, N.Y. 28-11-1969

Wild Horses - The Rolling Stones

It's hard to write down a short note for a legend. A super group with more than sixty years of living history. And still on the road.

This way, take a look at Rolling Stones Artist Biography by Stephen Thomas Erlewine at ALLMUSIC or you can go directly to The Rolling Stones Official Web Site.

But you know, all you need to know is their music. And for that, you're on the right place.

The Rolling Stones - Angie

One of the two official promo videos for the Rolling Stones' 1973 single "Angie". It reached number 5 in the UK singles chart, and number 1 in the US Billboard chart.

The track features on the 1973 album Goats Head Soup, and was composed by Mick Jagger and Keith Richards, and was produced by Jimmy Miller.

The song features Mick Jagger on lead vocals, Keith Richards on guitar and background vocals, Charlie Watts on drums, Mick Taylor on guitar and backing vocals, Bill Wyman on bass guitar, Nicky Hopkins on piano and strings arranged by Nicky Harrison.

This way, take a look at Rolling Stones Artist Biography by Stephen Thomas Erlewine at ALLMUSIC or you can go directly to The Rolling Stones Official Web Site.

But you know, all you need to know is their music. And for that, you're on the right place.

The Rolling Stones and Solomon Burke - Everybody Needs Somebody to Love

The Rolling Stones and Solomon Burke performing  Everybody Needs Somebody to Love live from Paris in 2003.

The Rolling Stones - I Just Want To Make Love To You

It's hard to write down a short note for a legend. A super group with more than sixty years of living history. And still on the road.

This way, take a look at Rolling Stones Artist Biography by Stephen Thomas Erlewine at ALLMUSIC or you can go directly to The Rolling Stones Official Web Site.

But you know, all you need to know is their music. And for that, you're on the right place.

Rolling Stones - Satisfaction

It's hard to write down a short note for a legend. A super group with more than sixty years of living history. And still on the road.

This way, take a look at Rolling Stones Artist Biography by Stephen Thomas Erlewine at ALLMUSIC or you can go directly to The Rolling Stoness Official Web Site.

But you know, all you need to know is their music. And for that, you're on the right place.

Rolling Stones - Paint It Black

It's hard to write down a short note for a legend. A super group with more than sixty years of living history. And still on the road.

This way, take a look at Rolling Stones Artist Biography by Stephen Thomas Erlewine at ALLMUSIC or you can go directly to The Rolling Stones Official Web Site.

But you know, all you need to know is their music. And for that, you're on the right place.

Duke Ellington - C Jam Blues

A 1942 recording of C Jam Blues beformed by Duke Ellington, Barney Bigard, Sonny Greer, Ray Nance, Joe 'Tricky Sam' Nanton, Rex Stewart, and Ben Webster.

Why I Sing the Blues - Jam Session

Eric Clapton, Stevie Ray Vaughan, Paul Butterfield, Phill Collins, Dr. John, Etta James, Chaka Khan, Albert King, Gladys Knight, Billy Ocean in a marvelous jam session with the King.

Just feel it, enjoy it, love it. This is Blues.This is Why I Sing the Blues!

Paranoid - Jam Session at Buckingham Palace Garden

Party at the Palace (Commemoration of the Golden Jubilee of Elizabeth II), Buckingham Palace Garden, 2002

On stage:
Ozzy Osbourne - Vocal
Tony Iommi - Guitar
Phil Palmer - Guitar
Pino Palladino - Bass
Phil Collins - Drums
Ray Cooper - Percusion

Smoke on The Water - Terrific Jam Session - Rock Aid Armenia

The legendary Rock Aid Armenia version of 'Smoke on the Water'.

In 1989, artists from Pink Floyd, Queen, Rush, Deep Purple, Black Sabbath, Yes, Iron Maiden and others joined forces to raise funds for people affected by the Armenian earthquake. Kerrang called it "the greatest array of hard rock talent every assembled".

Organised by Jon Dee, the remake featured David Gilmour, Brian May, Tony Iommi, Ritchie Blackmore, Alex Lifeson and Chris Squire on guitars. On vocals it had Ian Gillan, Bruce Dickinson, Paul Rogers and Bryan Adams. Keith Emerson and Geoff Downes played the keyboards and Roger Taylor played the drums.

This is the official promo video for the 2010 Wermut & Dee remix of the track. It's been released worldwide to raise funds to rebuild a children's music school in Gyumri in the Armenian earthquake zone.

A 40 minute 'Making Of' DVD/CD is available for purchase via EDEL at the following online stores:
Amazon UK: http://tinyurl.com/3djd5p8
Amazon USA: http://tinyurl.com/4x35cuw

For more information, visit http://www.RockAidArmenia.com

Please enjoy this video but do pay to buy the track and video.

Jon Dee
Founder, Rock Aid Armenia

Jefferson Airplane - White Rabbit - Woodstock

In August 1969, the Woodstock Music & Art Fair took place on a dairy farm in Bethel, NY. Over half a million people came to a 600-acre farm to hear 32 acts (leading and emerging performers of the time) play over the course of four days (August 15-18). Jefferson Airplane, Jimi Hendrix, the Grateful Dead, the Who, Janis Joplin and Crosby, Stills, Nash & Young were among the line-up. Woodstock is known as one of the greatest happenings of all time and –perhaps- the most pivotal moment in music history.

Joni Mitchell said, “Woodstock was a spark of beauty” where half-a-million kids “saw that they were part of a greater organism.” According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, “That’s what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn’t be there but were touched by it.”

By Wednesday, August 13, some 60,000 people had already arrived and set up camp. On Friday, the roads were so clogged with cars that performing artists had to arrive by helicopter. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary as swarms of people descended on the concert grounds to take part in this historic and peaceful happening. Four days of music… half a million people… rain, and the rest is history.

Richie Havens - Freedom - Woodstock

In August 1969, the Woodstock Music & Art Fair took place on a dairy farm in Bethel, NY. Over half a million people came to a 600-acre farm to hear 32 acts (leading and emerging performers of the time) play over the course of four days (August 15-18). Jefferson Airplane, Jimi Hendrix, the Grateful Dead, the Who, Janis Joplin and Crosby, Stills, Nash & Young were among the line-up. Woodstock is known as one of the greatest happenings of all time and –perhaps- the most pivotal moment in music history.

Joni Mitchell said, “Woodstock was a spark of beauty” where half-a-million kids “saw that they were part of a greater organism.” According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, “That’s what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn’t be there but were touched by it.”

By Wednesday, August 13, some 60,000 people had already arrived and set up camp. On Friday, the roads were so clogged with cars that performing artists had to arrive by helicopter. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary as swarms of people descended on the concert grounds to take part in this historic and peaceful happening. Four days of music… half a million people… rain, and the rest is history.

Woodstock - Ten Years After - I'm Going Home

In August 1969, the Woodstock Music & Art Fair took place on a dairy farm in Bethel, NY. Over half a million people came to a 600-acre farm to hear 32 acts (leading and emerging performers of the time) play over the course of four days (August 15-18). Jefferson Airplane, Jimi Hendrix, the Grateful Dead, the Who, Janis Joplin and Crosby, Stills, Nash & Young were among the line-up. Woodstock is known as one of the greatest happenings of all time and –perhaps- the most pivotal moment in music history.

Joni Mitchell said, “Woodstock was a spark of beauty” where half-a-million kids “saw that they were part of a greater organism.” According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, “That’s what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn’t be there but were touched by it.”

By Wednesday, August 13, some 60,000 people had already arrived and set up camp. On Friday, the roads were so clogged with cars that performing artists had to arrive by helicopter. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary as swarms of people descended on the concert grounds to take part in this historic and peaceful happening. Four days of music… half a million people… rain, and the rest is history.

