Sam Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins' nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour. 

Hopkins' brothers JohnHenry and Joel were also talented bluesmen, but it was Sam who became a star. In 1920, he met the legendary Blind Lemon Jefferson at a social function, and even got a chance to play with him. Later, Hopkins served as Jefferson's guide. In his teens, Hopkins began working with another pre-war great, singer Texas Alexander, who was his cousin. A mid-'30s stretch in Houston's County Prison Farm for the young guitarist interrupted their partnership for a time, but when he was freed, Hopkins hooked back up with the older bluesman.  

The pair was dishing out their lowdown brand of blues in Houston's Third Ward in 1946 when talent scout Lola Anne Cullum came across them. She had already engineered a pact with Los Angeles-based Aladdin Records for another of her charges, pianist Amos Milburn, and Cullum saw the same sort of opportunity within Hopkins' dusty country blues. Alexander wasn't part of the deal; instead, Cullum paired Hopkins with pianist Wilson "Thunder" Smith, sensibly re-christened the guitarist "Lightnin'," and presto! Hopkins was very soon an Aladdin recording artist. 

"Katie May," cut on November 9, 1946, in L.A. with Smith lending a hand on the 88s, was Lightnin' Hopkins' first regional seller of note. He recorded prolifically for Aladdin in both L.A. and Houston into 1948, scoring a national R&B hit for the firm with his "Shotgun Blues." "Short Haired Woman," "Abilene," and "Big Mama Jump," among many Aladdin gems, were evocative Texas blues rooted in an earlier era. 

A load of other labels recorded the wily Hopkins after that, both in a solo context and with a small rhythm section: Modern/RPM (his uncompromising "Tim Moore's Farm" was an R&B hit in 1949); Gold Star (where he hit with "T-Model Blues" that same year); Sittin' in With ("Give Me Central 209" and "Coffee Blues" were national chart entries in 1952) and its Jax subsidiary; the major labels Mercury and Decca; and, in 1954, a remarkable batch of sides for Herald where Hopkins played blistering electric guitar on a series of blasting rockers ("Lightnin's Boogie," "Lightnin's Special," and the amazing "Hopkins' Sky Hop") in front of drummer Ben Turner and bassist Donald Cooks (who must have had bleeding fingers, so torrid were some of the tempos). 

But Hopkins' style was apparently too rustic and old-fashioned for the new generation of rock & roll enthusiasts (they should have checked out "Hopkins' Sky Hop"). He was back on the Houston scene by 1959, largely forgotten. Fortunately, folklorist Mack McCormick rediscovered the guitarist, who was dusted off and presented as a folk-blues artist; a role that Hopkins was born to play. Pioneering musicologist Sam Charters produced Hopkins in a solo context for Folkways Records that same year, cutting an entire LP in Hopkins' tiny apartment (on a borrowed guitar). The results helped introduced his music to an entirely new audience.  

Lightnin' Hopkins went from gigging at back-alley gin joints to starring at collegiate coffeehouses, appearing on TV programs, and touring Europe to boot. His once-flagging recording career went right through the roof, with albums for World Pacific; Vee-Jay; Bluesville; Bobby Robinson's Fire label (where he cut his classic "Mojo Hand" in 1960); Candid; Arhoolie; Prestige; Verve; and, in 1965, the first of several LPs for Stan Lewis' Shreveport-based Jewel logo. 

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Hopkins generally demanded full payment before he'd deign to sit down and record, and seldom indulged a producer's desire for more than one take of any song. His singular sense of country time befuddled more than a few unseasoned musicians; from the 1960s on, his solo work is usually preferable to band-backed material. 

Filmmaker Les Blank captured the Texas troubadour's informal lifestyle most vividly in his acclaimed 1967 documentary, The Blues Accordin' to Lightnin' Hopkins. As one of the last great country bluesmen, Hopkins was a fascinating figure who bridged the gap between rural and urban styles.

