BB King - Why I Sing The Blues - Live In Africa 1974 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/bbking.html B.B. King Live In Africa '74 is a rare - extremely rare - intimate view of B.B. King in concert. At age 49, having "crossed over" to wide popularity with his show at the Fillmore West in 1968 and secured his fame with the 1970 hit "The Thrill Is Gone," B.B. stands onstage before Muhammad Ali and a crowd of 80,000 on the continent his ancestors left in chains and gives one of the most thrilling performances of his life. "The King of the Blues" (B.B.), "Soul Brother #1" (James Brown) and other African-American artists on the bill reveled in the return to their cultural motherland for a gala affair that was attended by fans and journalists from all over the world. The backstory around this perfonnance is rich. Behind B.B. is a large orchestra, made up of core members ofB.B.'s touring band - pianist Ron Levy, drummer Sonny Freeman and saxophonist Bobby Forte - plus studio musicians recruited (mostly) from New York, including renowned session guitarist Larry Carlton. Directed by Hampton Reese, B.B.'s longtime friend and musical tutor (you'll see him in his plaid sport coat conducting the band), this collection of musicians achieved their amazing performance after a single rehearsal in Kinshasa. Hampton wrote the charts for all the songs in the set, and every musician was playing from those charts. Of the musicians who played that concert from B.B.'s 1974 touring band, only Ron Levy is still living. Here are some of his recollections of the unforgettable trip to Zaire (now the Democratic Republic of Congo) and their historic performance there: To perform in Africa - the land of his ancestors, at this stadium event before 80,000 - plus crazed, hot, sweaty, dancing and bouncing heads and soulfully pained hearts -- must have had a very special personal significance for B.B., as it did for us all. We all realized this was not just another gig. It was history, good history. We were all very proud to be a part of it. As far as the set went, we performed 8.B.'s most famous hits. I have to say, this was probably the first lime this crowd ever heard - or heard of - B.B. King. but as usual he left them wanting more, as well as an indelible memory of his sincere personal passion and deep-felt blues. He definitely connected with them like the beloved king he is. If you're a B.B. King fan, you are in for a rare treat with B.B, King Live in Africa '74. If this is your introduction to the King of the Blues, you'll understand why he is so loved the world over. -Charles Sawyer Charles Sawyer is the author of the first biography of B.B. King. The Arrival Of B.B. King (Doubleday 1980, Da Capo 1982), He teaches ""History Of Blues In America" at Harvard Extension School, and leads his own blues band, 2120 South Michigan Avenue.
Starting at Zero - Book Trailer 2 GravityLimited 2013-11-09 | Trailer for Jimi Hendrix' autobiography.
Starting at Zero - Book Trailer 1 GravityLimited 2013-11-09 | Trailer for Jimi Hendrix' autobiography.
Muddy Waters - Youve Got To Love Her With A Feeling - ChicagoFest 1981 GravityLimited 2010-07-30 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - You Dont Have to Go - ChicagoFest 1981 GravityLimited 2010-07-30 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - Walking Thru the Park - ChicagoFest 1981 GravityLimited 2010-07-30 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - Trouble No More - ChicagoFest 1981 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - They Call Me Muddy Waters - ChicagoFest 1981 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - Shes Nineteen Years Old - ChicagoFest 1981 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - Mannish Boy - ChicagoFest 1981 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - Going Down Slow - ChicagoFest 1981 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - Im A King Bee - ChicagoFest 1981 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - Got My Mojo Working - ChicagoFest 1981 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Muddy Waters - Baby Please Dont Go - ChicagoFest 1981 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/muddywaters.html In August of 1981, when the undisputed king of Chicago blues headlined ChicagoFest — then the Windy City's top outdoor music festival — for two nights, his loyal subjects mobbed Navy Pier on the lakefront to hear one of the greatest innovators the