Johnny Winter - Woodstock

In August 1969, the Woodstock Music & Art Fair took place on a dairy farm in Bethel, NY. Over half a million people came to a 600-acre farm to hear 32 acts (leading and emerging performers of the time) play over the course of four days (August 15-18). Jefferson Airplane, Jimi Hendrix, the Grateful Dead, the Who, Janis Joplin and Crosby, Stills, Nash & Young were among the line-up. Woodstock is known as one of the greatest happenings of all time and –perhaps- the most pivotal moment in music history.

Joni Mitchell said, “Woodstock was a spark of beauty” where half-a-million kids “saw that they were part of a greater organism.” According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, “That’s what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn’t be there but were touched by it.”

By Wednesday, August 13, some 60,000 people had already arrived and set up camp. On Friday, the roads were so clogged with cars that performing artists had to arrive by helicopter. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary as swarms of people descended on the concert grounds to take part in this historic and peaceful happening. Four days of music… half a million people… rain, and the rest is history.

Jimi Hendrix - Woodstock

In August 1969, the Woodstock Music & Art Fair took place on a dairy farm in Bethel, NY. Over half a million people came to a 600-acre farm to hear 32 acts (leading and emerging performers of the time) play over the course of four days (August 15-18). Jefferson Airplane, Jimi Hendrix, the Grateful Dead, the Who, Janis Joplin and Crosby, Stills, Nash & Young were among the line-up. Woodstock is known as one of the greatest happenings of all time and –perhaps- the most pivotal moment in music history.

Joni Mitchell said, “Woodstock was a spark of beauty” where half-a-million kids “saw that they were part of a greater organism.” According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, “That’s what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn’t be there but were touched by it.”

By Wednesday, August 13, some 60,000 people had already arrived and set up camp. On Friday, the roads were so clogged with cars that performing artists had to arrive by helicopter. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary as swarms of people descended on the concert grounds to take part in this historic and peaceful happening. Four days of music… half a million people… rain, and the rest is history.

Joe Cocker - With A Little Help Of My Friends - Woodstock

In August 1969, the Woodstock Music & Art Fair took place on a dairy farm in Bethel, NY. Over half a million people came to a 600-acre farm to hear 32 acts (leading and emerging performers of the time) play over the course of four days (August 15-18). Jefferson Airplane, Jimi Hendrix, the Grateful Dead, the Who, Janis Joplin and Crosby, Stills, Nash & Young were among the line-up. Woodstock is known as one of the greatest happenings of all time and –perhaps- the most pivotal moment in music history.

Joni Mitchell said, “Woodstock was a spark of beauty” where half-a-million kids “saw that they were part of a greater organism.” According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, “That’s what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn’t be there but were touched by it.”

By Wednesday, August 13, some 60,000 people had already arrived and set up camp. On Friday, the roads were so clogged with cars that performing artists had to arrive by helicopter. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary as swarms of people descended on the concert grounds to take part in this historic and peaceful happening. Four days of music… half a million people… rain, and the rest is history.

Raul Seixas - Aos trancos e barrancos - 21/08/2016

E já se passaram...27 anos! Saúde!

Santana Woodstock Soul Sacrifice

In August 1969, the Woodstock Music & Art Fair took place on a dairy farm in Bethel, NY. Over half a million people came to a 600-acre farm to hear 32 acts (leading and emerging performers of the time) play over the course of four days (August 15-18). Jefferson Airplane, Jimi Hendrix, the Grateful Dead, the Who, Janis Joplin and Crosby, Stills, Nash & Young were among the line-up. Woodstock is known as one of the greatest happenings of all time and –perhaps- the most pivotal moment in music history.

Joni Mitchell said, “Woodstock was a spark of beauty” where half-a-million kids “saw that they were part of a greater organism.” According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, “That’s what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn’t be there but were touched by it.”

By Wednesday, August 13, some 60,000 people had already arrived and set up camp. On Friday, the roads were so clogged with cars that performing artists had to arrive by helicopter. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary as swarms of people descended on the concert grounds to take part in this historic and peaceful happening. Four days of music… half a million people… rain, and the rest is history.

Crosby, Stills, Nash & Young - Judy Blues Eyes - Woodstock

In August 1969, the Woodstock Music & Art Fair took place on a dairy farm in Bethel, NY. Over half a million people came to a 600-acre farm to hear 32 acts (leading and emerging performers of the time) play over the course of four days (August 15-18). Jefferson Airplane, Jimi Hendrix, the Grateful Dead, the Who, Janis Joplin and Crosby, Stills, Nash & Young were among the line-up. Woodstock is known as one of the greatest happenings of all time and –perhaps- the most pivotal moment in music history.

Joni Mitchell said, “Woodstock was a spark of beauty” where half-a-million kids “saw that they were part of a greater organism.” According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, “That’s what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn’t be there but were touched by it.”

By Wednesday, August 13, some 60,000 people had already arrived and set up camp. On Friday, the roads were so clogged with cars that performing artists had to arrive by helicopter. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary as swarms of people descended on the concert grounds to take part in this historic and peaceful happening. Four days of music… half a million people… rain, and the rest is history.

The Who - My Generation - Woodstock

In August 1969, the Woodstock Music & Art Fair took place on a dairy farm in Bethel, NY. Over half a million people came to a 600-acre farm to hear 32 acts (leading and emerging performers of the time) play over the course of four days (August 15-18). Jefferson Airplane, Jimi Hendrix, the Grateful Dead, the Who, Janis Joplin and Crosby, Stills, Nash & Young were among the line-up. Woodstock is known as one of the greatest happenings of all time and –perhaps- the most pivotal moment in music history.

Joni Mitchell said, “Woodstock was a spark of beauty” where half-a-million kids “saw that they were part of a greater organism.” According to Michael Lang, one of four young men who formed Woodstock Ventures to produce the festival, “That’s what means the most to me – the connection to one another felt by all of us who worked on the festival, all those who came to it, and the millions who couldn’t be there but were touched by it.”

By Wednesday, August 13, some 60,000 people had already arrived and set up camp. On Friday, the roads were so clogged with cars that performing artists had to arrive by helicopter. Though over 100,000 tickets were sold prior to the festival weekend, they became unnecessary as swarms of people descended on the concert grounds to take part in this historic and peaceful happening. Four days of music… half a million people… rain, and the rest is history.

Canned Heat - On the Road Again - Woodstock

Canned Heat rose to fame because their knowledge and love of blues music was both wide and deep. Emerging in 1966, Canned Heat was founded by blues historians and record collectors Alan “Blind Owl” Wilson and Bob “The Bear” Hite. Hite took the name “Canned Heat” from a 1928 recording by Tommy Johnson. They were joined by Henry “The Sunflower” Vestine, another ardent record collector who was a former member of Frank Zappa’s Mothers of Invention. Rounding out the band in 1967 were Larry “The Mole” Taylor on bass, an experienced session musician who had played with Jerry Lee Lewis and The Monkees and Adolfo “Fito” de la Parra on drums who had played in two of the biggest Latin American bands, Los Sinners and Los Hooligans.

The band attained three worldwide hits, “On The Road Again” in 1968, “Let’s Work Together” in 1970 and “Going Up The Country” in 1969 became rock anthems throughout the world with the later being adopted as the unofficial theme song for the film Woodstock and the “Woodstock Generation.”

They secured their niche in the pages of rock ‘n roll history with their performances at the 1967 Monterey Pop Festival (along with Jimi Hendrix, Janis Joplin and The Who) and the headlining slot at the original Woodstock Festival in 1969. The band can boast of collaborations with John Mayall and Little Richard and later with blues icon, John Lee Hooker, the musician that they initially got much of their musical inspiration from in the first place. This union produced the spirited and revered album, “Hooker ‘n Heat.” The band is also credited with bringing a number of other forgotten bluesmen to the forefront of modern blues including Sunnyland Slim, who they found driving a taxi in Chicago, Skip James, who they found in a hospital in Tunica, Mississippi and took to the Newport Festival, Memphis Slim and Clarence “Gatemouth” Brown with whom they recorded in France and Albert Collins.