~  All Music Guide

Sources: Bill Dahl

Why Not Check Out:

BB King

John Hammond Jr.

Howlin' Wolf

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John Lee Hooker

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Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century. His bent notes and staccato picking style have influenced legions of contemporary bluesmen, while his gritty and confident voice -- capable of wringing every nuance from any lyric -- provides a worthy match for his passionate playing. Between 1951 and 1985, King notched an impressive 74 entries on Billboard's R&B charts, and he was one of the few full-fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand). Since that time, he has partnered with such musicians as Eric Clapton and U2 while managing his own acclaimed solo career, all the while maintaining his immediately recognizable style on the electric guitar. 

The seeds of Riley B. King's enduring talent were sown deep in the blues-rich Mississippi Delta, where he was born in 1925 near the town of Itta Bena. He was shuttled between his mother's home and his grandmother's residence as a child, his father having left the family when King was very young. The youth put in long days working as a sharecropper and devoutly sang the Lord's praises at church before moving to Indianola -- another town located in the heart of the Delta -- in 1943. 

Country and gospel music left an indelible impression on King's musical mindset as he matured, along with the styles of blues greats (T-Bone Walker and Lonnie Johnson) and jazz geniuses (Charlie Christian and Django Reinhardt). In 1946, he set off for Memphis to look up his cousin, a rough-edged country blues guitarist named Bukka White. For ten invaluable months, White taught his eager young relative the finer points of playing blues guitar. After returning briefly to Indianola and the sharecropper's eternal struggle with his wife Martha, King returned to Memphis in late 1948. This time, he stuck around for a while. 

King was soon broadcasting his music live via Memphis radio station WDIA, a frequency that had only recently switched to a pioneering all-black format. Local club owners preferred that their attractions also held down radio gigs so they could plug their nightly appearances on the air. When WDIA DJ Maurice "Hot Rod" Hulbert exited his air shift, King took over his record-spinning duties. At first tagged "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the air, King's on-air handle became the "Beale Street Blues Boy," later shortened to Blues Boy and then a far snappier B.B. 

1949 was a four-star breakthrough year for King. He cut his first four tracks for Jim Bulleit's Bullet Records (including a number entitled "Miss Martha King" after his wife), then signed a contract with the Bihari Brothers' Los Angeles-based RPM Records. King cut a plethora of sides in Memphis over the next couple of years for RPM, many of them produced by a relative newcomer named Sam Phillips (whose Sun Records was still a distant dream at that point in time). Phillips was independently producing sides for both the Biharis and Chess; his stable also included Howlin' Wolf, Rosco Gordon, and fellow WDIA personality Rufus Thomas. 

The Biharis also recorded some of King's early output themselves, erecting portable recording equipment wherever they could locate a suitable facility. King's first national R&B chart-topper in 1951, "Three O'Clock Blues" (previously waxed by Lowell Fulson), was cut at a Memphis YMCA. King's Memphis running partners included vocalist Bobby Bland, drummer Earl Forest, and ballad-singing pianist Johnny Ace. When King hit the road to promote "Three O'Clock Blues," he handed the group, known as the Beale Streeters, over to Ace. 

It was during this era that King first named his beloved guitar "Lucille." Seems that while he was playing a joint in a little Arkansas town called Twist, fisticuffs broke out between two jealous suitors over a lady. The brawlers knocked over a kerosene-filled garbage pail that was heating the place, setting the room ablaze. In the frantic scramble to escape the flames, King left his guitar inside. He foolishly ran back in to retrieve it, dodging the flames and almost losing his life. When the smoke had cleared, King learned that the lady who had inspired such violent passion was named Lucille. Plenty of Lucilles have passed through his hands since; Gibson has even marketed a B.B.-approved guitar model under the name. 

