| Further On Up the Road [1992년] |
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1 Further on Up the Road 3:04
2 That's All Right 4:41
3 Cut off My Right Arm 5:45
4 Excuses, Excuses 3:27
5 Wella Wella Baby 2:53
6 Love Her With a Feeling 4:35
7 Look on Yonder Wall 3:38
8 Ain't Nobody's Business 7:02 
9 Nobody But You 5:52
10 Learnes My Lesson 3:29 | |
| [참 조] ▒ ▒ ▒ Johnny Copeland - Biography ▒ ▒ ▒ |  조니 코플랜드는 1937년 3월 27일 루이지애나의 Haynsville에서 태어났다. 그가 태어나자마자 부모는 이혼을 했고 그의 양육을 맡기로 한 아버지마저 얼마 후 죽고 말아 조니 코플랜드는 말 그대로 부모의 따뜻한 정을 갈구하며 유년기를 보내야 했다. 그는 아버지가 치던 기타에 흥미를 느끼다가 아버지가 죽자 그것을 매일 연습하며 기타리스트를 꿈꾸었다. 외로움 때문인지 그의 기타실력은 빠른 시간 급성장해 주변을 놀라게 했다.
이후 그는 친구인 조 기타 휴즈(Joe Guitar Hughes)와 함께 첫 공연을 해 좋은 반응을 얻었고 둘은 계속해서 여러 차례 함께 공연을 하며 인기를 얻었다. 이미 10대 때부터 기타리스트로서 이름을 날리던 조니 코플랜드는 휴스턴에서 제일 알아주던 블루스 클럽 무대에 서며 더욱 유명세를 타게 되었다.
 70년대에는 뉴욕으로 이주해 연주를 계속했고 이어 필라델피아, 뉴저지, 보스톤 등지를 돌며 활발하게 공연활동을 계속했다. 81년에는 라운더 레이블에서 몇 장의 앨범들을 공개해 좋은 반응을 얻었고 86년에는 로버트 클레이, 알버트 콜린스 등과 함께 연주한 앨리게이터 레이블 앨범 [Showdown]으로 그래미상을 수상해 세계적인 스타의 대열에 들어서기도 했다.
94년경의 어느 날 그는 공연 중 몸이 이상해 진찰을 받아본 결과 심장에 이상이 있다는 것을 알았다. 그는 심장병을 고치기 위해 뉴욕에 있는 병원에 입원을 하며 나름대로 성실하게 진료를 받긴 했으나 아쉽게도 1997년 7월 3일에 죽고 말았다.
[자료출처: 음악창고, 글/조성진]
 | Considering the amount of time he spent steadily rolling from gig to gig, Johnny "Clyde" Copeland's rise to prominence in the blues world in the early '90s wasn't all that surprising. A contract with the PolyGram/Verve label put his '90s recordings into the hands of thousands of blues lovers around the world. It's not that Copeland's talent changed all that much since he recorded for Rounder Records in the 1980s; it's just that major companies began to see the potential of great, hardworking blues musicians like Copeland. Unfortunately, Copeland was forced to slow down in 1995-96 by heart-related complications, yet he continued to perform shows until his death in July of 1997.
Johnny Copeland was born March 27, 1937, in Haynesville, LA, about 15 miles south of Magnolia, AR (formerly Texarkana, a hotbed of blues activity in the 1920s and '30s). The son of sharecroppers, his father died when he was very young, but Copeland was given his father's guitar. His first gig was with his friend Joe "Guitar" Hughes. Soon after, Hughes "took sick" for a week and the young Copeland discovered he could be a front man and deliver vocals as well as anyone else around Houston at that time.
