ancient Native American city near Collinsville, IL. It is home to many giant man-made mounds. If you're up for a good workout, try running up the steps leading to Monk Mound. That should burn a few bazillion calories. ;) Admission is free of charge, though they do accept donations.

# 7 Soulard Farmer's Market
Soulard is by far one of the best neighborhoods in the city, and it is home to one of the best farmer's market around. Definitely check it out. Wish we lived closer so we could go more often. It is open Wednesday-Friday, 8 a.m.-5 p.m., and Saturday 6 a.m.-5 p.m.

# 8 Cecil Whittaker's Pizza
If you haven't tasted this pizza, you are completely and totally missing out. I'm not even normally a fan of thin-crust pizza, but Cecil Whittaker's is in a league of it's own. And I think it's because of the cheeze. It's oohy, gooey goodness that just melts in your mouth. They have plenty of locations in the St. Louis metro area, but my favorite location is in the Central West End, but I guess that's just because it's my favorite neighborhood in the city. Go get some pizza now!

# 9 Kangaroo Kids
If you are a mom, you will love this store. It's my favorite place for all things child-related. It's not just a resale and maternity support center. They have lactation consultant, nursing mother's group, a great selection of new strollers (and the newest jogging strollers around), a play area and a coffee shop. It's just brilliant to have everything in one location - super convenient.

# 10 Blueberry Hill If you're looking for a quirky place for dinner, this is it. Blueberry Hill is located in University City on the Loop. It's filled with hundreds of pieces of pop culture memorabilia, and live music is a huge factor in it's popularity. You may even see legendary St. Louisan Chuck Berry while you're there. While you're waiting for a table, or after your meal, you can play darts, video games and pinball. I'd say Blueberry Hill is a must if you're visiting the Lou.
Excerpt

The funny thing, though, is just how influential some far, far lesser known artists became. Many people have heard of Velvet Underground, although comparatively few have actually listened to them, but if you factor VU's overwhelming influence out of our collective cultural history would we have had Bauhaus, Echo & the Bunnymen, Lenny Kravitz, Sonic Youth, Jesus & Mary Chain (and subsequently Black Rebel Motorcycle Club), Galaxie 500 (and the army of bands that followed their lead) and REM?

How about Big Star? I'd wager that not many contemporary listeners have even heard the name, but their influence on a generation of guitar pop musicians is just about impossible to calculate. Put it this way - if you hopped in a time machine, went back to Memphis in the early '50s and erased Alex Chilton from the ranks of the living, when you got back to 2008 almost nothing would sound the way it did before you left.

Influence is a funny thing. Huge artists can leave almost no footprint for future acts to follow and relatively obscure bands can change the audial landscape forever. Which leads me to another band that a lot of people these days don't know: Joy Division. Sure, everybody's heard New Order, which in 1987 released Substance, arguably the greatest dance album ever. But before New Order was Joy Division, which featured the guys in New Order plus their creative leader, Ian Curtis. JD was interested in expanding the sound of punk, and it embraced a range of dark, melancholy tones that served to comment on the bleakness of European industrial life in the '70s.

In May of 1980 Curtis committed suicide. There's no way of knowing how big Joy Division might have been commercially, and until the last couple of years I couldn't have imagined how great their artistic influence would be. But all of a sudden, over 25 years later, there's been an explosion of new acts that are clearly beholden to Curtis' brooding legacy of despair. Interpol and The Killers are easily the best of the lot (The Killers cover "Shadowplay" live and on their recent B-Sides collection), and if they were the only examples we could dismiss the Joy Division Effect easily enough. But the truth is that we're seeing a significant movement within "indie" rock that simply wouldn't exist without the influence of band that barely lived long enough to get off the ground and that died before Reagan was elected.

So today, in our inaugural TunesDay, we pay tribute to all those bands out there - the JDs, the VUs, and the Big Stars - whose vision exerted an impact on the world of music that far exceeded their individual commercial successes. Here's Joy Division with their video for "Love Will Tear Us Apart."

Here Interpol performs "Slow Hands."