The 1950s saw King establish himself as a perennially formidable hitmaking force in the R&B field. Recording mostly in L.A. (the WDIA air shift became impossible to maintain by 1953 due to King's endless touring) for RPM and its successor Kent, King scored 20 chart items during that musically tumultuous decade, including such memorable efforts as "You Know I Love You" (1952); "Woke Up This Morning" and "Please Love Me" (1953); "When My Heart Beats like a Hammer," "Whole Lotta' Love," and "You Upset Me Baby" (1954); "Every Day I Have the Blues" (another Fulson remake), the dreamy blues ballad "Sneakin' Around," and "Ten Long Years" (1955); "Bad Luck," "Sweet Little Angel," and a Platters-like "On My Word of Honor" (1956); and "Please Accept My Love" (first cut by Jimmy Wilson) in 1958. King's guitar attack grew more aggressive and pointed as the decade progressed, influencing a legion of up-and-coming axemen across the nation. 

 In 1960, King's impassioned two-sided revival of Joe Turner's "Sweet Sixteen" became another mammoth seller, and his "Got a Right to Love My Baby" and "Partin' Time" weren't far behind. But Kent couldn't hang onto a star like King forever (and he may have been tired of watching his new LPs consigned directly into the 99-cent bins on the Biharis' cheapo Crown logo). King moved over to ABC-Paramount Records in 1962, following the lead of Lloyd Price, Ray Charles, and before long, Fats Domino. 

In November of 1964, the guitarist cut his seminal Live at the Regal album at the fabled Chicago theater and excitement virtually leaped out of the grooves. That same year, he enjoyed a minor hit with "How Blue Can You Get," one of his many signature tunes. 1966's "Don't Answer the Door" and "Paying the Cost to Be the Boss" two years later were Top Ten R&B entries, and the socially charged and funk-tinged "Why I Sing the Blues" just missed achieving the same status in 1969. 

Across-the-board stardom finally arrived in 1969 for the deserving guitarist, when he crashed the mainstream consciousness in a big way with a stately, violin-drenched minor-key treatment of Roy Hawkins' "The Thrill Is Gone" that was quite a departure from the concise horn-powered backing King had customarily employed. At last, pop audiences were convinced that they should get to know King better: not only was the track a number-three R&B smash, it vaulted to the upper reaches of the pop lists as well. 

King was one of a precious few bluesmen to score hits consistently during the 1970s, and for good reason: he wasn't afraid to experiment with the idiom. In 1973, he ventured to Philadelphia to record a pair of huge sellers, "To Know You Is to Love You" and "I Like to Live the Love," with the same silky rhythm section that powered the hits of the Spinners and the O'Jays. In 1976, he teamed up with his old cohort Bland to wax some well-received duets. And in 1978, he joined forces with the jazzy Crusaders to make the gloriously funky "Never Make Your Move Too Soon" and an inspiring "When It All Comes Down." Occasionally, the daring deviations veered off-course; Love Me Tender, an album that attempted to harness the Nashville country sound, was an artistic disaster. 

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Although his concerts were consistently as satisfying as anyone in the field (King asserted himself as a road warrior of remarkable resiliency who gigged an average of 300 nights a year), King tempered his studio activities somewhat. Nevertheless, his 1993 MCA disc Blues Summit was a return to form, as King duetted with his peers (John Lee Hooker, Etta James, Fulson, Koko Taylor) on a program of standards. Other notable releases from that period include 1999's Let the Good Times Roll: The Music of Louis Jordan and 2000's Riding with the King, a collaboration with Eric Clapton. King celebrated his 80th birthday in 2005 with the star-studded album 80, which featured guest spots from such varied artists as Gloria Estefan, John Mayer, and Van Morrison. Live was issued in 2008; that same year, King released an engaging return to pure blues, One Kind Favor, which eschewed the slick sounds of his 21st century work for a stripped-back approach.