On September 3rd, 1970, the band was shattered by the suicide of Alan Wilson. His death sparked reconstruction within the group and member changes have continued throughout the past three decades. On April 5th, 1981, at the Palamino in Los Angeles, gargantuan vocalist,Bob Hite, collapsed and died of a heart attack and on October 20th, 1997, Henry Vestine died in Paris, France following the final gig of a European tour. In 2008, singer/harmonica frontman Robert Lucas passed away from a drug overdose.

Despite these untimely deaths and assorted musical trends, Canned Heat has survived. They have performed at world-renowned venues such as Paris’ Olympia, both Fillmore Auditoriums, The Kaleidoscope, Carnegie Hall (with John Lee Hooker), Madison Square Garden and even Royal Albert Hall and have played more biker festivals and charity events than any other band in the world. They and/or their music have been featured on television (In Concert, David Frost, MervGriffin, Midnight Special, Playboy After Dark, etc.), and in films (“Woodstock,” “Flashback,” and “Forrest Gump”) etc. Their legend has recently been heard and felt in various television commercials (“On The Road Again” for Miller Beer, “Goin’ Up The Country” for Pepsi, Chevrolet and McDonalds, “Let’s Work Together” for Lloyd’s Bank, England’s Electric Company and for Target Stores along with other songs for 7-Up, Levi’s and Heineken Beer).

Now, more than fifty years later and with thirty-eight albums to their credit, Canned Heat is still going strong. They have been anchored throughout the past forty-five years by the steady hand of drummer/band leader Adolfo “Fito” de la Parra. Joining “Fito” is original bassist Larry “The Mole” Taylor and New Orleans legend, Dale Spalding on harmonica, guitar and lead vocals. Chicago great Harvey Mandel is the regular guitarist but has been temporarily replaced by John “JP” Paulus while “The Snake” deals with serious health issues.

Aretha Franklin and Big Mama Thornton - Nobody Knows You When You're Down and Out

"Nobody Knows You When You're Down and Out" is a blues standard written by Jimmy Cox in 1923. Its lyric, told from the point of view of a one-time millionaire during the Prohibition era, reflects on the fleeting nature of material wealth and the friendships that come and go with it.

Bessie Smith recorded the song on May 15, 1929 in New York. Unlike the earlier versions, Bessie Smith recorded the song with instrumental accompaniment, including a small trumpet section. When Smith's record was released on September 13, 1929 (a Friday), the lyrics turned out to be oddly prophetic. The New York stock market had reached an all-time high less than two weeks earlier, only to go into its biggest decline two weeks later in the Wall Street Crash of 1929, which signaled the beginning of the ten-year Great Depression.

Here we can see two legends of Blues performing the song. Nothing less than the ladies Aretha Franklin and Big Mama Thornton.

Johnny Winter - Still Alive and Well

Johnny Winter has been a guitar hero without equal. Signing to Columbia records in 1969 called largest solo artist deal of it’s time, Johnny immediately laid out the blueprint for his fresh take on classic blues a prime combination for the legions of fans just discovering the blues via the likes of Jimmy Page and Eric Clapton. Constantly shifting between simple country blues in the vein of Robert Johnson, to all-out electric slide guitar blues-rock, – Johnny has always been one of the most respected singers and guitar players in rock and the clear link between British blues-rock and American Southern rock (a la the Allman Brothers and Lynyrd Skynyrd.) Throughout the ’70s and ’80s, Johnny was the unofficial torch-bearer for the blues, championing and aiding the careers of his idols like Muddy Waters and John Lee Hooker.

Stevie Ray Vaughan - The House Is Rockin

With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Buddy Guy, and Albert Collins and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as jazz guitarists like Kenny Burrell and Wes Montgomery, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. Vaughan bridged the gap between blues and rock like no other artist had since the late '60s. From 1983 to 1990 Stevie Ray was the leading light in American blues, consistently selling out concerts while his albums regularly went gold. His tragic death in 1990 at age 35 cut short a brilliant career in blues and American rock & roll just as he was on the brink of superstardom.

Jimi Hendrix - Fire

James Marshall Hendrix
November 27th, 1942 - September 18, 1970

Widely recognized as one of the most creative and influential musicians of the 20th century, Jimi Hendrix pioneered the explosive possibilities of the electric guitar. Hendrix's innovative style of combining fuzz, feedback and controlled distortion created a new musical form. Because he was unable to read or write music, it is nothing short of remarkable that Jimi Hendrix's meteoric rise in the music took place in just four short years. His musical language continues to influence a host of modern musicians, from George Clinton to Miles Davis, and Steve Vai to Jonny Lang.
Jimi Hendrix, born Johnny Allen Hendrix at 10:15 a.m. on November 27, 1942, at Seattle's King County Hospital, was later renamed James Marshall by his father, James "Al" Hendrix. Young Jimmy (as he was referred to at the time) took an interest in music, drawing influence from virtually every major artist at the time, including B.B. King, Muddy Waters, Howlin' Wolf, Buddy Holly, and Robert Johnson. Entirely self-taught, Jimmy's inability to read music made him concentrate even harder on the music he heard.
Al took notice of Jimmy's interest in the guitar, recalling, "I used to have Jimmy clean up the bedroom all the time while I was gone, and when I would come home I would find a lot of broom straws around the foot of the bed. I'd say to him, `Well didn't you sweep up the floor?' and he'd say, `Oh yeah,' he did. But I'd find out later that he used to be sitting at the end of the bed there and strumming the broom like he was playing a guitar." Al found an old one-string ukulele, which he gave to Jimmy to play a huge improvement over the broom.
By the summer of 1958, Al had purchased Jimmy a five-dollar, second-hand acoustic guitar from one of his friends. Shortly thereafter, Jimmy joined his first band, The Velvetones. After a three-month stint with the group, Jimmy left to pursue his own interests. The following summer, Al purchased Jimmy his first electric guitar, a Supro Ozark 1560S; Jimi used it when he joined The Rocking Kings.
In 1961, Jimmy left home to enlist in the United States Army and in November 1962 earned the right to wear the "Screaming Eagles" patch for the paratroop division. While stationed at Fort Campbell, Kentucky, Jimmy formed The King Casuals with bassist Billy Cox. After being discharged due to an injury he received during a parachute jump, Jimmy began working as a session guitarist under the name Jimmy James. By the end of 1965, Jimmy had played with several marquee acts, including Ike and Tina Turner, Sam Cooke, the Isley Brothers, and Little Richard. Jimmy parted ways with Little Richard to form his own band, Jimmy James and the Blue Flames, shedding the role of back-line guitarist for the spotlight of lead guitar.
Throughout the latter half of 1965, and into the first part of 1966, Jimmy played the rounds of smaller venues throughout Greenwich Village, catching up with Animals' bassist Chas Chandler during a July performance at Caf‚ Wha? Chandler was impressed with Jimmy's performance and returned again in September 1966 to sign Hendrix to an agreement that would have him move to London to form a new band.
Switching gears from bass player to manager, Chandler's first task was to change Hendrix's name to "Jimi." Featuring drummer Mitch Mitchell and bassist Noel Redding, the newly formed Jimi Hendrix Experience quickly became the talk of London in the fall of 1966.
The Experience's first single, "Hey Joe," spent ten weeks on the UK charts, topping out at spot No. 6 in early 1967. The debut single was quickly followed by the release of a full-length album Are You Experienced, a psychedelic musical compilation featuring anthems of a generation. Are You Experienced has remained one of the most popular rock albums of all time, featuring tracks like "Purple Haze," "The Wind Cries Mary," "Foxey Lady," "Fire," and "Are You Experienced?"
Although Hendrix experienced overwhelming success in Britain, it wasn't until he returned to America in June 1967 that he ignited the crowd at the Monterey International Pop Festival with his incendiary performance of "Wild Thing." Literally overnight, The Jimi Hendrix Experience became one of most popular and highest grossing touring acts in the world.
Hendrix followed Are You Experienced with Axis: Bold As Love. By 1968, Hendrix had taken greater control over the direction of his music; he spent considerable time working the consoles in the studio, with each turn of a knob or flick of the switch bringing clarity to his vision.