His music, by his own reasoning, fell somewhere between the funky R&B of New Orleans and the swing and jump blues of Kansas City. After his family (sans his father) moved to Houston, Copeland was exposed, as a teen, to musicians from both cities. While he was becoming interested in music, he also pursued boxing, mostly as an avocation, and it is from his days as a boxer that he got his nickname "Clyde."
 | Copeland and Hughes fell under the spell of T-Bone Walker, whom Copeland first saw perform when he was 13 years old. As a teenager he played at locales such as Shady's Playhouse — Houston's leading blues club, host to most of the city's best bluesmen during the 1950s — and the Eldorado Ballroom. Copeland and Hughes subsequently formed The Dukes of Rhythm, which became the house band at the Shady's Playhouse. After that, he spent time playing on tour with Albert Collins (himself a fellow T-Bone Walker devotee) during the 1950s, and also played on stage with Sonny Boy Williamson II, Big Mama Thornton, and Freddie King. He began recording in 1958 with "Rock 'n' Roll Lily" for Mercury, and moved between various labels during the 1960s, including All Boy and Golden Eagle in Houston, where he had regional successes with "Please Let Me Know" and "Down on Bending Knees," and later for Wand and Atlantic in New York. In 1965, he displayed a surprising prescience in terms of the pop market by cutting a version of Bob Dylan's "Blowin' in the Wind" for Wand.
 | After touring around the "Texas triangle" of Louisiana, Texas and Arkansas, he relocated to New York City in 1974, at the height of the disco boom. It seems moving to New York City was the best career move Copeland ever made, for he had easy access to clubs in Washington, D.C., New York, Philadelphia, New Jersey, and Boston, all of which still had a place for blues musicians like him. Meanwhile, back in Houston, the club scene was hurting, owing partly to the oil-related recession of the mid-'70s. Copeland took a day job at a Brew 'n' Burger restaurant in New York and played his blues at night, finding receptive audiences at clubs in Harlem and Greenwich Village.
Copeland recorded seven albums for Rounder Records, beginning in 1981 and including Copeland Special, Make My Home Where I Hang My Hat, Texas Twister, Bringing It All Back Home, When the Rain Starts a Fallin', Ain't Nothing But a Party (live, nominated for a Grammy) and Boom Boom; he also won a Grammy award in 1986 for his efforts on an Alligator album, Showdown! with Robert Cray and the late Albert Collins. Although Copeland had a booming, shouting voice and was a powerful guitarist and live performer, what most people don't realize is just how clever a songwriter he was. His latter-day releases for the PolyGram/Verve/Gitanes label, including Flyin' High (1992) and Catch Up with the Blues, provide ample evidence of this on "Life's Rainbow (Nature Song)" (from the latter album) and "Circumstances" (from the former album).
 | Because Copeland was onl y six months old when his parents split up and he onl y saw his father a few times before he passed away, Copeland never realized he had inherited a congenital heart defect from his father. He disovered this in the midst of another typically hectic tour in late 1994, when he had to go into the hospital in Colorado. After he was diagnosed with heart disease, he spent the next few years in and out of hospitals, undertaking a number of costly heart surgeries. Early in 1997, he was waiting for a heart transplant at Columbia Presbyterian Medical Center in New York City. As he was waiting, he was put on the L-VAD, a recent innovation for patients suffering from congenital heart defects. In 1995, Copeland appeared on CNN and ABC-TV's Good Morning America, wearing his L-VAD, offering the invention valuable publicity.
 | Despite his health problems, Copeland continued to perform and his always spirited concerts did not diminished all that much. After living 20 months on the L-VAD — the longest anyone had lived on the device — he received a heart transplant on January 1, 1997 and for a few months, the heart worked fine and he continued to tour. However, the heart developed a defective valve, necessitating heart surgery in the summer. Copeland died of complications during heart surgery on July 3, 1997.