For The Record:

Full name, Riley B. King; born September 16, 1925, near Indianola, Miss. ; son of Albert and Nora Ella (Pully ) King; married twice; children: eight

As a child, worked as a farmhand, began singing in spiritual groups, and learned to play guitar; as a teenager, played for money on streetcomers; sang on radio commercials; disc jockey, 1949-53; began recording while working as a disc jockey; played in small clubs from the mid-1950s until the mid-1960s; began playing larger venues in the mid-1960s; has toured extensively throughout the United States and around the world, appearing in concerts, at blues festivals, on television, and in films. Co-founder of Foundation for the Advancement of Inmate Rehabilitation and Recreation (FAIRR); has made more than 40 concert appearances at San Quentin prison. Columist for Guitar Player magazine, 1983. Military service: U.S. Army, 1943.

Awards: Golden Mike Award, National Association of Television and Radio Artists, 1969 and 1974; Academie du Jazz award (France), 1969; Grammy Award for best rhythm & blues vocal, male, 1970, for "The Thrill Is Gone"; a "Day of Blues" was established in his honor by the city of Memphis, Tenn., 1971; presented with key to city of Cleveland, Ohio, 1971; "B.B. King Day" was established by the governor of Mississippi, 1972; honorary doctorate from Tongaloo College, 1973; Humanitarian Award, B'nai B'rith Music and Performance Lodge of New York, 1973; NAACP Image Award, 1975; "B.B. King Day" was established in city of Berkeley, Calif., 1976; honorary doctor of music, Yale University, 1977, and Berkley College of Music, 1985; Grammy Award for best traditional blues recording, 1986, for "My Guitar Sings the Blues"; Lifetime Achievement Award, National Academy of Recording Arts and Sciences, 1987; has received awards from numerous magazine reader polls.

Addresses: Office—c/o MCA Records, 100 University City Plaza, North Hollywood, CA 91608.

In a Rolling Stone interview King stated: "I was almost afraid to say that I was a blues singer. Because it looked like people kind of looked down on you a lot of times when you mention the word blues. But I thank God today I can stick out my chest and say, yeah, I'm a blues singer!"

Discography:

Anthology of the Blues, Kent.

Better Than Ever, Kent.

Boss of the Blues, Kent.

Doing My Thing, Lord, Kent.

From the Beginning, Kent.

Incredible Soul of B.B. King, Kent.

The Jungle, Kent.

Greatest Hits of B.B. King, Kent.

Let Me Love You, Kent.

Live, B.B. King on Stage, Kent.

Original "Sweet Sixteen," Kent.

Pure Soul, Kent.

Rock & Roll Festival, Vol. 1, Kent.

Turn On With B.B. King, Kent.

Super Rhythm & Blues Hits, Kent.

Underground Blues, Kent.

Live at the Regal, MCA, 1965.

Electric B.B. King, MCA, 1969.

Completely Well, MCA, 1970.

Indianola Mississippi Seeds, ABC, 1970.

Live and Well, MCA, 1970.

Live in Cook County Jail, MCA, 1971.

Back in the Alley, MCA, 1973.

Best of B.B. King, MCA.

Guitar Player, MCA.

Love Me Tender, MCA, 1982.

Take It Home, MCA.

Rhythm & Blues Christmas, United Artists.

Midnight Believer, MCA, 1984.

Source: Bill Dahl, All Music Guide; eNotes.

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

Why Not Check Out:

Chuck Berry

U2

Eric Clapton

Van Morrison

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The Supremes are arguably the most iconic girl group of all time, paving the way for African American artists both male and female to find mainstream chart success in the United States. The Supremes have become symbolic of the diva, strong black female mentality typified by more modern groups such as Destiny’s Child, En vogue and TLC. With the help of one of Americas most infamous recorded music labels, Tamla Motown, The Supreme seemed destined and armed for success, although for a while success seemed like a distant dream.