Back in America, Jimi Hendrix built his own recording studio, Electric Lady Studios in New York City. The name of this project became the basis for his most demanding musical release, a two LP collection, Electric Ladyland. Throughout 1968, the demands of touring and studio work took its toll on the group and in 1969 the Experience disbanded.
The summer of 1969 brought emotional and musical growth to Jimi Hendrix. In playing the Woodstock Music & Art Fair in August 1969, Jimi joined forces with an eclectic ensemble called Gypsy Sun & Rainbows featuring Jimi Hendrix, Mitch Mitchell, Billy Cox, Juma Sultan, and Jerry Velez. The Woodstock performance was highlighted by the renegade version of "Star Spangled Banner," which brought the mud-soaked audience to a frenzy.
Nineteen sixty-nine also brought about a new and defining collaboration featuring Jimi Hendrix on guitar, bassist Billy Cox and Electric Flag drummer Buddy Miles. Performing as the Band of Gypsys, this trio launched a series of four New Year's performances on December 31, 1969 and January 1, 1970. Highlights from these performances were compiled and later released on the quintessential Band of Gypsys album in mid-1970 and the expanded Hendrix: Live At The Fillmore East in 1999.
As 1970 progressed, Jimi brought back drummer Mitch Mitchell to the group and together with Billy Cox on bass, this new trio once again formed The Jimi Hendrix Experience. In the studio, the group recorded several tracks for another two LP set, tentatively titled First Rays Of The New Rising Sun. Unfortunately, Hendrix was unable to see this musical vision through to completion due to his hectic worldwide touring schedules, then tragic death on September 18, 1970. Fortunately, the recordings Hendrix slated for release on the album were finally issued through the support of his family and original studio engineer Eddie Kramer on the 1997 release First Rays Of The New Rising Sun.
From demo recordings to finished masters, Jimi Hendrix generated an amazing collection of songs over the course of his short career. The music of Jimi Hendrix embraced the influences of blues, ballads, rock, R&B, and jazz a collection of styles that continue to make Hendrix one of the most popular figures in the history of rock music.

Raul Seixas - Carpinteiro do Universo - 28/06/2016

Toca Raul! Aniversário do Pai do Rock Nacional! 71 anos.


Carpinteiro do Universo foi composta por Raul Seixas e Marcelo Nova e é parte do álbum A Panela do Diabo, lançado 2 dias antes da morte de Raul em 1989.

Roy Buchanan - Tribute To Elmore James

Roy Buchanan performs "TRIBUTE TO ELMORE JAMES" live at Agora Ballroom, Cleveland, OH, July 18, 1977.

As some people used to say, the besk unknown guitarrist ever used to play and honor The King of Slide Guitar.

Dust My Broom - Elmore James

Elmore James - The King of Slide Guitar

Born January 27, 1918, in Richland, Mississippi, Elmore James was raised on several different farms in the Durant, Mississippi, area by sharecropping parents. Before acquiring his first guitar, he played several different homemade instruments, including a strand of broomwire nailed to the front porch of his cabin. This was known locally as a "diddley bow." In 1932, at the age of fourteen, Elmore James, also known as Joe Willie, began playing guitar for parties and dances in the Durant area.

By 1937 James had moved on to plantations near the Delta town of Belzoni, Mississippi, and taken up with musicians Sonny Boy Williamson and Robert Johnson. Johnson's guitar prowess made a terrific impact on James, who would echo Johnson's slide technique in his own recordings. After Johnson's death, James toured the South with Williamson working juke joints and theaters. He assembled a band in 1939 after parting ways with Williamson. During the late 1930s or early 1940s James began playing electric guitar. He became a master of using the distortion and sustain of this instrument to create a dense, textured sound that provided the blueprint for postwar Chicago blues.

James was inducted into the Navy in 1943, taking part in the invasion of Guam before being mustered out in 1945. He was soon back home in Belzoni, sharing a room with Sonny Boy Williamson and working the local jukes. James also began a professional partnership with his guitar-playing cousin "Homesick" James Williamson, working clubs on Beale Street in Memphis. In 1947, James backed up Sonny Boy on KFFA radio's King Biscuit Time program in Helena, Arkansas. The show was initially broadcast from the Interstate Grocery Building before it moved to the Floyd Truck Lines Building. During his stint on KFFA, James fell under the spell of Robert Nighthawk, refining his style to reflect Nighthawk's liquid, crying slide guitar.

While working clubs with Williamson in Jackson, Mississippi, James made his first record for Lillian McMurry's Trumpet Label. On August 5, 1951, at the Trumpet Studios, James cut the Robert Johnson chestnut "Dust My Broom" which reached number nine on the national R&B charts within several months of its release. James established residency in Chicago the following year, forming his legendary band the Broomdusters. While never attaining the fame of fellow Mississippi expatriates Muddy Waters and Howlin' Wolf, James became one of the city's most influential guitarists. He recorded for a variety of labels throughout the 1950s and early 1960s, leaving a legacy of slow blues, boogies, and full-fledged rave ups that dominate the musical vocabulary of Chicago blues.

Elmore James died May 24, 1963, in Chicago, Illinois, at the age of forty-five. Elmore James's grave is located near his native Durant, Mississippi.

Johnny Winter - Key To The Highway

Johnny Winter has been a guitar hero without equal. Signing to Columbia records in 1969 called largest solo artist deal of it’s time, Johnny immediately laid out the blueprint for his fresh take on classic blues a prime combination for the legions of fans just discovering the blues via the likes of Jimmy Page and Eric Clapton. Constantly shifting between simple country blues in the vein of Robert Johnson, to all-out electric slide guitar blues-rock, – Johnny has always been one of the most respected singers and guitar players in rock and the clear link between British blues-rock and American Southern rock (a la the Allman Brothers and Lynyrd Skynyrd.) Throughout the ’70s and ’80s, Johnny was the unofficial torch-bearer for the blues, championing and aiding the careers of his idols like Muddy Waters and John Lee Hooker.

Jeff Beck, Rod Stewart and Ron Wood - You Shook Me and Let Me Love You

Live recording of the Jeff Beck Group with Rod Stewart doing You Shook Me and Let Me Love You featuring Jeff Beck-guitar, Rod Stewart-vocals, Ron Wood-bass, Nicky Hopkins-piano and Tony Newman-drums.

Jeff Beck, Eric Clapton and Jimmy Page - Layla

Yardbirds members Jeff Beck, Eric Clapton And Jimmy Page performing Eric Clapton's (Derek And The Dominos) hit "Layla" at the ARMS Concert 1983.

Johnny Winter - Be Careful With A Fool

Johnny Winter from Danish TV in 1970 with Tommy Shannon on bass and Uncle John Turner on Drums

Johnny Winter has been a guitar hero without equal. Signing to Columbia records in 1969 called largest solo artist deal of it’s time, Johnny immediately laid out the blueprint for his fresh take on classic blues a prime combination for the legions of fans just discovering the blues via the likes of Jimmy Page and Eric Clapton. Constantly shifting between simple country blues in the vein of Robert Johnson, to all-out electric slide guitar blues-rock, – Johnny has always been one of the most respected singers and guitar players in rock and the clear link between British blues-rock and American Southern rock (a la the Allman Brothers and Lynyrd Skynyrd.) Throughout the ’70s and ’80s, Johnny was the unofficial torch-bearer for the blues, championing and aiding the careers of his idols like Muddy Waters and John Lee Hooker.