| [참 조] ▒ ▒ ▒ Boz Scaggs - Album Review & Biography ▒ ▒ ▒ |
| Come On Home [1997년] |
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1 It All Went Down the Drain 5:32
2 Ask Me 'Bout Nothin' But the Blues 4:39 
3 Don't Cry No More 3:12
4 Found Love 2:58
5 Come On Home 3:14
6 Picture of a Broken Heart 4:03
7 Love Letters 3:47
8 I've Got Your Love 4:34
9 Early in the Morning 4:38
10 Your Good Thing (Is About to End) 7:21
11 T-Bone Shuffle 2:43
12 Sick & Tired 4:31
13 After Hours 4:04
14 Goodnight Louise 4:02 |
Album Review
On this prime collection of R&B and blues songs and influences from Boz Scaggs' youth — and four new yet classic-sounding self-penned originals — the blue-eyed soulman eschews the slick production values of his pop chart-toppers such as "Lido" and "Lowdown," instead getting way down and his hands dirty with the honest blood, sweat, and tears of the real down-home blues. Packing in tow drummer Jim Keltner, guitarist Fred Tackett (from Little Feat), and slow-burning, soulful horn arrangements by Willie Mitchell, one of the founding fathers of Memphis soul (and composer of Come On Home's title track), Scaggs' covers of songs originally composed and performed by such legends as Jimmy Reed ("Found Love"), T-Bone Walker (the legendary "T-Bone Shuffle"), Sonny Boy Williamson ("Early in the Morning") and Bobby "Blue" Bland (the thunderous "Ask Me 'Bout Nothing (But the Blues)"), along with "It All Went Down the Drain" (Earl King), and the smoldering "Your Good Thing (Is About to End)" (David Porter with Isaac Hayes), are absolutely impossible to resist. Come On Home is a genuine musical treasure. | | |
 | After first finding acclaim as a member of the Steve Miller Band, singer/songwriter Boz Scaggs went on to enjoy considerable solo success in the 1970s. Born William Royce Scaggs in Ohio on June 8, 1944, he was raised in Oklahoma and Texas, and while attending prep school in Dallas met guitarist Steve Miller. After joining Miller's group the Marksmen as a vocalist in 1959, the pair later attended the University of Wisconsin together, playing in blues bands like the Ardells and the Fabulous Knight Trains.
In 1963 Scaggs returned to Dallas alone, fronting an R&B unit dubbed the Wigs; after relocating to England, the group promptly disbanded, and two of its members — John Andrews and Bob Arthur — soon formed Mother Earth. Scaggs remained in Europe, singing on street corners; in Sweden he recorded a failed solo LP, 1965's Boz, before returning to the U.S. two years later. Upon settling in San Francisco, he reunited with Miller, joining the fledgling Steve Miller Band; after recording two acclaimed albums with the group, Children of the Future and Sailor, Scaggs exited in 1968 to mount a solo career.
 | With the aid of Rolling Stone magazine publisher Jann Wenner, Scaggs secured a contract with Atlantic. Sporting a cameo from Duane Allman, 1968's soulful Boz Scaggs failed to find an audience despite winning critical favor; the track "Loan Me a Dime" later became the subject of a court battle when bluesman Fenton Robinson sued (successfully) for composer credit. After signing to Columbia, Scaggs teamed with producer Glyn Johns to record 1971's Moments, a skillful blend of rock and R&B which, like its predecessor, failed to make much of an impression on the charts.
Scaggs remained a critics' darling over the course of LPs like 1972's My Time and 1974's Slow Dancer, but he did not achieve a commercial breakthrough until 1976's Silk Degrees, which reached number two on the album charts while spawning the Top Three single "Lowdown," as well as the smash "Lido Shuffle." 1977's Down Two Then Left was also a success, and 1980's Middle Man reached the Top Ten on the strength of the singles "Breakdown Dead Ahead" and "Jo Jo."
 | However, Scaggs spent much of the 1980s in retirement, owning and operating the San Francisco nightclub Slim's and limiting his performances primarily to the club's annual black-tie New Year's Eve concerts. Finally, in 1988 he resurfaced with the album Other Roads, followed three years later by a tour with Donald Fagen's Rock and Soul Revue. The solo Some Change appeared in 1994, with Come on Home and My Time: The Anthology (1969-1997) both released in 1997. The newly energized Scaggs spent the next few years consistantly releasing new material including Here's the Low Down, Fade into Light, Dig and a collection of standards called But Beautiful. An expanded reissue of Silk Degrees and Runnin' Blue, a recording of a 1974 performance, appeared in 2007.