The Killers' reverence for JD is evident in this homage.

She Wants Revenge is a lot of fun, but at times they're almost a tribute band.

Then there's Editors, whose An End Has A Start was one of my Gold Award CDs for last year.

And The Mary Onettes...

And finally, "1981" by The Flaws.

We'll conclude with a Rock 101 exam question: Enduring artistic influence is better than commerical success or critical acclaim. Discuss.

1. Jimi Hendrix - He's been #1 on every list I've ever looked at including the Rolling Stone Top 100 Guitarists of All-time.
2. B.B. King - The Blues is all about the guitar and if anyone owns the Blues, it's B. B. King.  Personally, he's my favorite artist on this list and let's face it, B.B. King has probably, single-handedly kept the Blues alive in the last 20 years.
3. Chuck Berry - First off, he the invented Rock 'n Roll guitar sound.  Second, he's from St. Louis.  Third, when he got in the restaurant business, he put peep holes in the wall of the women's restroom.
4. The final choice comes down to Eddie Van Halen, Keith Richards, or Jimmy Page and I go with Page.  I give Jimmy Page and Led Zeppelin most of the credit for re-defining Rock music in the late 60's and 70's and influencing the music that followed for the next 20-25 years.  I like the Rolling Stones more, but I think Led Zep is more influential and Jimmy Page's guitar had a lot to do with that.

Honorable Mentions: Eric Clapton, Robert Johnson, Eddie Van Halen, Keith Richards, Bo Diddley

Forget Elvis, God bless him. It was Chuck Berry—with his motormouth tales of hot rods and romance, and his freight-train take on T-Bone Walker—who invented rock ’n’ roll, shaking country and blues until they shattered and clattered out of radios all over the world. To this day, Berry is the guitarist all good guitarists must pass though. There is no getting anywhere down the road of rock ’n’ roll without paying a toll to him. The slurring doublestops that honk from his big Gibson jazz boxes and semi-hollows like a whole horn section, the revved-up shuffles of his right hand, the shouts of go, go! It's about the best sound rock 'n' roll ever offered.

It is the poetry of history that Muddy Waters pointed Chuck Berry toward his first deal, with Chess Records. Berry, already a hit in the rowdy blues bars and nightclubs of St. Louis, had traveled to Chicago to see Waters perform, and after the show introduced himself to his idol. Waters told Berry to go see Leonard Chess over on Michigan Avenue.

At Chess Studios, Berry performed a high-octane story of a car chase called “Ida Red,” a name cribbed from an old Bob Wills tune. Texas swing and Chicago blues, performed fast and loud by a preacher’s son hoping to dodge a life of hairdressing and housepainting: If that isn’t the birth of rock ’n’ roll, what is? Chess liked the song, heard money in its weird country two-step, and renamed it “Maybelline,” cribbing the new title from the lipstick ad in the magazine on his desk because he thought the kids would like it better. They did—from Liverpool to London, from Hibbing, Minnesota to Memphis, Tennessee. It was 1955, and Chuck Berry was inventing electric Shakespeare for teenagers.

Berry followed up his debut single with one classic after another. “Sweet Little Sixteen,” “Reelin’ and Rockin’,” “Around and Around,” “Carol,” “School Days,” and the anthem that NASA chose to send up with the Voyager space probe so Martians would know we were cool: “Johnny B. Goode.” If Chuck Berry had written just one of those songs, he would have earned a reputation as one of the greatest of all time. The fact that he wrote all of them—and dozens more—makes his contributions beyond measure.

In the fascinating 1987 documentary Hail! Hail! Rock ’n’ Roll director Taylor Hackford (Ray) offers a heartfelt, but unflinching portrait of Chuck Berry, the icon and the man. Chronicling the events leading up to Berry’s triumphant 60th birthday concert at the Fox Theater in St. Louis, where he fronted an all-star band led by musical director and diehard Berry fan Keith Richards, the film has now been released on DVD by Image Entertainment as a four-disc treasure trove.