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The Supremes began as the Primettes, in 1958, Detroit, Michigan, by Florence Ballard, a Junior High school student at the time. The band were originally a four piece who embraced the local talent shows, before long they auditioned for Motown owner Berry Gordy who insisted the girls come back after graduating from high school. Un-phased the girls continued to hang around the Motown studio; Hitsville USA, in the hope of recording, the group provided handclaps and backing vocals on many songs. In 1962 the group signed to Motown Records, with group members; Diana Ross, Florence Ballard and Mary Wilson. Initially the band took some time to get going; it wasn’t until they teamed up with the song writing dream team of Brian Holland, Lamont Dozier and Edward Holland, also known as, Holland-Dozier-Holland that the hits started to pour in.

By 1964 the band had 4 consecutive No.1’s with ‘Baby Love’ ‘Come see about me’ and ‘back in my arms again’. The Supremes would continue to have hits through out the 60’s. By 1967, the group began to fall apart after tensions grew between Diana Ross and Florence Ballard, Ballard began to go off the rails, drinking and turning up late for auditions on a regular basis, Ballard left the group in 1968. The group had been re-named Diana Ross and the Supremes due to Ross’s increasing popularity. By 1969 Diana Ross left the group, to pursue a solo career. The Supremes continued to record with a new line–up, with moderate success.

The strength of The Supremes impact can be seen in the movie 'Sparkle And Dream Girls', the tony award winning musical, which was later adapted into a film (both based on The Supremes story), there image has been imitated many times by artists such as Solange Knowles, Amy Winehouse and Duffy to name a few. The Supremes legacy will be as one of the premier girl groups of all time, that were the female faces of Tamla Motown and pop music worldwide.

Group formed c. 1960 in Detroit as vocal quartet the Primettes; original members included Florence Ballard (born June 30, 1943, in Detroit; died February 22, 1976, in Detroit), Diana Ross (born March 26, 1944, in Detroit), Mary Wilson (born March 4, one source says March 6,1944, in Detroit), and Barbara Martin, who appeared as fourth member on the Primettes' first three singles.

Albums; as the Supremes: 

Sources: Segun Murray Ogunsheye; David Bianco

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

Why Not Check Out:

Smokey Robinson & The Miracles

Martha & The Vandellas

The Crystals

Marvin Gaye - Lets Get It On Live

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An energetic East London combo, the Equals balanced maximum R&B with plenty of pop, plus a few nods to vocalist Eddy Grant's West Indian background. Grant, born in British Guyana, moved to England with his family at the age of 12, and settled in a council estate named Hornsey Rise in northeast London. Four years later, he formed the Equals with schoolmates Lincoln Gordon (guitar), his twin brother Dervin Gordon (originally the vocalist), Pat Lloyd (guitar, then bass), and drummer John Hall. The band began gigging around London, amazing audiences with their apparently limitless energy and a distinct style fusing pop, blues, and R&B plus elements of ska and bluebeat. 

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By 1965, the Equals began doing dates in Europe as well, and released their first single on President Records. Though "Hold Me Closer" didn't perform on the charts, DJs began playing the flip side and by 1967 "Baby, Come Back" had hit the top of the charts in Germany and the Netherlands. One year later, the single hit number one in Britain as well, and brushed the charts in America. Subsequent singles lacked the immediate punch of "Baby, Come Back," however, and the Equals landed only two more Top Ten hits: "Viva Bobby Joe" and "Black Skin Blue Eyed Boys," the latter an apt message track from one of the few racially mixed bands of the era. 

Grant left the Equals for a solo career in 1971, and though the band never charted again, they remained a popular live act, especially on the continent. Drummer Ronald Telemacque and guitarists Dave Martin and Frankie Hepburn were later added to the lineup. ~ All Music Guide 

Albums:

Unequalled = Equales, Laurie Records, 1967.

Unequalled, President Records, 1967.

Sensational, President Records, 1968.

Supreme, President Records, Stateside, 1968.

Explosion, President Records, 1968.

Baby, Come Back, RCA Victos, 1968.

Born Ya!, Mercury, 1976.

Mystic Syster, Ice, 1978.

20 Greatest Hits, Astan, 1984.

Baby, Come Back, Platinum, 1985.

Strike Again, Ariola.

Unqualled, Ariola.
 