The Jeff Healey Band - Live Montreux - Hocchie Coochie Man

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Hound Dog Taylor - Wild About You Baby

Theodore Roosevelt "Hound Dog" Taylor on Vocals and Guitar
Brewer Phillips on Guitar
Ted Harvey on Drums

ANN ARBOR  Festival 1973

Birth Name: Theodore Roosevelt Taylor
Born: April 12, 1915 in Natchez, MS, USA
Died: December 17, 1975 in Chicago, IL, USA
Years Performed: Full-Time - 1950s to 1975

Hound Dog Taylor was born Theodore Roosevelt Taylor, named after the US President. He was born with six fingers on each hand.  Growing up in the Mississippi Delta, his childhood was not an easy one. When he was only 9 years old, his step father supposedly packed up all of his things in a brown paper bag, stood in the doorway with a shotgun, and told Hound Dog to "cut out". That's the way the story goes anyway. From info I've gathered from people who knew him, this story may or may not be true. But he did go to live with his older sister around that time in his life.

The first instrument Taylor learned to play was not the guitar, but piano, which he learned as a kid. He first picked up the guitar while in his teens but didn't start to seriously play until he was around 21. At that time he started playing all over the Delta, not only playing guitar, but piano, too. He also appeared a few times on the legendary King Biscuit Flour radio show of KFFA in West Helena, Arkansas, with Sonny Boy Williamson.  In 1942, Taylor, always the ladies man, was chased out of Mississippi one day by the Klan after having an affair with a white woman. He spent the first day hiding in drainage ditches and then the next day he headed for Chicago. He never went back. Although he continued to play his guitar semi-professionally at night, he spent the first 15 years in Chicago working several different non music jobs. In 1957 he was building TV cabinets when he decided  to become a full-time bluesman.  At this time he also changed his playing style. Where he once played standard and E tunings, he now was playing an increasingly more bottleneck style. This change came about by his being heavy influenced by the then emerging Elmore James.

Early on he garnered a huge local following with his wild live shows, most of the time he would be sitting on a folding chair, stomping both feet, throwing his head back in a frency, drinking Canadian Club and puffing on his cigarettes, urging the crowd to get up and dance, as he blared away on his guitar. Taylor became one of Chicago's most loved bluesmen and a local  favorite on the South and West sides of town. It was during this time that he picked up the name "Hound Dog". He was in a club one night chasing a couple of women around when a friend called him a hound dog because he was always on the hunt for woman. The name stuck. It was also around this time when one night, a drunken Hound would, with a straight razor, cut off the small extra finger on his right hand.

Hound Dog's band, the HouseRockers, would come about slowly. In 1959 while playing in a West Side tavern, a guitarist named Brewer Phillips (also born in Mississippi) gigged with the Dog for the first time. The two became quick friends and Phillips would become the HouseRockers second guitarist.

In 1960, Hound Dog cut his first single,"Baby Is Coming Home"/"Take Five", for Bea & Baby. But outside of Chicago, the single went no where. In 1961, Freddie King became a star with the song "Hideaway". A good portion of this song was copied from an instrumental King heard Taylor cranking out in a nightclub. Hound Dog never did receive composer's credit for the song, but didn't seemed to be bothered by it either, as King was only one of several bluesman who borrowed from him. In 1962, Hound Dog's second single, "Christine"/"Alley Music" was released by Firma Records, and then in 1967 a third single for Checker, "Watch Out"/"Down Home" came out. But like his first single, these tunes went unnoticed.

In 1965 Ted Harvey joined the HouseRockers as their drummer, replacing Levi Warren. He and Hound Dog had first met in 1955 when Ted was backing Elmore James. At James' funeral in '63 the two met again, which lead to Ted finally joining up. At this point (and from there on) there was only three HouseRockers. Hound Dog on the slide and vocals, Phillips (nobody ever called him by his first name) played the bass on his six string and on occasion would play the lead. With Ted on the drums, the three sounded like a much larger band. They were loud and the Dog could get distortion out of his guitar like no one else could, in part thanks to his cheap amps. But he also could get his guitar to cry unlike anyone else. He was truly a gifted slide player and was at his happiest when he played live with his band. The HouseRockers never rehearsed before any shows. They also were big drinkers and as a rule played only after a reasonable amount of alcohol was consumed. During any given show, Hound Dog would first drink a straight shot of whiskey, chasing it with a mixed drink. He then would down a whole glass of beer. All three drinks were drank rapidly, one after the other. After that he was ready to play! Hound Dog would start off a show usually saying something like "Hey, let's have some fun!", and did they ever! They would play all night, six and seven hour shows were normal - if the joint would stay open that late for them. By the late '60s Hound Dog had a regular gig at Florence's Lounge on the South Side of Chicago.

In 1969 things would start to change for the Dog. He would meet his future manager and the one man who believed in him, Bruce Iglauer. Iglauer met Taylor in a club called Eddie Shaw's, where Hound Dog would join-in to jam with other bluesman. Yet Iglauer would not actually get to hear Hound Dog play with the HouseRockers until the next year when he moved to Chicago and finally dropped-in on one of their gigs. He was hooked on the HouseRockers instantly. Bruce tried to get his boss, Bob Koester of Delmark Records to sign Hound Dog, but failed. So what's a poor boy to do? Well he had just received a small inheritance of $2500 and decided to record Hound Dog himself. With that Alligator Records was born. It was not Iglauer's attempt to start a new label, it just turned out that way.

Recorded live in the studio in just two nights during the spring of 1971, Hound Dog's debut album captured all of the energy of the band. Hound Dog used his $50 Japanese electric guitar and Sears Roebuck amplifiers with cracked speakers for the recording. For under $1000 the master tape was made and with the remainder of  Iglauer's inheritance 1000 copies were pressed. Within a year the album, titled Hound Dog Taylor and the HouseRockers, was the biggest selling blues record on an independent label, selling 9,000 copies. One song on the album, the Taylor penned "Give Me Back My Wig", would in time become his best known song.

Hound Dog and the HouseRockers began touring the US around the album's release and gained new fans. They then toured Australia and New Zealand.  Yet nothing about Hound Dog's show changed.  He would still play the same songs the same way on the same old, cheap Japanese guitars. A bass player was never added as no one could keep up with him on a bass guitar.

Hound Dog's second album,  Natural Boogie was released in 1973 and was filled with more great slide guitar. All the songs for this second album were recorded and mixed at the same sessions back in '71 that produced the first album. Yet this new album had it's own, somewhat different feel to it. Hound Dog himself liked this album better that his first. The album got more positive reviews, as did Hound Dog in general.

In early 1975 it was decided that a live album would be put together. Hound Dog was at the height of his success and was now starting to get better gigs, and his music continued to sell even more. But sometimes things just don't go the route planned and it seemed from out of nowhere trouble was brewing. Although Hound Dog and Phillips were closest of friends, they had gotten into numerous fights throughout the years. One day in May '75 while Phillips was visiting Hound Dog along with Son Seals at the Hound's apartment, a drunken fight broke out between Phillips and Hound Dog. It seemed Phillips said something insulting about Hound Dog's wife Fredda, so Hound Dog left the room, and then returned with a .22 rifle. Aiming for the couch, he hit Phillips twice, once in the forearm and once in the leg. Seals then took the gun away from Hound Dog. Luckily, Phillips would recover and be okay, but Hound Dog would not. Phillips pressed charges and Hound Dog was supposed to be tried for attempted murder. But the Dog, a heavy smoker, was sick, very sick. He was dying of lung cancer. Instead of facing a trial he landed in the hospital. On his deathbed, his last wish was granted when Phillips visited him in the hospital and forgave him for the shooting. Hound Dog Taylor passed away the very next day, December 17, 1975.