In addition to the newly mastered original film, there are three discs of unbelievable outtakes: Never-before-seen rehearsals and interviews with Richards and Eric Clapton, footage of Berry reminiscing with Robbie Robertson as they flip through Berry’s personal scrapbook, and more than three hours of interviews with Berry, Bo Diddley, Little Richard, Jerry Lee Lewis, and others. Throughout it all, Berry comes across as gifted, suspicious, tough, loving, difficult, determined, and brilliant. It is an amazing portrait of a musical genius as he looks back on the triumphs and tragedies, rewards and rip-offs that came with blazing a musical trail the whole world followed.

-Ari Surdoval

Hubert Sumlin was starting out. Howlin’ Wolf was starting over. Together, they changed the blues forever.

Hubert Sumlin is many years and many miles away from the dusty roads of Hughes, Arkansas and the moment that changed his life forever, but he remembers it clearly.

“The first time I saw Wolf, he passed by our house going to this place in Arkansas to play,” Sumlin says. “I was really young, probably 11 or 12. I knew where he was playing and I hitchhiked about five miles to the Mississippi River to see him. I crawled into the place and all these ladies was standing up and I couldn’t see, so I went to the door and they threw me out. And I crawled back in under these peoples’ legs and they threw me out again. So I went around and stacked up some Coca-Cola crates that they had in the back so I could see. Somebody snatched them crates and I fell down right onto Wolf’s head. He said, ‘Ladies, bring my son here a chair.’ He called me his son, man. He sat me down between him and Willie Johnson and played. He wouldn’t let me get up, wouldn’t let me get a drink, do anything. When I went to the bathroom, he sent somebody with me and then set me back down. He said, ‘Son, you’re gonna sit and listen and then I’m gonna take you back home to your momma.’ He was like a father to me. I stayed with him for 25 years.”

Over the course of those 25 years, Hubert Sumlin and Howlin’ Wolf forged a creative partnership that resulted in some of the most powerful, influential music ever performed. Behind Wolf’s bellowing growl and eerie falsetto, Hubert slipped the slinky, single-string leads and stinging intros that would become the bedrock of Chicago blues. Hubert’s influence can be heard everywhere—in Led Zeppelin, who had the same relationship to Howlin’ Wolf as the Rolling Stones had to Chuck Berry; in Jimi Hendrix, who claimed Hubert as his favorite guitarist; in the Memphis soul 6ths of the great Steve Cropper. Anywhere the blues are played, echoes of Hubert Sumlin can be heard. A quiet and soft-spoken man, Sumlin is humble about his incredible contributions. He is a guitar player’s guitar player, revered by those who really know the blues, but hard-pressed to boast or lay claims to his incredible legacy. He prefers to talk about Wolf—a man he loved like a father—and the music that he has devoted his life to playing and shaping.

West Memphis

By the time Sumlin first met him, Chester Arthur Burnett—the Howlin’ Wolf—was in his early 40s and had led a life of intense trouble and suffering. Born in Mississippi in 1910, Wolf was cast out by his mentally unstable, religious fanatic mother when he refused to sing spirituals and work for 15 cents a day. Just a child, Wolf wandered barefoot and alone many miles to the home of a distant uncle who took him in and abused him terribly. After many years of beatings and grueling labor, Wolf ran away. Through the maze of Ku Klux Klan–controlled countryside, he made his way to Mississippi’s prosperous Dockery Plantation. More like a small town than a working farm, the Dockery Plantation was a magnet for the bluesmen who wandered the Southern countryside playing for tips. It is here that Howlin’ Wolf learned the blues from the legendary Charlie Patton.

A true pioneer of the blues, Patton taught the young Wolf how to play guitar with the percussive, driving rhythm that propelled his music. Wolf also studied Patton’s ability to draw and captivate a crowd. Patton would pound out a beat on his guitar while straddling it between his legs, playing it behind his head, and throwing it up in the air. During the Depression, Wolf and Patton traveled the Delta together, playing with blues giants like Robert Johnson and Son House in the dangerous juke joints that dotted the countryside. After a stint in the Army, Wolf spent the next 10 years drifting and farming, finally settling in West Memphis, Arkansas, just across the Mississippi River from Memphis.

