Ike Turner is certainly one of the most dehumanized figures in rock history. Mention his name and the first association that comes to most anyone's mind is "abusive husband," not "soul star" or "rock & roll pioneer." According to legend, Turner was a tyrannical ogre who used physical violence and psychological intimidation to control his infinitely more talented wife Tina, while indulging his own appetites for cocaine and women at every turn. That's not entirely accurate, although by most accounts Turner did quite a bit to earn that reputation; he spent time in prison due to his drug problems, and his own refutations of Tina's allegations of abuse have been inconsistent at best over the years. Still, this view of Turner as villain does a disservice to his very real musical legacy as an instrumentalist and bandleader. As a pianist in the early '50s, Turner helped lay the groundwork for rock & roll; he was also a distinctive guitarist with a biting, nasty tone, and was one of the first to make the whammy bar an integral part of his sound. It's true that he was nowhere near the singer Tina was, and it's probably also true that she was his ticket to stardom; moreover, his songwriting, while sometimes inspired, often possessed a generic quality that made consistent chart appearances difficult. But as a bandleader, his disciplinarian approach -- when it wasn't manifesting itself in darker fashion, that is -- resulted in undeniably tight, well-drilled ensembles and some of the most exhilarating live shows the R&B world ever saw -- centered around Tina, yes, but spectacles nonetheless. If Turner isn't exactly the most defensible character around, in the end his musical strengths and weaknesses deserve the same objective appraisal as anyone. 

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Tina Turner

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With a career that spans over three decades, John Hammond is one of handful of white blues musicians who was on the scene at the beginning of the first blues renaissance of the mid-'60s. That revival, brought on by renewed interest in folk music around the U.S., brought about career boosts for many of the great classic blues players, including Mississippi John Hurt, Rev. Gary Davis, and Skip James. Some critics have described Hammond as a white Robert Johnson, and Hammond does justice to classic blues by combining powerful guitar and harmonica playing with expressive vocals and a dignified stage presence. Within the first decade of his career as a performer, Hammond began crafting a niche for himself that is completely his own: the solo guitar man, harmonica slung in a rack around his neck, reinterpreting classic blues songs from the 1930s, '40s, and '50s. Yet, as several of his mid-'90s recordings for the Pointblank label demonstrate, he's also a capable bandleader who plays wonderful electric guitar. This guitar-playing and ensemble work can be heard on Found True Love and Got Love If You Want It, both for the Pointblank/Virgin label. 

Born November 13, 1942, in New York City, the son of the famous Columbia Records talent scout John Hammond, Sr., what most people don't know is that Hammond didn't grow up with his father. His parents split when he was young, and he would see his father several times a year. He first began playing guitar while attending a private high school, and he was particularly fascinated with slide guitar technique. He saw his idol, Jimmy Reed, perform at New York's Apollo Theater, and he's never been the same since. 

After attending Antioch College in Ohio on a scholarship for a year, he left to pursue a career as a blues musician. By 1962, with the folk revival starting to heat up, Hammond had attracted a following in the coffeehouse circuit, performing in the tradition of the classic country blues singers he loved so much. By the time he was just 20 years old, he had been interviewed for the New York Times before one of his East Coast festival performances, and he was a certified national act.  

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When Hammond was living in the Village in 1966, a young Jimi Hendrix came through town, looking for work. Hammond offered to put a band together for the guitarist, and got the group work at the Cafe Au Go Go. By that point, the coffeehouses were falling out of favor, and instead the bars and electric guitars were coming in with folk-rock. Hendrix was approached there by Chas Chandler, who took him to England to record. Hammond recalls telling the young Hendrix to take Chandler up on his offer. "The next time I saw him, about a year later, he was a big star in Europe," Hammond recalled in a 1990 interview. In the late '60s and early '70s, Hammond continued his work with electric blues ensembles, recording with people like Band guitarist Robbie Robertson (and other members of the Band when they were still known as Levon Helm & the Hawks), Duane Allman, Dr. John, harmonica wiz Charlie Musselwhite, Michael Bloomfield, and David Bromberg. 

As with Dr. John and other blues musicians who've recorded more than two dozen albums, there are many great recordings that provide a good introduction to the man's body of work. His self-titled debut for the Vanguard label has now been reissued on compact disc by the company's new owners, The Welk Music Group, and other good recordings to check out (on vinyl and/or compact disc) include I Can Tell (recorded with Bill Wyman from the Rolling Stones), Southern Fried (1968), Source Point (1970, Columbia), and his most recent string of early- and mid-'90s albums for Pointblank/Virgin Records, Got Love If You Want It, Trouble No More (both produced by J.J. Cale), and Found True Love. 