Jeff Healey Band - Roadhouse Blues (Live In Belgium)

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Fintechs and the financial market future

There are no news that Fintech companies are a real threat to the future of large financial corporations. But how Fintech (Financial Technology) have driven the future of the financial sector and how traditional and established corporations have responded to these threats?

Fintechs are already running the market for a long time. Then, what is special now? To answer this question we need to think a bit in the type of products and services being offered by these companies, which target audience and why it is taking off the sleep of financial institutions.

More than simply develop new systems or upgrade legacy systems for financial institutions, Fintechs began to develop and bring to market their own integrated applications and solutions to compete directly with them. They are mobile payment applications, resource transfer, credit card services and, in some cases, even the opening and maintenance of fully digital checking or saving accounts, which includes services such as P2P loans, mortgages, financing, insurance, etc.). In this model, the client no longer needs any physical interaction with the institutions. And by offering their services and a complete customer service environment through the digital world without physical branches, Fintechs can provide their products and services at a fraction of the cost of traditional banking products, such as Nubank with their no annual fee credit card. In addition, banks have not shown the same ability to quickly adapt to changes in the digital consumer behaviour, something Fintechs can easily do – quickly and very well.

Something that is also forcing banks to rethink their business models are the increasing regulatory demands. In the face of tighter budgets and anxious to meet all major standards and market regulations, these institutions are rather looking for ways to improve efficiency and reduce costs. Nevertheless, its heavy processes - and even tied - decision-making process and the consequent implementation of new ideas are turned into an arduous and slow task, bringing another challenge for banks. Thus, the agility of Fintechs with its lean mind set and culture of innovation focus can be highlighted, and a strong factor that has counted in favour of its rapid growth.

All that without mentioning the called cryptocurrency, or digital money, which has led to large institutions like Goldman Sachs and JP Morgan initiate global projects to increase the efficiency of trading and settlement of assets.

Inside of Brazilian market, the number of users who owns smartphones surpassed the milestone of 76 million in the third quarter of 2015. Most people prefer the speed and convenience of applications available for these devices. Included in this growing number, we have the so-called Generation Z. People who were born and grew up with the World Wide Web (1990) and the explosion and popularization of technological devices by the end of 2010. This demanding and highly digital mass of consumers no longer find themselves satisfied with the traditional model offered by financial institutions, and therefore are more willing to try new products and banking services, from companies that does not yet have a solid brand recognition, as traditional banks have. This generation of digital natives will make the difference and define which companies will still exist in a future that has already begun.

In 2015, some UK Fintechs earned banking licenses under the agreement of the government and market regulators and were allowed to expand its portfolio of mobile products and services, increasing competitiveness in the sector. Given the speed of technological change and financial services, any financial institution, even if well established in the market and in front of their customers, cannot afford to ignore the threats or opportunities that Fintechs represent.

According to a recent report made by PwC, (Blurred Lines: How FinTech is Shaping Financial Services), by 2020, over 20% of the financial services business may be at risk because of emerging FinTechs, so now more than ever, financial institutions need to change their mind set to meet the needs of the digital consumer, integrating the digitization of its processes to its corporate DNA. And according to this same study, the ways to achieve this are: put a FinTech methodology as the centre of its strategy, adopt a mobile-first approach, collaborating with FINTECH companies and understand the background regulatory challenges.

Modern consumers are increasingly comparing the digital banking experience from your bank with companies like Apple, Amazon and Google - who were not famous for their banking services but as well as Fintechs have also taken the sleep of many traditional organizations of financial services. Financial institutions that do not define and start a real digital strategy for the upcoming years will face serious problems to remain profitable in this market.

This article was originally published in Brazilian Portuguese language at Computerworld.com.

Jeff Beck, Jimmy Page, Ron Wood, Joe Perry, Flea and Metallica - The Train Kept A-Rollin´

During 2009 Rock n Roll Hall of Fame 25th Annivrsary Concert. Amazing!

Insane Jam Session - Let the Good Times Roll

Performing directly from 29th Grammy Awards Ceremony , Los Angeles, February 24, 1987

Willie Dixon
Koko Taylor
Albert King
B.B King
Robert Cray
Ry Cooder
Etta James
Junior Wells
Dr John

Jeff Beck and Jimmy Page - Beck's Bolero and Immigrant Song

Jeff Beck is one of a relative handful of musicians who have been twice inducted into the Rock and Roll Hall of Fame – with the Yardbirds and as a solo artist and bandleader.

Below is the performance made by Jeff and Jimmy Page during 2009 induction.

Jeff Healey's Jazz Wizards - Sweet Georgia Brown

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Jeff Beck - Apache and Sleepwalk

While he was as innovative as Jimmy Page, as tasteful as Eric Clapton, and nearly as visionary as Jimi Hendrix, Jeff Beck never achieved the same commercial success as any of those contemporaries, primarily because of the haphazard way he approached his career. After Rod Stewart left the Jeff Beck Group in 1971, Beck never worked with a charismatic lead singer who could have helped sell his music to a wide audience. Furthermore, he was simply too idiosyncratic, moving from heavy metal to jazz fusion within a blink of an eye. As his career progressed, he became more fascinated by automobiles than guitars, releasing only one album during the course of the '90s. All the while, Beck retained the respect of fellow guitarists, who found his reclusiveness all the more alluring.

Click here to see the Full Artist Biography by Stephen Thomas Erlewine (ALLMUSIC)

Jeff Healey Band - While My Guitar Gently Weeps - Live At Montreux 1997

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Jeff Healey and the Jazz Wizards - I Would Do Anything For You

What made Jeff Healey different from other blues-rockers was also what kept some listeners from accepting him as anything other than a novelty -- the fact that the blind guitarist played his Fender Stratocaster on his lap, not standing up. With the guitar in his lap, Healey could make unique bends and hammer-ons, making his licks different and more elastic than most of the competition. Unfortunately, his material leaned toward standard AOR blues-rock, which rarely let him cut loose, but when he did, his instrumental prowess could be shocking.

Healey lost his sight at the age of one, after developing eye cancer. He began playing guitar when he was three years old and began performing with his band Blues Direction at the age of 17. Healey formed the Jeff Healey Band in 1985, featuring bassist Joe Rockman and drummer Tom Stephen. This trio released one single on its own Forte record label, which led to a contract with Arista Records. the Jeff Healey Band released their debut album, See the Light, in 1988 and the guitarist immediately developed a devoted following in blues-rock circles. Featuring the hit single "Angel Eyes," the record went platinum in the U.S. While the Jeff Healey Band's subsequent records were popular, none were as successful as the debut.

As the 21st century dawned, Healey began to change his direction. He taught himself to play the trumpet and began to lean toward the kind of traditional 1920s and '30s jazz that had always fascinated him. He released two classic jazz albums, 2002's Among Friends and 2004's Adventures in Jazzland, on his own HealeyOphonic label, and a third traditional jazz outing with It's Tight Like That, which appeared on Stony Plain in 2006. And while he continued to do shows in his earlier blues-rock style, he increasingly gigged with his jazz combo, the Jazz Wizards. In 2008, a month before the release of his last studio-recorded blues album, Mess of Blues, Healey died from cancer. Songs from the Road, a collection of live blues-rock performances from 2006 and 2007, was released by the Ruf imprint in 2009, nearly 18 months after Healey's death. His final studio jazz album, Last Call, was issued by Stony Plain in April 2010.

Artist Biography by Stephen Thomas Erlewine

Mobile payments, IoT and wearables all the talk at Mobile World Congress

Source: Mobile payments, IoT and wearables all the talk at Mobile World Congress


Mobile World Congress may be over, but the dust is still settling from the biggest mobile event of the year.