Sumlin, who lost his father at 6, also developed an early love of the blues from Charlie Patton. “When I was young I found this old warped record on the side of the road,” Sumlin says. “It was Charlie Patton and it was so warped that when I put it on the Victrola, the only thing I could hear this guy do is moan. It sounded like Wolf—had that growl in his voice.” Captivated by the blues, Sumlin left his mother’s strict religious home at 14 to escape a life of hard labor and follow the music he was born to play. He settled in West Memphis with future harmonica great James Cotton.

“Cotton was forming this little band,” Sumlin remembers. “He didn’t have it together. He said, ‘Hubert, if I get this band together will you play with me?’ I said sure. We were so young. We used to play for the bucket—pennies and dimes and whatever people give us, at those ball games and road houses like folks do down South. I had an old guitar that Cotton got me, and like a PA system, and we just set up on the street.”

While Memphis is often thought of as a birthplace of blues, it was West Memphis that truly fostered the music. Memphis was more sophisticated, more uptown, and more repressive—there was an 11 o’clock curfew for black people in the city limits. West Memphis, on the other hand, was wide open.

“Oh man!” Sumlin laughs. “They gambled, they did everything in this place. You could go from one little juke joint to the other from 8^th Street to 16^th Street, where Wolf lived. Wolf had 30 minutes on this radio station in West Memphis called KWEM and he gave me and Cotton 15 minutes. Well, we got so good on those 15 minutes that we started taking his jobs away. We were playing some Charlie Patton songs and then we started playing some of Wolf’s songs. He didn’t get mad, but he took his 15 minutes back!”

Sumlin was not the only one drawn to Wolf because of his weekly radio show. Across the river in Memphis, a young producer named Sam Phillips tuned in and was floored by what he heard. “This is for me,” Phillips famously said. “This is where the soul of man never dies.” Phillips, who had recently founded the Memphis Recording Service at 706 Union Avenue (“We Record Anything, Anywhere, Anytime!”), invited Wolf to drop by the studio. At the time, Phillips had already recorded “Rocket 88” by Jackie Brenston & His Delta Cats, featuring a pounding piano by a young Ike Turner. Considered the first rock and roll song, “Rocket 88” had been a hit in 1951 for Chess Records, a small label owned by Phil and Leonard Chess, tough Polish immigrants who, like the artists they recorded, were looking for a better life in Chicago. Within a few years, Phillips would also found his own label—the legendary Sun Records. Though he would go on to discover, champion, and nurture Elvis Presley, Jerry Lee Lewis, Johnny Cash, Carl Perkins, Roy Orbison, and Charlie Rich, among others, Phillips always considered Howlin’ Wolf the most significant artist he ever recorded.

Wolf’s first single, “How Many More Years b/w Moanin’ at Midnight” released on Chess, is the blues at its best. Wolf’s haunting, funeral moans are quickly answered by guitarist Willie Johnson’s gritty, stinging guitar. Drawing on Charlie Patton’s Delta stomp, the song electrifies Mississippi country blues with the menace and aggression of the city and creates a whole new kind of music.“‘How Many More Years’!” Sumlin exclaims. “Ike Turner on piano, Willie Johnson playing guitar, Willie Steele on drums.” Both songs on the single became huge hits.

Over the course of the next year, Wolf continued to cut songs for Phillips, who licensed them to Chess as well as the Bihari brothers’ RPM label in Los Angeles. Wolf’s singles like “Riding in the Moonlight” and “Crying at Daybreak” topped charts around the country, and a bidding war broke out between the Chess brothers and the Biharis. Realizing Wolf was hot, Leonard Chess traveled to Memphis and convinced him to move to Chicago and record for Chess exclusively. Unlike Muddy Waters and the other incredible musicians who created Chicago blues, who came to the city as part of the post-War exodus of blacks who fled the racism and oppression of the rural Jim Crow South in search of economic opportunity, Wolf arrived in the city already a star. “I had a $4,000 car and $3,900 in my pocket,” Wolf said. “I’m the onliest one drove out of the South like a gentleman.”