He didn't know it when he was 20, and he may not realize it now, but Hammond deserves special commendation for keeping many of the classic blues songs alive. When fans see Hammond perform them, as Dr. John has observed many times with his music and the music of others, the fans often want to go back further, and find out who did the original versions of the songs Hammond now plays.

Although he's a multi-dimensional artist, one thing Hammond has never professed to be is a songwriter. In the early years of his career, it was more important to him that he bring the art form to a wider audience by performing classic -- in some cases forgotten -- songs. Now, more than 30 years later, Hammond continues to do this, touring all over the U.S., Canada, and Europe from his base in northern New Jersey. He continued to release albums into the new millennium with three discs on the Back Porch label, including Ready for Love in 2002, produced David Hidalgo of Los Lobos, In Your Arms Again in 2005, and Push Comes to Shove in 2007. Whether it's with a band or by himself, Hammond can do it all. Seeing him perform live, one still gets the sense that some of the best is still to come from this energetic bluesman.

~ Richard Skelly, All Music Guide

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Stevie Ray Vaughan

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This highly influential artist Gram Parsons was born Cecil Ingram Connor III in November 1946. Born into a wealthy family, his early life was spent split between Florida and Georgia. Early tragedy punctuated his life when first his farther committed suicide then his mother died following years of excessive drinking. He had by now taken the name of his stepfather and was to find solace in music.

From the age of 16 he played in local bands, mostly playing rock and roll covers but soon discovered folk music and formed his first professional band in 1963. He spent a brief, if unspectacular term at Harvard University before dropping out after meeting guitarist John Nuese who persuaded Parson’s to give up on the folk music he had been playing and to join him to play in a more country based style. Recruiting Ian Dunlop on bass and Mickey Gauvin on drums, they formed the International Submarine Band. In early 1966 the band relocated to New York and recorded a couple of singles and most of a subsequently scrapped album.

When success eluded them in New York, Parsons moved out to Los Angeles. Able to live from a substantial trust fund, Parsons soon became part of the film community, befriending Peter Fonda and starting a relationship with actress Nancy Ross. Following recommendations from Ross, the rest of the band joined Parsons in LA and soon blagged themselves a part in the psychedelic exploitation film “The Trip” Despite recording some songs for the film, music from The Electric Flag was preferred although Parsons and the band can be seen in the film, Parsons was by now convinced that the path to success lay in country music and particularly in the new Country Rock sound that was fighting to be established. Dunlop and Gauvin disagreed and left. Good fortune was just around the corner however, and duo were picked up and signed just days later to Lee Hazlewood’s label, LHI records.

With just Parsons and Nuese left from the original band, session musicians were drafted in to record the bands only album. "Safe At Home". Containing a number of Parsons original compositions, the album was due for release in early 1968 but was put on hold as just prior to this, Parsons had auditioned to replace David Crosby in the Byrds and was finally put out much later that year. Having passed the audition, he was soon to join the new band recording the album “Sweetheart Of The Rodeo” also released in 1968.

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Unfortunately, Parsons was still signed to LHI and his new band mates to Columbia. This result of this was that Parsons was hired, along with Kevin Kelley, as sidemen and not full band members. Despite this, to the outside world, Parsons was a full member and was given equal billing and contributed some fine songs to the album, including the classic “Hickory Wind” Due to the contractual complications, many of Parsons vocals had to be replaced (by Roger McGuinn) and his only lead vocals appear on just three tracks. Recorded partly in the country music stronghold of Nashville, this album truly paved the way for Country Rock to take off. With this album, the Byrds left behind the frivolous world of psychedelic pop to bring country music to the masses.

Ever restless, Parsons was to quit the Byrds during a tour of England late in 1968 (a busy year!) allegedly due to the bands planned concert in the political hot potato of South Africa. Parsons spent some time in England and became friendly with The Rolling Stones, particularly Keith Richards who had his interest in country music re ignited by the American.