idiom had ever produced. Muddy Waters led the charge in the late 1940s and early '50s to electrify Delta blues in an urban setting. His peerless combo would include such future stars as ace guitarist Jimmy Rogers, harmonica virtuoso Little Walter and piano wizard Otis Spann. But Muddy was always at the center of the action. His gruff, authoritative vocal delivery and slashing slide guitar define the purest form of postwar Chicago blues. Waters' charisma was as immense as his musical vision. Born April 4, 1915, in Issaquena County, Mississippi, McKinley Morganfield learned the blues while sharecropping on Stovall Plantation. One guitarist particularly influenced him. "I never seen a man could play at that time as good as Son House, to me. With that big voice he had, he could sing," said Muddy. "He was preachin' the blues then, and I thought he was the best in the world." In late August of 1941 musicologists Alan Lomax and John Work rolled into Coahoma County in search of rural gospel and blues talent. They made field recordings of Muddy, with Lomax returning the next year to cut more. But those were for the Library of Congress. It was only after Muddy migrated north in 1943 that he pursued a career as a professional bluesman. "As soon as I decided to leave, my mind said, 'Go to Chicago!'" he recounted. "So I came." Pianist Sunnyland Slim introduced Muddy to Leonard Chess, then with the fledgling Aristocrat label, in 1947. Waters cut a few small combo sides for the label before reverting to his Delta slide attack the following year on "I Can't Be Satisfied" and "I Feel Like Going Home," his first hit. "When I did them two sides, that's the sides they went nuts over," said Waters. "I had a band in less than a week," Muddy remembered. "Mojo Buford — he was with me before, the harp player — said, 'I'll get you some boys that'll cook just like that.' He called in about two or three days. He said, 'I'm gonna bring 'em over and let you listen to 'em.' Just that fast, I had a band!" Buford was joined by guitarists John Primer and Rick Kreher, pianist Lovie Lee, bassist Earnest Johnson and drummer Ray Allison. They all instinctively understood Muddy's groove. After "Mannish Boy" gets the festivities off to a rousing start, Muddy counts off romping shuffles for the ChicagoFest throng, rolling through Jimmy Reed's "You Don't Have To Go," Big Joe Williams' "Baby Please Don't Go," Slim Harpo's "I'm A King Bee" and his own 1955 gem "Trouble No More." For the luxuriantly downbeat "They Call Me Muddy Waters," he peels off a slide solo that makes the hair on the nape of your neck stand up in silent salute. In the midst of his rollicking "Walking Thru The Park," Muddy brings out fleet-fingered guitar wizard Johnny Winter, producer of his 1977 "comeback" album Hard Again. "We met back in the '60s in Austin, Texas," recalled Muddy. "He was one of the young white kids who was really deep into it." Johnny sings "Going Down Slow" before Waters blasts out a swaggering "She's Nineteen Years Old," boasting another jaw-dropping slide ride. Winter takes over again vocally for a grinding "You've Got To Love Her With A Feeling" that morphs into "Five Long Years" when local luminary Mighty Joe Young strolls up to the mic, Big Twist following that with a few special lyrics for the occasion. Muddy brings it all to a close with a rousing "Got My Mojo Working." "To stay with this music, you got to live with it. Sometimes you might be a little hungry, but you got to stay with it. I've been where I couldn't get the right food a lot of times. My icebox wasn't full, you know?" said Muddy, who passed away not long after this show on April 30, 1983. "I'm glad it was like that. So when I got to the point that I could get what I want, I think I enjoyed it better." It's hard to tell who enjoyed those two evenings at ChicagoFest more — the crowd, his pals onstage or Muddy himself. — Bill Dahl Research Materials Can't Be Satisfied: The Life And Times Of Muddy Waters, by Robert Gordon (Boston & New York: Little, Brown and Co., 2002) Spinning Blues Into Gold: The Chess Brothers And The Legendary Chess Records, by Nadine Cohodas (New York: St. Martin's Press, 2000) The Complete Muddy Waters Discography, by Phil Wight and Fred Rothwell (Cheshire, England: Blues and Rhythm Pub.) Joel Whitburn's Top R&B Singles 1942--1988, by Joel Whitburn (Menomonee Falls, WI: Record Research Inc., 1988) The Official Muddy Waters Web site: http://www.muddywaters.com/1981.html.