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

Why Not Check Out:

Chris Andrews

The Clash

Steel Pulse

The Equals Video

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Rhythm and Blues greats The Drifters were formed in 1953 in New York, USA by Clyde McPhatter (of Billy Ward & The Dominoes) after he was approached by Atlantic Records. McPhatter recruited several members of his former group, the Mount Lebanon Singers, but this only lasted a single session. Although the band originally consisted of his former band members, this only lasted for one session, and the group soon changed to; Gerhart Thrasher and Andrew Thrasher on baritone and second tenor, Bill Pinkney on high tenor, Willie Ferbee as bass, and Walter Adams on guitar. This is the group on the second session, who produced the smash-hit ‘Money Honey’.

After this release, Ferbee was involved in an accident and Adams sadly passed, to be replaced by Jimmy Oliver. Ferbee was not replaced, although voice parts were switched about. The group released several hits, including; ‘White Christmas’ and ‘Bip Bam’, before McPhatter left in 1954 to persue a solo career. He was later replaced by Johnny Moore. This line-up had a major hit with ‘Adorable’ in 1955, and many more hits followed.

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Low salaries soon lead to a burnout between band members, seeing Pinkney and C Thrasher leaving, who were replaced by Tommy Evans and Charlie Hughes. This was the last quality line-up, who had a Top Ten hit with ‘Fools Fall in Love’ in 1957.

By early 1958, the line-up had, again changed, and was now; Bobby Hendricks (lead tenor), Gerhart Thrasher (first tenor), Jimmy Millender (baritone), Tommy Evans (bass), and Jimmy Oliver (guitar). This line-up had one moderate hit, the original version of "Drip Drop". With declining popularity, the last of the original Drifters were reduced to working the club scene and doing double duty with gigs under different band names. Oh dear.

Members include Willie Ferbee (left group, 1958), vocals; Bobby Hendricks (born on February 22, 1938, in Columbus, OH; group member, 1957-58), lead vocals; Ben E. King (born on September 23, 1938, in Henderson, NC; group member, 1959-60), lead vocals; Rudy Lewis (born on August 23, 1936, in Philadelphia, PA; died on May 20, 1964, in New York, NY; joined group, 1961), lead vocals; Clyde McPhatter (born on November 15, 1932, in Durham, NC; died on June 13, 1972, in Teaneck, NJ; left group, 1954), lead vocals; Johnny Moore (born in 1934 in Selma, AL; died on December 30, 1998, in Los Angeles, CA; group member, 1955-57, 1963), lead vocals; Andrew Thrasher (left group, 1956), vocals; Gerhart Thrasher (left group, 1958), vocals.

Group formed, 1953; "Money Honey" became number one R&B single, 1953; released "Such a Night" and "Honey Love," 1954; released Clyde McPhatter & the Drifters, 1956; single "There Goes My Baby" reached number two on the pop charts, 1959; recorded "Some Kind of Wonderful," "Up on the Roof," "Please Stay," and "On Broadway," 1960-64; recorded "Under the Boardwalk" with lead singer Johnny Moore, 1964; disbanded, late 1960s; various members have continued to regroup as the Original Drifters and under other names.

Awards: Induction, Rock and Roll Hall of Fame, 1988.

Addresses:Record company—Rhino Records, 10635 Santa Monica Blvd., Suite 200, Los Angeles, CA 90025, website: http://www.rhino.com.

Albums:

Clyde McPhatter & the Drifters, Atlantic, 1956.

The Drifters' Greatest Hits, Atlantic, 1960.

Save the Last Dance for Me, Atlantic, 1962.

Under the Boardwalk, Atlantic, 1964.

The Very Best of the Drifters, Rhino, 1993.

Rockin' & Driftin': the Drifters' Box, Rhino, 1996.

Sources: Carly Page, Ronnie D. Lankford, Jr.

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

Why Not Check Out:

Otis Redding

Marvin Gaye

Aretha Franklin

The Christians

Al Green

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