Following his return to the States, Parsons prised Chris Hillman away from the Byrds and the pair formed the “Flying Burrito Brothers” with Chris Ethridge and Pete Kleinow. They were soon in the studio to record their debut album, the exotically titled “The Gilded Palace Of Sin” Now acknowledged as a classic of the genre, the album mixed traditional sounds of folk, country and gospel with contemporary electric guitars. Once again, commercial success eluded them while some critics were confused and some found the conflicting styles confusing. With Michael Clarke joining on drums, the band toured across the States. Now indulging in copious amounts of drugs, Parsons live performances were inconsistent at best, a lifestyle also followed by Ethridge, who, no longer sharing the bands vision, left.

When the Stones relocated to the States in 1969, the situation worsened. Writing new songs and rehearsing with the band took second place to partying with the Stones and the bands reputation dwindled. A short set opening at the infamous Altamont Festival did little to raise the bands profile. With their record label trying to salvage something and to try to recoup some of their investment, they were ordered into the studio to record anything that might encourage commercial returns. After some sessions, with hastily written songs and using some of the out takes from “The Gilded Palace..” "Burrito Deluxe" was completed and released in April 1970. Although under par, the album was notable for the inclusion of the Jagger/Richards classic “Wild Horses” the first ever recording of the song. After again lacking any commercial success and this time also receiving some harsh criticism from the press, Parsons walked out. The band would continue for a while longer, recording two subsequent albums.

Signing immediately as a solo artist with A&M, he started work on an album with famed producer Terry Melcher. By now in the grip of the unholy trinity of cocaine, heroin and drink, Parsons was uninspired and the sessions returned little in the way of new music. Putting the album on hold, he returned to the comforting fold of the Keith Richards and the Stones where he was still considered a major talent. Following the Stones to Europe where they were working on their “Exile In Main Street” classic, he may have contributed some vocals on some tracks but, understandably, things are a bit cloudy around these sessions. Eventually, Parsons was considered a distracting influence and left the Stones compound at the insistence of Anita Pallenberg.

Now married to actress Gretchen Burrell, Parsons disposition changed. Now off heroin and revitalized, he started back again on his solo record. With the help of recently befriended Emmylou Harris, “GP” was released in 1973. In support of the album, a States wide tour commenced. While a bit ragged at first, the band, including Harris, were soon playing to enthusiastic audiences with high profile fans such as Neil Young and Linda Ronstadt leading the applause. The album however followed the same pattern as previous releases and failed to chart.

In the summer of 1973 work commenced on what was to be his final album. Now kept away from most chemical distractions, he was making a serious attempt to put his career and life back on track. Again using most of the musicians on “GP” the paucity of new, original material however, resulted in a messy collection of reworked oldies, cover songs and hastily written originals. Finally completed in September, Parsons retreated to California for some rest and recreation. Staying at the Joshua Tree Inn at the site of the national monument there, Parsons often visited and stayed in the area and described it as his favourite place.

Less than two days after arriving, he died from an overdose of alcohol and morphine aged just 26. When that final album was released in January 1974, it was much changed from the album envisaged by Parsons. His widow, Gretchen, who Parsons was due to divorce, changed the running order of the songs, removed the original title track “Sleepless Nights” completely, changed the cover photo and relegated the role Emmylou Harris had to next to nothing. Now called “Grievous Angel” the album has grown and grown in its influence and many critics believe that it achieved Parsons vision of “Cosmic American Music”

Parsons death has gone into rock folklore. Drunkenly telling his loyal manager Phil Kaufman that he wanted to be cremated and have his ashes scattered across the desert he loved, Kaufman did his bidding. “kidnapping” his body from Los Angeles airport where it was going to be taken to Louisiana for a private ceremony, Kaufman instead drove the coffin into the desert and set fire to it and although his ashes were never scattered, they at least were in the desert.

Parsons life and early death tell a tragic tale. Never successful with any of the bands he played with, he would too often jump ship in a desperate attempt for fame and acclaim. Never needing to struggle for his art like so many of his contemporaries, he could drift from one project to the next. An addictive personality, no doubt inherited from his mother, his struggle with the lack of fame must have been hard to take. As his reputation grew posthumously, coupled with the mystique of his death, so his influence grew. Regularly credited with starting the country rock genre and cited as a major influence for such bands as the Eagles, Poco and the Doobie Brothers, his importance is assured. His recordings have continued to be released to his ever faithful fans with many compliations and collections adding to his brief portfolio.

Has the reputation and critical influence been exaggerated with a tragically early death and such high profile “friends” making him the american Nick Drake. I wonder.

Roger Gibbens

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Jimmy Page is without doubt one of the most influential guitarist of our time. Jimmy Page went from a bright eyed, young Skiffle lad to a founding member of Led Zeppelin, Page is a prolific songwriter and musician.