Parliament Funkadelic - Give Up The Funk - Mothership Connection Houston 1976 GravityLimited 2010-07-29 | http://www.amazon.com/Mothership-Conn... It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
BB King - To Know You Is To Love You - Live In Africa 74 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/bbking.html B.B. King Live In Africa '74 is a rare - extremely rare - intimate view of B.B. King in concert. At age 49, having "crossed over" to wide popularity with his show at the Fillmore West in 1968 and secured his fame with the 1970 hit "The Thrill Is Gone," B.B. stands onstage before Muhammad Ali and a crowd of 80,000 on the continent his ancestors left in chains and gives one of the most thrilling performances of his life. "The King of the Blues" (B.B.), "Soul Brother #1" (James Brown) and other African-American artists on the bill reveled in the return to their cultural motherland for a gala affair that was attended by fans and journalists from all over the world. The backstory around this perfonnance is rich. Behind B.B. is a large orchestra, made up of core members ofB.B.'s touring band - pianist Ron Levy, drummer Sonny Freeman and saxophonist Bobby Forte - plus studio musicians recruited (mostly) from New York, including renowned session guitarist Larry Carlton. Directed by Hampton Reese, B.B.'s longtime friend and musical tutor (you'll see him in his plaid sport coat conducting the band), this collection of musicians achieved their amazing performance after a single rehearsal in Kinshasa. Hampton wrote the charts for all the songs in the set, and every musician was playing from those charts. Of the musicians who played that concert from B.B.'s 1974 touring band, only Ron Levy is still living. Here are some of his recollections of the unforgettable trip to Zaire (now the Democratic Republic of Congo) and their historic performance there: To perform in Africa - the land of his ancestors, at this stadium event before 80,000 - plus crazed, hot, sweaty, dancing and bouncing heads and soulfully pained hearts -- must have had a very special personal significance for B.B., as it did for us all. We all realized this was not just another gig. It was history, good history. We were all very proud to be a part of it. As far as the set went, we performed 8.B.'s most famous hits. I have to say, this was probably the first lime this crowd ever heard - or heard of - B.B. King. but as usual he left them wanting more, as well as an indelible memory of his sincere personal passion and deep-felt blues. He definitely connected with them like the beloved king he is. If you're a B.B. King fan, you are in for a rare treat with B.B, King Live in Africa '74. If this is your introduction to the King of the Blues, you'll understand why he is so loved the world over. -Charles Sawyer Charles Sawyer is the author of the first biography of B.B. King. The Arrival Of B.B. King (Doubleday 1980, Da Capo 1982), He teaches ""History Of Blues In America" at Harvard Extension School, and leads his own blues band, 2120 South Michigan Avenue.
BB King - The Thrill Is Gone - Live In Africa 74 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/bbking.html B.B. King Live In Africa '74 is a rare - extremely rare - intimate view of B.B. King in concert. At age 49, having "crossed over" to wide popularity with his show at the Fillmore West in 1968 and secured his fame with the 1970 hit "The Thrill Is Gone," B.B. stands onstage before Muhammad Ali and a crowd of 80,000 on the continent his ancestors left in chains and gives one of the most thrilling performances of his life. "The King of the Blues" (B.B.), "Soul Brother #1" (James Brown) and other African-American artists on the bill reveled in the return to their cultural motherland for a gala affair that was attended by fans and journalists from all over the world. The backstory around this perfonnance is rich. Behind B.B. is a large orchestra, made up of core members ofB.B.'s touring band - pianist Ron Levy, drummer Sonny Freeman and saxophonist Bobby Forte - plus studio musicians recruited (mostly) from New York, including renowned session guitarist Larry Carlton. Directed by Hampton Reese, B.B.'s longtime friend and musical tutor (you'll see him in his plaid sport coat conducting the band), this collection of musicians achieved their amazing performance after a single rehearsal in Kinshasa. Hampton wrote the charts for all the songs in the set, and every musician was playing from those charts. Of the musicians who played that concert from B.B.'s 1974 touring band, only Ron Levy is still living. Here are some of his recollections of the unforgettable trip to Zaire (now the Democratic Republic of Congo) and their historic performance there: To perform in Africa - the land of his ancestors, at this stadium event before 80,000 - plus crazed, hot, sweaty, dancing and bouncing heads and soulfully pained hearts -- must have had a very special personal significance for B.B., as it did for us all. We all realized this was not just another gig. It was history, good history. We were all very proud to be a part of it. As far as the set went, we performed 8.B.'s most famous hits. I have to say, this was probably the first lime this crowd ever heard - or heard of - B.B. King. but as usual he left them wanting more, as well as an indelible memory of his sincere personal passion and deep-felt blues. He definitely connected with them like the beloved king he is. If you're a B.B. King fan, you are in for a rare treat with B.B, King Live in Africa '74. If this is your introduction to the King of the Blues, you'll understand why he is so loved the world over. -Charles Sawyer Charles Sawyer is the author of the first biography of B.B. King. The Arrival Of B.B. King (Doubleday 1980, Da Capo 1982), He teaches ""History Of Blues In America" at Harvard Extension School, and leads his own blues band, 2120 South Michigan Avenue.