| [참 조] ▒ ▒ ▒ T-Bone Walker - Biography ▒ ▒ ▒ |
“그는 블루스를 개척한 신화와도 같은 존재이다.” - 조니 윈터
“그는 일렉트릭 기타를 대중화시킨 최초의 인물이다." - 존 리 후커
티 본 워커는 록이라는 음악에 있어서 기타주법을 확립하고 20세기 후반 파퓰러 뮤직에 있어서의 기타의 역할을 결정지었다고 해도 관언이 아니다.
1910년 5월 28일에 태어나 1975년 3월 16일 세상을 떠난 티 본 워커는 블루스계에서 가장 일찍 일렉트릭 기타를 도입했으며 기타 솔로라는 것을 널리 알리는데 공헌했다. 요즘 등장한 록 기타리스트들은 지미 헨드릭스에게서 많은 영향을 받았는데, 티 본 워커는 지미 헨드릭스가 등장하기 전 이미 기가막힌 일렉트릭 기타 솔로를 펼치며, 큰 반응을 얻었다.
그의 영향을 받은 기타리스트는 이루 헤아릴 수 없이 많다 . 그 중에서도 B.B.킹, 알버트 킹, 프레디 킹, 버디 가이, 오티스 러쉬, 조니 윈터, 에릭 클랩튼, 제프 벡, 지미 본, 스티비 레이 본, 그리고 지미 헨드릭스 등에 끼친 영향력은 실로 대단하다(마치 블루스의 거장들을 나열 한듯^^*).
그의 벤딩 테크닉은 거의 손버릇처럼 프레이즈 진행의 중심을 이룬다. 예를 들어 'I Got The Blues'와 같은 곡에선 타이밍이 일정한 차분한 벤딩을 구사하는 반면, 'Love Is Just A Gamble'에선 마치 오늘날의 런주법을 방불케 하는 벤딩의 반복도 들을 수 있다. 한편 'Strollin’ With Bones'는 그가 즐겨 쓰는 3연 프레이즈가 담겨 있는데, 이러한 유형의 3연 프레이즈 진행은 이후 60년대에서 70년대에 이르는 블루스 록 및 하드 록 기타솔로 애드립에서 많이 들을 수 있다.
 | 기타를 조금 아는 사람이나 연주 경험이 있는 사람이라면 누구나 알고 있는 키가 A인 곡이라면 5프렛, 키가 G라면 3프렛의 가장 유용한 위치에 왼손의 포지션을 고정시키고 매우 적은 음렬을 조합하는 것으로도 충분히 멋진 플레이를 할 수 있다는 것을 알려준 사람이 바로 티 본 워커이다. 때문에 단순히 블루스계 뿐만이 아닌 많은 추종자를 배출해 냈으며, 그의 주법은 이후 많은 기타 연구가들이 심층적으로 연구하기도 했다.
티 본 워커에서 비.비. 킹 그리고 에릭 클랩튼의 순서는 기타를 배움에 있어 하나의 불문율이 되고 있다. L05, 슈퍼400, 버니 커셀 모델 등 일관된 깁슨 마니아인 티 본 워커의 음색은 시대를 뛰어넘어 화려하게 전해져 내려오고 있다.
[출처: 음악사를 빛낸 기타리스트/글, 하세민]
모던 블루스 기타의 아버지로 불리우는 "티본워커"의 출현으로 블루스 기타에 일대 혁명이 일어나면서 블루스의 한계는 무한하게 된다. 본명이 "아론(Aaron Thibeaux Walker)" 인 그는 1910년 5월 텍사스주의 "린덴"에서 태어났다. 할머니는 체로키 인디언이었고, 아버지와 어머니 모두 음악가였다.