Born in England, Page haphazardly discovered the guitar as an adolescent and according to sources is largely, self taught. Like many young musicians of this time, he was inspired by the blues and rock-n-roll music being imported from America. Page’s first televised appearance was in 1957 playing in a Skiffle group.

Page would often jam with other icons but then only other local musicians like Jeff Beck and Eric Clapton. He eventually would go on to be a session musician and work on songs for other artists more notably, The Who, The Kinks, The Rolling Stones, Marianne Faithfull and Van Morrison. Some of these recordings were documented, some not and some controversial.

In 1964 and 1965, Page was offered Eric Clapton’s spot in The Yardbirds. He declined both times and didn’t actually join the band until 1966. The band eventually had some line-up drop outs. Page decided to recruit Robert Plant, John Bonham and John Paul Jones and out of the ashes of the failing Yardbirds rose Led Zeppelin.

Led Zeppelin created classic rock radio standards such as Dazed and Confused, Whole Lotta Love, Immigrant Song, Black Dog, and Stairway to Heaven.

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The music produced, composed and played by Page during his Led Zeppelin days continues to be the archetype for future rock, punk and metal bands. His techniques in downstroke guitar riffs, innovative dual guitar harmony, mesmerising solos and on-stage theatrics are some of the most quoted inspirations. According to a 2005 interview, Page estimated that he owned over 1500 guitars but he is most well-known for playing a double headed Gibson and Les Pauls. Gibson would go on to release signature Jimmy Page models.

After the death of Bonham, Led Zeppelin broke up. Page continued to be active within the music industry including forming a supergroup with Yes bassist, Chris Squire called XYZ, featuring on a Honeydripper’s recording, film soundtracks and session work. In 1988, he released a solo album called Outrider. In the 90s, he successfully collaborated with Whitesnake front man, David Coverdale. In 1994, he reunited with Plant again for a widely acclaimed MTV Unplugged session.

Four years later, a US rapper, Puff Daddy sampled Kashmir for his hit, Come with Me which featured on the Godzilla soundtrack. Page played a cameo role in the video to support the single.

Page has carried on in this vain by playing live with modern acts and re-mastering Led Zeppelin material.

Die-hard (and not so die-hard) fans were in awe and admiration when Page joined the surviving Led Zeppelin members for a reunion concert in 2007. The reunion caused an international stir and media frenzy.

Juanita Appleby

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Led Zeppelin

Jeff Beck

The Yardbirds

Jimmy Page Playing Skiffle

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The Hollies are a British rock group, formed in the early sixties, had the hits 'He Ain’t Heavy, He’s My Brother' and 'Searchin’'. Formed in the early 1960s, the band have gone through line up changes but remain one of few bands from the ‘British Invasion’ era, alongside the likes of The Beatles, The Kinks, Manfred Mann, Rolling Stones and Steeleye Span, who still record and tour today.

The Hollies were the third most successful British 'singles' group of the 1960s, scoring twenty UK Top 40 singles between 1963 and 1969, following The Shadows and The Beatles. However, despite their numerous chart placings, the band only reached number one once in the UK , with 1965 single 'I’m Alive'.

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Following guitarist Graham Nash’s departure in 1968, when he went on to form the original ‘supergroup’ Crosby, Stills and Nash with Stephen Stills and ex Byrds singer David Crosby, Terry Sylvester joined The Hollies and saw continued success, with Sylvester proving a more than an adequate replacement.

The band have continued to tour steadily since, continuing to capitalise on their 1960s heyday, even though singles throughout the 70s and 80s failed to chart. In 2009 the band were nominated for induction into the Rock and Roll Hall of Fame.

Members include Bernie Calvert (born on September 16, 1942, in Lancashire, England), drums; Allan Clarke (born on April 5, 1942, in Lancashire, England; left group temporarily, 1972), lead vocals; Bobby Eliott (born on December 8, 1942, in Lancashire, England), bass guitar; Eric Haydock, drums; Tony Hicks (born on December 16, 1945, in Lancashire, England), lead guitar; Graham Nash (born on February 2, 1942, in Blackpool, England; left group, 1968), songwriting, guitar; Don Rathbone, bass guitar; Terry Sylvester (born on January 8, 1947, in Liverpool, England), vocals, guitar.

Albums:

Source: Susan Salter

(SM)

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The Kinks

Rolling Stones

Manfred Mann

The Beatles Secret Hideaway

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