BB King - I Like To Live The Love - Live in Africa 1974 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/bbking.html B.B. King Live In Africa '74 is a rare - extremely rare - intimate view of B.B. King in concert. At age 49, having "crossed over" to wide popularity with his show at the Fillmore West in 1968 and secured his fame with the 1970 hit "The Thrill Is Gone," B.B. stands onstage before Muhammad Ali and a crowd of 80,000 on the continent his ancestors left in chains and gives one of the most thrilling performances of his life. "The King of the Blues" (B.B.), "Soul Brother #1" (James Brown) and other African-American artists on the bill reveled in the return to their cultural motherland for a gala affair that was attended by fans and journalists from all over the world. The backstory around this perfonnance is rich. Behind B.B. is a large orchestra, made up of core members ofB.B.'s touring band - pianist Ron Levy, drummer Sonny Freeman and saxophonist Bobby Forte - plus studio musicians recruited (mostly) from New York, including renowned session guitarist Larry Carlton. Directed by Hampton Reese, B.B.'s longtime friend and musical tutor (you'll see him in his plaid sport coat conducting the band), this collection of musicians achieved their amazing performance after a single rehearsal in Kinshasa. Hampton wrote the charts for all the songs in the set, and every musician was playing from those charts. Of the musicians who played that concert from B.B.'s 1974 touring band, only Ron Levy is still living. Here are some of his recollections of the unforgettable trip to Zaire (now the Democratic Republic of Congo) and their historic performance there: To perform in Africa - the land of his ancestors, at this stadium event before 80,000 - plus crazed, hot, sweaty, dancing and bouncing heads and soulfully pained hearts -- must have had a very special personal significance for B.B., as it did for us all. We all realized this was not just another gig. It was history, good history. We were all very proud to be a part of it. As far as the set went, we performed 8.B.'s most famous hits. I have to say, this was probably the first lime this crowd ever heard - or heard of - B.B. King. but as usual he left them wanting more, as well as an indelible memory of his sincere personal passion and deep-felt blues. He definitely connected with them like the beloved king he is. If you're a B.B. King fan, you are in for a rare treat with B.B, King Live in Africa '74. If this is your introduction to the King of the Blues, you'll understand why he is so loved the world over. -Charles Sawyer Charles Sawyer is the author of the first biography of B.B. King. The Arrival Of B.B. King (Doubleday 1980, Da Capo 1982), He teaches ""History Of Blues In America" at Harvard Extension School, and leads his own blues band, 2120 South Michigan Avenue.