그가 두살때에 부모가 이혼을 하게되자 어머니를 따라 "달라스"로 옮겨온 아론은 새 아버지와 함께 드라이브인 음료수 가게에서 어릴적부터 노래를 부르기 시작했다. 가족들과 친하게 지내던 "블라인드 레몬 제퍼슨"의 리드보이(장님의 길안 내겸 심부름겸 보조)로 일하면서 "제퍼슨"으로부터 블루스가 무엇인지를 배울 수 있었다. 13세때 처음으로 악기를 만지기 시작했으며 새 아버지에게서 밴조를, 이복 동생에게서 우쿨랠래, 만돌린, 바이얼린, 피아노 등을 배웠다. 아버지의 밴드는 달라스에서 꽤 인기가 있었던 밴드였는데 아론을 16세되 던 해에 정식멤버로 가입해서 밴조등을 연주하게 되었다.
1933년 "찰리 크리스쳔" 을 만날 때까지 많은 그룹과 함께 공연도하고 레코딩도하고 했으나 목가 댄스뮤직이었다. (당시는 탭 댄스가 유행이었다고 한다.)
"찰리가 기타를 치면 내가 베이스를 치고, 내가 기타를 치면 찰리가 베이스를 치고 그러다가는 우리는 춤을 추면서 모자를 내밀었고, 사람들은 돈을 넣어 주었다." 라고 아론은 그 당시를 회상하곤 했다. 찰리와의 만남은 아론으로 하여금 음악적인 진로를 바꾸게 하였고 활동 무대를 캘리포니아로 옮기게 하는 계기가 되었다. 당시의 유행 음악은 재즈였고,어디를 가나 재즈맨들이 붐비고 있었다.
 | 1935년, 그는 처음으로 전기기타를 연주하기 시작하였으며, 생계를 위하여 닥치는데로 음악을 하였다 (당시 대부분의 흑인 블루스 맨들은 단지 먹고살기 위한 방편으로 음악을 하였던 암울한 시기였다). 1946년, 아론은 그당시 유행을 따라 10인조 편성의 대규모 밴드를 결성하게 되는데, 그의 기타와 보컬을 전면에 내세운 밴드의 사운드는 블루스라기보다는 재즈에 더 가까왔으며, 지방에서 공연하던 재즈밴드가 텍사스의 강한 리듬과 블루스에 영향을 받은듯한 댄스뮤직을 연주하곤 하였다. 그러나 서서히 블루스적인 취향으로 바뀌어 가면서 울부짖듯이 거칠어진 아론의 연주는 특히 스테이지에서 그 가치를 인정받았으며, 동료 무지션들에게도 많은 영향을 주었다.
1960년대에 들어서면서 자신의 음악을 듣는 팬들이 줄어들었음을 느낀 그는 유행의 변화에 맞추어 연주 스타일을 바꾸곤 했다. 1973년, "디지 길레스피" 나 "허비맨" 등의 재즈 플레이어들과의 세션 앨범을 발표하기도 했던 아론은 75년 3월 그의 정열적인 생을 마감하게 된다.
블루스기타리스트들 뿐만아니라 "바니케슬"등의 정통파 재즈 기타 플레이 어들에게도 강한 영향을 주었던 아론은 블루스와 재즈의 스타일을 합쳐버 린 위대한 선구자였다. 그 때문에 깁슨 기타가 많이 팔렸다는 소문이 있을 정도로 깁슨의 애용자 였지만 앰프만큼은 항상 펜더를 사용했다.