With so many announcements before, during and after the event, it can be hard to separate the gold dust from the gimmicks. To help, here's our summary of some of the biggest mobile payments trends from the event, and what they mean for the industry in 2016 and beyond.

The Decline of Tablets and Smartwatches?
Trends can often be identified by what is missing and major tablet launches – once such a fixture of MWC – were conspicuous by their absence. Ever expanding smartphone screens have led to decreasing consumer demand for tablets, meaning decreasing profit margins for manufacturers. The result? Some industry commentators are claiming that the tablet market is no more but we'll have to wait for the full picture.

Similarly, there were no significant smartwatch announcements. Early adopters, however, needn't fear. The smartwatch is not dead, just resting. Barcelona marked the calm before the storm with developers and manufacturers refining and perfecting their offering. Rest assured, we can expect some big announcements in the second half of this year.

Virtual Reality & Tokenization
No tablets? No smartwatches? The hype that has traditionally surrounded these technologies may lead you to wonder how the organizers filled some 110,000 meters of exhibition space. It was a good job, then, that the launch of Samsung's Gear VR, HTC's Vive and the countless demos on the show floor has seen 2016 heralded as the year that virtual reality (VR) moved from a sci-fi pipe dream to our sofas.

VR was everywhere. Even at the Bell ID booth, where our VR demonstration was back by popular demand. The demo immersed delegates in the tokenization process, enabling them to see every step in the mobile contactless payments chain, where each player sits and how they interact with each other to deliver seamless, secured mobile payments for customers.

Tokenization itself also continued to make the headlines. For example, Giesecke and Devrient announced that it has integrated its cloud-based payments platform with the MasterCard Digital Enablement Service (MDES). This is undoubtedly good progress for tokenization, as it underpins its position as the technology for securing mobile payments.

However, by becoming a Token Service Provider, as Canadian debit network Interac recently did, issuing banks have the freedom to integrate with any payment scheme and therefore any mobile device or wearable. This ensures they can adapt to the complex and fluid dynamics of the mobile payments market, rather than be tied to a single payment scheme or original equipment manufacturer (OEM).

Mobile Payments
As expected, the mobile payments announcements came thick and fast. MasterCard confirmed that its biometric authentication system for mobile payments (popularly known as ‘Selfie Pay’ but also including fingerprint recognition) will soon be rolled out across the U.S., Canada and parts of Europe. The launch is in response to a successful trial in the Netherlands, where nine out of ten participants confirmed they would 'definitely' like to replace passwords with biometric authentication. As security concerns are often cited by consumers as a barrier for adoption, this is an important development for the industry.

PayPal also came to Barcelona armed with a big announcement. Its customers in the U.S. and Australia will now be able to make NFC payments through the PayPal Android mobile app, and consumers across Europe will be able to tap and pay using their phone through the Vodafone mobile wallet, thanks to a partnership between the two companies. This is a big moment for PayPal as it marks an expansion into the increasingly lucrative in-store contactless payments market, and also a vindication for NFC technology, which PayPal had previously rejected as being unsuitable for in-store payments.

But what of the various 'OEM Pay' platforms? Prior to the show, Samsung announced that Samsung Pay had hit over 5 million users in just five months. This figure is only going to head north with the platform set to launch in China in March and the U.K. later in 2016. Watch this space for various new market announcements from all the OEM Pay platforms throughout 2016.

Barcelona also heralded good news for banks looking for alternative ways to integrate with Android Pay. Bell ID announced that its customers worldwide can utilize its token service provider (TSP) software to enable and secure NFC payments functionality on Android phones. In addition, Oberthur Technologies confirmed that it will support Android Pay in Australia.

Internet of Things (IoT)
We were treated to a glimpse of how IoT technology and payments will intersect in the coming years, with the announcement that Visa is expanding its Visa Ready program to include manufacturers of wearables, automobiles, household appliances and clothing, to name just a few. This news also confirmed that tokenization technology will be key to securing these emerging payment technologies. Expect to hear much more on this at future events.

As one would expect and hope, there was also a lot of focus on security at MWC, particularly in the IoT sector. Rambus announced that it has expanded its technology to support in-field provisioning. This means that credentials can be secured and managed not only on the silicon chip in the factory, but also in the cloud when in the hands of the consumer. As we enter the IoT era, this flexibility will be key to supporting the growing requirements of trusted applications, including secure mobile banking, identity and entertainment.

Changing Face of Mobile
On a broader note, for many years Mobile World Congress focused on smartphones. 'Mobile', however, is becoming an increasingly broad concept, and this year's show was perhaps the biggest indicator of this trend. This increased diversity will play a central role in how we pay using our mobile devices, whatever they may be, now and in the years to come.

ZZ Top Waitin' for the Bus" and Jesus Just Left Chicago

This sturdy American blues-rock trio from Texas consists of Billy Gibbons (guitar), Dusty Hill (bass), and Frank Beard (drums). They were formed in 1970 in and around Houston from rival bands the Moving Sidewalks (Gibbons) and American Blues (Hill and Beard). Their first two albums reflected the strong blues roots and Texas humor of the band. Their third album (Tres Hombres) gained them national attention with the hit "La Grange," a signature riff tune to this day, based on John Lee Hooker's "Boogie Chillen." Their success continued unabated throughout the '70s, culminating with the year-and-a-half-long Worldwide Texas Tour.

Exhausted from the overwhelming workload, they took a three-year break, then switched labels and returned to form with Deguello and El Loco, both harbingers of what was to come. By their next album, Eliminator, and its worldwide smash follow-up, Afterburner, they had successfully harnessed the potential of synthesizers to their patented grungy blues groove, giving their material a more contemporary edge while retaining their patented Texas style. Now sporting long beards, golf hats, and boiler suits, they met the emerging video age head-on, reducing their "message" to simple iconography. Becoming even more popular in the long run, they moved with the times while simultaneously bucking every trend that crossed their path. As genuine roots musicians, they have few peers; Gibbons is one of America's finest blues guitarists working in the arena rock idiom -- both influenced by the originators of the form and British blues-rock guitarists like Peter Green -- while Hill and Beard provide the ultimate rhythm section support.

One of the few rock & roll group with its original members still aboard after four decades, ZZ Top play music that is always instantly recognizable, eminently powerful, profoundly soulful, and 100% American in derivation. They have continued to support the blues through various means, perhaps most visibly when they were given a piece of wood from Muddy Waters' shack in Clarksdale, MS. The group members had it made into a guitar, dubbed the "Muddywood," then sent it out on tour to raise money for the Delta Blues Museum. ZZ Top's support and link to the blues remains as rock solid as the music they play. A concert CD and DVD, Live from Texas, recorded in Dallas in 2007 and featuring a still vital band, were both released in 2008. The Rick Rubin and Gibbons-produced La Futura, the band's 15th studio album, and the group's first new studio outing since 2003's Mescalero, appeared in 2012.

Artist Biography by Cub Koda

ZZ Top - Official Web Site

Hear n' Aid - We're Stars

Hear 'n Aid was a one-time collaboration of various individual heavy metal/hard rock artists in 1985 to raise money for famine relief in Africa. The song was recorded on May 20 and 21 1985 at the A&M Records Studio in Hollywood, California.