BB King - Instrumental - Live in Africa 1974 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/bbking.html B.B. King Live In Africa '74 is a rare - extremely rare - intimate view of B.B. King in concert. At age 49, having "crossed over" to wide popularity with his show at the Fillmore West in 1968 and secured his fame with the 1970 hit "The Thrill Is Gone," B.B. stands onstage before Muhammad Ali and a crowd of 80,000 on the continent his ancestors left in chains and gives one of the most thrilling performances of his life. "The King of the Blues" (B.B.), "Soul Brother #1" (James Brown) and other African-American artists on the bill reveled in the return to their cultural motherland for a gala affair that was attended by fans and journalists from all over the world. The backstory around this perfonnance is rich. Behind B.B. is a large orchestra, made up of core members ofB.B.'s touring band - pianist Ron Levy, drummer Sonny Freeman and saxophonist Bobby Forte - plus studio musicians recruited (mostly) from New York, including renowned session guitarist Larry Carlton. Directed by Hampton Reese, B.B.'s longtime friend and musical tutor (you'll see him in his plaid sport coat conducting the band), this collection of musicians achieved their amazing performance after a single rehearsal in Kinshasa. Hampton wrote the charts for all the songs in the set, and every musician was playing from those charts. Of the musicians who played that concert from B.B.'s 1974 touring band, only Ron Levy is still living. Here are some of his recollections of the unforgettable trip to Zaire (now the Democratic Republic of Congo) and their historic performance there: To perform in Africa - the land of his ancestors, at this stadium event before 80,000 - plus crazed, hot, sweaty, dancing and bouncing heads and soulfully pained hearts -- must have had a very special personal significance for B.B., as it did for us all. We all realized this was not just another gig. It was history, good history. We were all very proud to be a part of it. As far as the set went, we performed 8.B.'s most famous hits. I have to say, this was probably the first lime this crowd ever heard - or heard of - B.B. King. but as usual he left them wanting more, as well as an indelible memory of his sincere personal passion and deep-felt blues. He definitely connected with them like the beloved king he is. If you're a B.B. King fan, you are in for a rare treat with B.B, King Live in Africa '74. If this is your introduction to the King of the Blues, you'll understand why he is so loved the world over. -Charles Sawyer Charles Sawyer is the author of the first biography of B.B. King. The Arrival Of B.B. King (Doubleday 1980, Da Capo 1982), He teaches ""History Of Blues In America" at Harvard Extension School, and leads his own blues band, 2120 South Michigan Avenue.
BB King - I Believe To My Soul - Live in Africa 1974 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/bbking.html B.B. King Live In Africa '74 is a rare - extremely rare - intimate view of B.B. King in concert. At age 49, having "crossed over" to wide popularity with his show at the Fillmore West in 1968 and secured his fame with the 1970 hit "The Thrill Is Gone," B.B. stands onstage before Muhammad Ali and a crowd of 80,000 on the continent his ancestors left in chains and gives one of the most thrilling performances of his life. "The King of the Blues" (B.B.), "Soul Brother #1" (James Brown) and other African-American artists on the bill reveled in the return to their cultural motherland for a gala affair that was attended by fans and journalists from all over the world. The backstory around this perfonnance is rich. Behind B.B. is a large orchestra, made up of core members ofB.B.'s touring band - pianist Ron Levy, drummer Sonny Freeman and saxophonist Bobby Forte - plus studio musicians recruited (mostly) from New York, including renowned session guitarist Larry Carlton. Directed by Hampton Reese, B.B.'s longtime friend and musical tutor (you'll see him in his plaid sport coat conducting the band), this collection of musicians achieved their amazing performance after a single rehearsal in Kinshasa. Hampton wrote the charts for all the songs in the set, and every musician was playing from those charts. Of the musicians who played that concert from B.B.'s 1974 touring band, only Ron Levy is still living. Here are some of his recollections of the unforgettable trip to Zaire (now the Democratic Republic of Congo) and their historic performance there: To perform in Africa - the land of his ancestors, at this stadium event before 80,000 - plus crazed, hot, sweaty, dancing and bouncing heads and soulfully pained hearts -- must have had a very special personal significance for B.B., as it did for us all. We all realized this was not just another gig. It was history, good history. We were all very proud to be a part of it. As far as the set went, we performed 8.B.'s most famous hits. I have to say, this was probably the first lime this crowd ever heard - or heard of - B.B. King. but as usual he left them wanting more, as well as an indelible memory of his sincere personal passion and deep-felt blues. He definitely connected with them like the beloved king he is. If you're a B.B. King fan, you are in for a rare treat with B.B, King Live in Africa '74. If this is your introduction to the King of the Blues, you'll understand why he is so loved the world over. -Charles Sawyer Charles Sawyer is the author of the first biography of B.B. King. The Arrival Of B.B. King (Doubleday 1980, Da Capo 1982), He teaches ""History Of Blues In America" at Harvard Extension School, and leads his own blues band, 2120 South Michigan Avenue.