그의 노래 중 "Call It Stormy Monday"는 블루스의 기념비적인 고전으로 남아있다. 그의 자서전을 집필한 헬렌 오클리 댄스(Helen Oakley Dance)는 “티 본 워커는 블루스를 찰리 크리스티앙은 재즈를 연주했다."라고 말한 바 있다.
| [참 조] ▒ ▒ ▒ Little Johnnie Taylor - Biography ▒ ▒ ▒ |
 | Some folks still get them mixed up, so to get it straight from the outset, Little Johnny Taylor was best known for his scorching slow blues smashes "Part Time Love" (for Bay Area-based Galaxy Records in 1963) and 1971's "Everybody Knows About My Good Thing" for Ronn Records in Shreveport, LA. This Johnny Taylor was definitely not the suave Sam Cooke protégé who blitzed the charts with "Who's Making Love" for Stax in 1968; that's Johnnie Taylor, who added to the confusion by covering "Part Time Love" for Stax. Another similarity between the two Taylors: both hailed from strong gospel backgrounds.
Little Johnny came to Los Angeles in 1950 and did a stint with the Mighty Clouds of Joy before going secular. Influenced by Little Willie John, he debuted as an R&B artist with a pair of 45s for Hunter Hancock's Swingin' logo, but his career didn't soar until he inked a pact with Fantasy's Galaxy subsidiary in 1963 (where he benefited from crisp production by Cliff Goldsmith and Ray Shanklin's arrangements).
The gliding mid-tempo blues "You'll Need Another Favor," firmly in a Bobby Bland mode, was Taylor's first chart item. He followed it up with the tortured R&B chart-topper "Part Time Love," which found him testifying in gospel-fired style over Arthur Wright's biting guitar and a grinding, horn-leavened downbeat groove. The singer also did fairly well with "Since I Found a New Love" in 1964 and "Zig Zag Lightning" in 1966.
Taylor's tenure at Stan Lewis' Ronn imprint elicited the slow blues smash "Everybody Knows About My Good Thing" in 1971, and a similarly witty hit follow-up, "Open House at My House," the next year (both were covered later by Z.Z. Hill for Malaco). While at Ronn, Little Johnny cut some duets with yet another Taylor, this one named Ted (no, they weren't related either). Though he recorded onl y sparingly during the 1980s and 1990s, he remained an active performer until his death in 2002.
| [참 조] ▒ ▒ ▒ Little Johnnie Taylor - Biography ▒ ▒ ▒ |
| Some folks still get them mixed up, so to get it straight from the outset, Little Johnny Taylor was best known for his scorching slow blues smashes "Part Time Love" (for Bay Area-based Galaxy Records in 1963) and 1971's "Everybody Knows About My Good Thing" for Ronn Records in Shreveport, LA. This Johnny Taylor was definitely not the suave Sam Cooke protégé who blitzed the charts with "Who's Making Love" for Stax in 1968; that's Johnnie Taylor, who added to the confusion by covering "Part Time Love" for Stax. Another similarity between the two Taylors: both hailed from strong gospel backgrounds.
Little Johnny came to Los Angeles in 1950 and did a stint with the Mighty Clouds of Joy before going secular. Influenced by Little Willie John, he debuted as an R&B artist with a pair of 45s for Hunter Hancock's Swingin' logo, but his career didn't soar until he inked a pact with Fantasy's Galaxy subsidiary in 1963 (where he benefited from crisp production by Cliff Goldsmith and Ray Shanklin's arrangements).
The gliding mid-tempo blues "You'll Need Another Favor," firmly in a Bobby Bland mode, was Taylor's first chart item. He followed it up with the tortured R&B chart-topper "Part Time Love," which found him testifying in gospel-fired style over Arthur Wright's biting guitar and a grinding, horn-leavened downbeat groove. The singer also did fairly well with "Since I Found a New Love" in 1964 and "Zig Zag Lightning" in 1966.
Taylor's tenure at Stan Lewis' Ronn imprint elicited the slow blues smash "Everybody Knows About My Good Thing" in 1971, and a similarly witty hit follow-up, "Open House at My House," the next year (both were covered later by Z.Z. Hill for Malaco). While at Ronn, Little Johnny cut some duets with yet another Taylor, this one named Ted (no, they weren't related either). Though he recorded onl y sparingly during the 1980s and 1990s, he remained an active performer until his death in 2002. | |
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