Mark Twang Live

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Mark Twang says ” Lightin’ Hopkins is always has been one of my favorite acoustic blues guitarist and have leaned tons from him” Check this out it was  Recorded: Los Angeles, August 15, 1947 Lightnin’ Hopkins (vcl) (g), Wilson „Thunder” Smith (p) (vcl), unknown (d) Sam “Lightnin’” Hopkins, Born in Centerville, Texas, Hopkins love for the blues was sparked at the age of 8 when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas.[1] That day, Hopkins felt the blues was “in him” and went on to learn from his older (somewhat distant) cousin, country blues singer Alger “Texas” Alexander.[1] In the mid 1930s, Hopkins was sent to Houston County Prison Farm for an unknown offense.[1] In the late 1930s Hopkins moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s he was back in Centerville working as a farm hand. Hopkins took at second shot at Houston in 1946. While singing on Dowling St. in Houston’s Third Ward (which would become his home base) he was discovered by Lola Anne Cullum from the Los Angeles based record label, Aladdin Records. She convinced Hopkins to travel to LA where he accompanied pianist Wilson Smith. The duo recorded twelve tracks in their first sessions in 1946. An Aladdin Records executive decided the pair needed more dynamism in their names and dubbed Hopkins “Lightnin’” and Wilson “Thunder”. Hopkins recorded more sides for Aladdin in 1947 but soon grew homesick. He returned to Houston and began recording for the Gold Star Records label. During the late 40s and 1950s Hopkins rarely performed outside Texas. However, he recorded …

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Mark Twang says ” These dudes are real Kool” The Original Delta Fireballs is blues harp player Geneva Red’s duo. Her partner, here playing slide guitar and drums at the same time in the tradition of one man band performers Joe Hill Louis, Dr. Ross and Elmon Mickle is Jackie 5 & Dime, who also plays guitar on Red’s larger band Geneva Red & The Roadsters. This video clip of them playing WC Handy’s song The Saint Louis Blues was shot at Clark Place in Stevens Point, WI. When the critics speak of Geneva Red they often cite as her influences some of the greatest harmonica players in American music history. Here are some samples, in their own words: Geneva Red plays with a driving style that touches all the ancestral bases. – LIVING BLUES MAGAZINE, USA Her tone and phrasing brought to mind the Chicago blues greats – Little Walter, Big Walter, Sonny Boy #2, and Jimmy Reed. – AMERICAN HARMONICA NEWS MAGAZINE, USA A tradition-slanted set that shows off Red’s harp-blowing skills amid fine arrangements by the excellent Roadsters. Hot spots include Red’s haunting minor-key “A Lil Somethin’”, Wolworth’s slow blues “When I Wonder” (with Big Walter tone from Red), the funky “Taxin’ Me”, and the strong reading of Howlin’ Wolf’s “Who’s Been Talkin’”. – BLUES REVUE MAGAZINE, USA …her rootsy harp (especially in “Bring It On Home”) is sooo Walter Horton it is a delight to hear. -ANDRE HOBUS, SOUL BAG MAGAZINE, ITALY You’ve got Sonny Boy Williamson & Charlie Musselwhite all mixed into one there, man what a harmonica player that young …

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„Set Down Gal (J. Arnold) Recorded: Chicago, March 30. 1937 Kokomo Arnold (vcl) (g) Peetie Wheatstraw (p) Kokomo Arnold (15 February 1901 — 8 November 1968) was an American blues musician. Born James Arnold in Lovejoy’s Station, Georgia, Arnold received his nickname in 1934 after releasing “Old Original Kokomo Blues ” for the Decca label; it was a cover of the Scrapper Blackwell blues song about the Kokomo brand of coffee. A left-handed slide guitarist, his intense slide style of playing and rapid-fire vocal style set him apart from his contemporaries. Having learned the basics of the guitar from his cousin, John Wiggs, Arnold began playing in the early 1920s as a sideline while he worked as a farmhand in Buffalo, New York, and as a steelworker in Pittsburgh, Pennsylvania. In 1929 he moved to Chicago and set up a bootlegging business, an activity he continued throughout Prohibition. In 1930 Arnold moved south briefly, and made his first recordings, “Rainy Night Blues” and “Paddlin’ Madeline Blues”, under the name Gitfiddle Jim for the Victor label in Memphis, Tennessee. He soon moved back to the bootlegging center of Chicago, though he was forced to make a living as a musician after the ratification of the Twenty-first Amendment to the United States Constitution ending Prohibition in 1933. Kansas Joe mccoy heard him and introduced him to Mayo Williams who was producing records for Decca[2]. From his first recording for Decca on 10 September 1934 until his last on 12 May …

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„Love Making Mama” (Mc Tell) Aufnahme: New York, September 1, 1933 Blind Willie mctell (g)(vcl), Curley Weaver (g) (vcl) William Samuel mctell, better known as Blind Willie mctell (May 5, 1898 (sometimes reported as 1901) — August 19, 1959), was an influential American blues singer, songwriter, and guitarist. He was a twelve-string finger picking Piedmont blues guitarist, and recorded 149 songs between 1927 and 1956. Born William Samuel mctier in Thomson, Georgia, blind in one eye, mctell had lost his remaining vision by late childhood, but became an adept reader of Braille. He showed an inherent proficiency in music from an early age and learned to play the six-string guitar as soon as he could. His father left the family when mctell was still young, so when his mother died in the 1920s, he left his hometown and became a wandering busker. He began his recording career in 1927 for Victor Records in Atlanta. In the years before World War II, he traveled and performed widely, recording for a number of labels under a different name for each one, including Blind Willie mctell (Victor and Decca), Blind Sammie (Columbia), Georgia Bill (Okeh), Hot Shot Willie (Victor), Blind Willie (Vocalion), Red Hot Willie Glaze (Bluebird), Barrelhouse Sammie (Atlantic) and Pig & Whistle Red (Regal). His style was singular: a form of country blues, bridging the gap between the raw blues of the early part of the 20th Century and the more refined East Coast “Piedmont” sound. He took on the less …

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