BB King - Guess Who - Live in Africa 1974 GravityLimited 2010-07-29 | http://gravityworld.tv/Video_Content/bbking.html B.B. King Live In Africa '74 is a rare - extremely rare - intimate view of B.B. King in concert. At age 49, having "crossed over" to wide popularity with his show at the Fillmore West in 1968 and secured his fame with the 1970 hit "The Thrill Is Gone," B.B. stands onstage before Muhammad Ali and a crowd of 80,000 on the continent his ancestors left in chains and gives one of the most thrilling performances of his life. "The King of the Blues" (B.B.), "Soul Brother #1" (James Brown) and other African-American artists on the bill reveled in the return to their cultural motherland for a gala affair that was attended by fans and journalists from all over the world. The backstory around this perfonnance is rich. Behind B.B. is a large orchestra, made up of core members ofB.B.'s touring band - pianist Ron Levy, drummer Sonny Freeman and saxophonist Bobby Forte - plus studio musicians recruited (mostly) from New York, including renowned session guitarist Larry Carlton. Directed by Hampton Reese, B.B.'s longtime friend and musical tutor (you'll see him in his plaid sport coat conducting the band), this collection of musicians achieved their amazing performance after a single rehearsal in Kinshasa. Hampton wrote the charts for all the songs in the set, and every musician was playing from those charts. Of the musicians who played that concert from B.B.'s 1974 touring band, only Ron Levy is still living. Here are some of his recollections of the unforgettable trip to Zaire (now the Democratic Republic of Congo) and their historic performance there: To perform in Africa - the land of his ancestors, at this stadium event before 80,000 - plus crazed, hot, sweaty, dancing and bouncing heads and soulfully pained hearts -- must have had a very special personal significance for B.B., as it did for us all. We all realized this was not just another gig. It was history, good history. We were all very proud to be a part of it. As far as the set went, we performed 8.B.'s most famous hits. I have to say, this was probably the first lime this crowd ever heard - or heard of - B.B. King. but as usual he left them wanting more, as well as an indelible memory of his sincere personal passion and deep-felt blues. He definitely connected with them like the beloved king he is. If you're a B.B. King fan, you are in for a rare treat with B.B, King Live in Africa '74. If this is your introduction to the King of the Blues, you'll understand why he is so loved the world over. -Charles Sawyer Charles Sawyer is the author of the first biography of B.B. King. The Arrival Of B.B. King (Doubleday 1980, Da Capo 1982), He teaches ""History Of Blues In America" at Harvard Extension School, and leads his own blues band, 2120 South Michigan Avenue.
BB King - Aint Nobody Home - Live In Africa 1974 GravityLimited 2010-07-27 | http://gravityworld.tv/Video_Content/bbking.html B.B. King Live In Africa '74 is a rare - extremely rare - intimate view of B.B. King in concert. At age 49, having "crossed over" to wide popularity with his show at the Fillmore West in 1968 and secured his fame with the 1970 hit "The Thrill Is Gone," B.B. stands onstage before Muhammad Ali and a crowd of 80,000 on the continent his ancestors left in chains and gives one of the most thrilling performances of his life. "The King of the Blues" (B.B.), "Soul Brother #1" (James Brown) and other African-American artists on the bill reveled in the return to their cultural motherland for a gala affair that was attended by fans and journalists from all over the world. The backstory around this perfonnance is rich. Behind B.B. is a large orchestra, made up of core members ofB.B.'s touring band - pianist Ron Levy, drummer Sonny Freeman and saxophonist Bobby Forte - plus studio musicians recruited (mostly) from New York, including renowned session guitarist Larry Carlton. Directed by Hampton Reese, B.B.'s longtime friend and musical tutor (you'll see him in his plaid sport coat conducting the band), this collection of musicians achieved their amazing performance after a single rehearsal in Kinshasa. Hampton wrote the charts for all the songs in the set, and every musician was playing from those charts. Of the musicians who played that concert from B.B.'s 1974 touring band, only Ron Levy is still living. Here are some of his recollections of the unforgettable trip to Zaire (now the Democratic Republic of Congo) and their historic performance there: To perform in Africa - the land of his ancestors, at this stadium event before 80,000 - plus crazed, hot, sweaty, dancing and bouncing heads and soulfully pained hearts -- must have had a very special personal significance for B.B., as it did for us all. We all realized this was not just another gig. It was history, good history. We were all very proud to be a part of it. As far as the set went, we performed 8.B.'s most famous hits. I have to say, this was probably the first lime this crowd ever heard - or heard of - B.B. King. but as usual he left them wanting more, as well as an indelible memory of his sincere personal passion and deep-felt blues. He definitely connected with them like the beloved king he is. If you're a B.B. King fan, you are in for a rare treat with B.B, King Live in Africa '74. If this is your introduction to the King of the Blues, you'll understand why he is so loved the world over. -Charles Sawyer Charles Sawyer is the author of the first biography of B.B. King. The Arrival Of B.B. King (Doubleday 1980, Da Capo 1982), He teaches ""History Of Blues In America" at Harvard Extension School, and leads his own blues band, 2120 South Michigan Avenue.