Participants

Vocals
Eric Bloom (Blue Öyster Cult)
Ronnie James Dio (Dio)
Don Dokken (Dokken)
Kevin DuBrow (Quiet Riot)
Rob Halford (Judas Priest)
Dave Meniketti (Y&T)
Paul Shortino (Rough Cutt)
Geoff Tate (Queensrÿche)

Backing Vocals
Tommy Aldridge (Ozzy Osbourne)
Dave Alford (Rough Cutt)
Carmine Appice (Vanilla Fudge/King Kobra)
Vinny Appice (Dio)
Jimmy Bain (Dio)
Frankie Banali (Quiet Riot)
Mick Brown (Dokken)
Vivian Campbell (Dio)
Carlos Cavazo (Quiet Riot)
Amir Derakh (Rough Cutt)
Buck Dharma (Blue Öyster Cult)
Brad Gillis (Night Ranger)
Craig Goldy (Giuffria)
Chris Hager (Rough Cutt)
Chris Holmes (W.A.S.P.)
Blackie Lawless (W.A.S.P.)
George Lynch (Dokken)
Yngwie Malmsteen
Mick Mars (Mötley Crüe)
Michael McKean (David St. Hubbins of Spinal Tap)
Vince Neil (Mötley Crüe)
Ted Nugent
Eddie Ojeda (Twisted Sister)
Jeff Pilson (Dokken)
Rudy Sarzo (Quiet Riot)
Claude Schnell (Dio)
Neal Schon (Journey)
Harry Shearer (Derek Smalls of Spinal Tap)
Mark Stein (Vanilla Fudge)
Matt Thorr (Rough Cutt)

Lead Guitar Solos
Vivian Campbell (Dio)
Carlos Cavazo (Quiet Riot)
Buck Dharma (Blue Öyster Cult)
Brad Gillis (Night Ranger)
Craig Goldy (Giuffria)
George Lynch (Dokken)
Yngwie Malmsteen
Eddie Ojeda (Twisted Sister)
Neal Schon (Journey)

Rhythm Guitar Melody Lines
Dave Murray (Iron Maiden)
Adrian Smith (Iron Maiden)

Bass
Jimmy Bain (Dio)

Drums
Vinny Appice (Dio)
Frankie Banali (Quiet Riot)

Keyboards
Claude Schnell (Dio)

ZZ Top - Gimme All Your Lovin'

This sturdy American blues-rock trio from Texas consists of Billy Gibbons (guitar), Dusty Hill (bass), and Frank Beard (drums). They were formed in 1970 in and around Houston from rival bands the Moving Sidewalks (Gibbons) and American Blues (Hill and Beard). Their first two albums reflected the strong blues roots and Texas humor of the band. Their third album (Tres Hombres) gained them national attention with the hit "La Grange," a signature riff tune to this day, based on John Lee Hooker's "Boogie Chillen." Their success continued unabated throughout the '70s, culminating with the year-and-a-half-long Worldwide Texas Tour.

Exhausted from the overwhelming workload, they took a three-year break, then switched labels and returned to form with Deguello and El Loco, both harbingers of what was to come. By their next album, Eliminator, and its worldwide smash follow-up, Afterburner, they had successfully harnessed the potential of synthesizers to their patented grungy blues groove, giving their material a more contemporary edge while retaining their patented Texas style. Now sporting long beards, golf hats, and boiler suits, they met the emerging video age head-on, reducing their "message" to simple iconography. Becoming even more popular in the long run, they moved with the times while simultaneously bucking every trend that crossed their path. As genuine roots musicians, they have few peers; Gibbons is one of America's finest blues guitarists working in the arena rock idiom -- both influenced by the originators of the form and British blues-rock guitarists like Peter Green -- while Hill and Beard provide the ultimate rhythm section support.

One of the few rock & roll group with its original members still aboard after four decades, ZZ Top play music that is always instantly recognizable, eminently powerful, profoundly soulful, and 100% American in derivation. They have continued to support the blues through various means, perhaps most visibly when they were given a piece of wood from Muddy Waters' shack in Clarksdale, MS. The group members had it made into a guitar, dubbed the "Muddywood," then sent it out on tour to raise money for the Delta Blues Museum. ZZ Top's support and link to the blues remains as rock solid as the music they play. A concert CD and DVD, Live from Texas, recorded in Dallas in 2007 and featuring a still vital band, were both released in 2008. The Rick Rubin and Gibbons-produced La Futura, the band's 15th studio album, and the group's first new studio outing since 2003's Mescalero, appeared in 2012.

Artist Biography by Cub Koda

ZZ Top - Official Web Site

ZZ TOP - TUSH

This sturdy American blues-rock trio from Texas consists of Billy Gibbons (guitar), Dusty Hill (bass), and Frank Beard (drums). They were formed in 1970 in and around Houston from rival bands the Moving Sidewalks (Gibbons) and American Blues (Hill and Beard). Their first two albums reflected the strong blues roots and Texas humor of the band. Their third album (Tres Hombres) gained them national attention with the hit "La Grange," a signature riff tune to this day, based on John Lee Hooker's "Boogie Chillen." Their success continued unabated throughout the '70s, culminating with the year-and-a-half-long Worldwide Texas Tour.

Exhausted from the overwhelming workload, they took a three-year break, then switched labels and returned to form with Deguello and El Loco, both harbingers of what was to come. By their next album, Eliminator, and its worldwide smash follow-up, Afterburner, they had successfully harnessed the potential of synthesizers to their patented grungy blues groove, giving their material a more contemporary edge while retaining their patented Texas style. Now sporting long beards, golf hats, and boiler suits, they met the emerging video age head-on, reducing their "message" to simple iconography. Becoming even more popular in the long run, they moved with the times while simultaneously bucking every trend that crossed their path. As genuine roots musicians, they have few peers; Gibbons is one of America's finest blues guitarists working in the arena rock idiom -- both influenced by the originators of the form and British blues-rock guitarists like Peter Green -- while Hill and Beard provide the ultimate rhythm section support.

One of the few rock & roll group with its original members still aboard after four decades, ZZ Top play music that is always instantly recognizable, eminently powerful, profoundly soulful, and 100% American in derivation. They have continued to support the blues through various means, perhaps most visibly when they were given a piece of wood from Muddy Waters' shack in Clarksdale, MS. The group members had it made into a guitar, dubbed the "Muddywood," then sent it out on tour to raise money for the Delta Blues Museum. ZZ Top's support and link to the blues remains as rock solid as the music they play. A concert CD and DVD, Live from Texas, recorded in Dallas in 2007 and featuring a still vital band, were both released in 2008. The Rick Rubin and Gibbons-produced La Futura, the band's 15th studio album, and the group's first new studio outing since 2003's Mescalero, appeared in 2012.

Artist Biography by Cub Koda

ZZ Top - Official Web Site

Freddie King - Have You Ever Loved A Woman

Guitarist Freddie King rode to fame in the early '60s with a spate of catchy instrumentals which became instant bandstand fodder for fellow bluesmen and white rock bands alike. Employing a more down-home (thumb and finger picks) approach to the B.B. King single-string style of playing, King enjoyed success on a variety of different record labels. Furthermore, he was one of the first bluesmen to employ a racially integrated group on-stage behind him. Influenced by Eddie Taylor, Jimmy Rogers, and Robert Jr. Lockwood, King went on to influence the likes of Eric Clapton, Mick Taylor, Stevie Ray Vaughan, and Lonnie Mack, among many others.

By Cub Koda

Read more at: ALLMUSIC

Freddie King Official Web Site

Nina Simone - Mississippi Goddam

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic. Simone was a singer, pianist, and songwriter who bent genres to her will rather than allowing herself to be confined by their boundaries; her work swung back and forth between jazz, blues, soul, classical, R&B, pop, gospel, and world music, with passion, emotional honesty, and a strong grasp of technique as the constants of her musical career.

The Official Home of Nina Simone | The High Priestess of Soul

Bing Crosby, Frank Sinatra, Peggy Lee and Louis Armstrong - I'm Glad We're Not Young Anymore

The Bing Crosby Show

Nina Simone - Feeling Good

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic. Simone was a singer, pianist, and songwriter who bent genres to her will rather than allowing herself to be confined by their boundaries; her work swung back and forth between jazz, blues, soul, classical, R&B, pop, gospel, and world music, with passion, emotional honesty, and a strong grasp of technique as the constants of her musical career.

The Official Home of Nina Simone | The High Priestess of Soul