Parliament Funkadelic - Undisco Kidd - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - Swing Down Sweet Chariot - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - Standing On the Verge of Gettin It On - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - P-Funk Wants to Get Funked Up- Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - Night of the Thumpasorus Peoples - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - Gamin On Ya - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - Funkin For Fun - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - Dr. Funkenstein - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://www.amazon.com/gp/product/images/B001F9FHFI/ref=dp_image_0?ie=UTF8&n=130&s=dvd It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - Do That Stuff - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - Cosmic Slop - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk. http://www.amazon.com/Mothership-Connection-Live-1976/dp/B001F9FHFI/ref=sr_1_3?ie=UTF8&s=music&qid=1280380001&sr=8-3
Parliament Funkadelic - Comin round the Mountain - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Parliament Funkadelic - Children of Productions - Mothership Connection - Houston 1976 GravityLimited 2010-07-24 | http://gravityworld.tv/Video_Content/pfunk.html It was Halloween night and Parliament Funkadelic was about to tear the roof off the Houston Summit, ready to bless the crowd with their cosmic brew of interplanetary funk. George Clinton, Bernie Worrell, Bootsy Collins and the rest of the P-Funk collective were riding the success of their first Top 5 R&B hit, "Give Up The Funk (Tear The Roof Off The Sucker)," a track that had earned them the kind of radio play that would bring the masses out to see them live in a stadium-sized arena. The group was only five dates into the tour when they arrived in Houston, but they were definitely ready to take it to the stage for an out-of-this-world show like no other. Taped on October 31, 1976, these seldom-seen performances at the Houston Summit represent Clinton and Parliament Funkadelic in their ʼ70s prime, in the era of their Mothership Connection and The Clones Of Dr. Funkenstein LPs—a rare opportunity for everyone to get their proper dose of The P-Funk.
Fania All Stars - Hector Lavoe - Mi Gente - Zaire, Africa 1974 GravityLimited 2010-07-04 | 1974 in Zaire, Africa
Celia Cruz & The Fania All Stars - Guantanamera - Zaire, Africa 1974 GravityLimited 2010-06-29 | 1974 in Zaire Africa
Celia Cruz & The Fania All Stars - Quimbara - Zaire, Africa 1974 GravityLimited 2010-06-29 | Zaire, Africa 1974
Gravity Limiteds Mojo Working Project Sampler Part 2 of 2 GravityLimited 2010-05-20 | This is part 2 of 2 of the 11 minute Gravity Limited video product sampler. Artists include B.B. King - Celia Cruz & The Fania All Stars - James Brown - Otis Redding - George Clinton and the Parliament Funkadelic - The Doors.
Gravity Limiteds Mojo Working Project Sampler Part 1 of 2 GravityLimited 2010-05-20 | This is part 1 of 2 of the 11 minute Gravity Limited video product sampler. Artists include Chuck Berry - Jerry Lee Lewis - John Lennon and the Plastic Ono Band - Little Richard - Muddy Waters - The Pointer Sisters - Woodstock Jazz Festival.
The Mothership Connection 1976 GravityLimited 2009-10-26 | Trailer for the Gravity Limited release of The Mothership Connection through Shout Factory.
Mojo Working Trailer GravityLimited 2009-10-26 | This is a trailer of artists represented in the Mojo Working series from Gravity Limited