“Wolf told me, ‘Hubert, I’m leaving. I’m cutting out and I would like for you to head this band that I got,’” Sumlin remembers. “And he came by on his way out in this long red car and he said, ‘Cotton, if I send back and get Hubert will you let him come?’ Cotton said, ‘Hey man, sure.’ Cotton told me, ‘You’ll make more money with him than you will with me.’ I was 20.”

Chicago

When he arrived in Chicago, Hubert was met at the train station by Otis Spann, Muddy Waters’ piano player. “Wolf sent Otis Spann to the train station to pick me up. I was scared. Wolf said, ‘Hey man, ain’t no need to be nervous.’ He put me up in an apartment in the Chess brothers’ building and had my union card paid up for a year. I didn’t have to do nothing. Otis Spann brought me to Muddy’s and Wolf was sitting up there with Muddy playing cards. I thought, ‘This is great.’ There was music everywhere.”

It is hard to imagine what Chicago must have looked like to the Southerners who flocked to the city, many of whom had lived a rural farming life. Some had never had electricity, much less heard the sound of a cranked, screaming electric guitar.

“We was playing loud!” Sumlin laughs. “Yes! Wolf bought me and [second guitarist] Jody Williams both Kay guitars, just alike. That’s what I played on for a couple years and then Wolf got me a Gibson. Goldtop. Les Paul, man. Somebody stole that guitar and I never did get it back. So I got me another one, and I had a Wabash amp. Wolf bought me this amp and I never will forget it. The first 15” speaker I ever played through. It was loud—and Freddie King blew the speaker! He took it to the shop to repair it and he couldn’t remember where the shop was!”

Muddy Waters, already a huge star in Chicago and the jewel of the label, was instructed by Leonard Chess to introduce Wolf to the city’s blues scene. “Muddy gave him the job at the Zanzibar,” Sumlin says. “And Muddy moved on to Sylvio’s. We had two weeks before we had to start there, so Wolf got me the job with [harmonica virtuoso] Little Walter. Little Walter was a nice fella, man. And he was before his time I believe. He didn’t take no mess. He had a hard time.”

Wolf and Hubert learned the ropes of the tough, cutthroat Chicago scene quickly. With a ferocious band that featured Jody Williams on guitar, Hosea Lee Kennard on piano, and Earl Phillips on drums, they developed a sound unlike anybody else. At the heart of it was Sumlin’s haunting, swinging guitar lines. The hit Chess singles followed one after the other: “Smokestack Lightnin’,” “Forty Four,” “I Asked For Water,” “The Natchez Burnin’.” What sounded like loose, electrifying country blues arrangements were actually meticulously worked out by Wolf and Hubert.

“Me and him used to get in the garage and work this stuff out. We’d get it four or five hundred different ways, but we’d always come back to the first one. Then we’d take it to the band.”

With arrangements tightly crafted, the band honed them to a razor edge during long, nightly gigs at tough South Side bars like the 708 Club, the Checkerboard Lounge, and the Zanzibar. By the time the band would roll into the Chess studio, the songs had reached near perfection. Often, Wolf and band would record after a long night of gigging and face the hot-tempered and demanding Leonard Chess behind the boards. As tough a boss as Wolf could be, he was protective of his band, and Hubert in particular. Unlike Waters, who had a closer, more amiable relationship with Leonard Chess, Wolf was known to lock horns with the label. Deeply suspicious as a result of his vicious upbringing, and standing 6’6” and 300 pounds, the Wolf could be a fearsome and intimidating man. “If you said something to him,” Hubert laughs, “you better be right.”

“One time we was in the studio recording ‘Three Hundred Pounds of Joy’,” Hubert says. “I never will forget this. Chess got on the talkback and yelled at me, man. He said, ‘Hey you, you—I ain’t gonna say what he said, man—turn it down!’ And Wolf said, ‘Hey, don’t you holler at him! Don’t you holler at him! If there is anything you want to tell him, you can tell him low.’ And that son-of-a-gun, man, he ain’t said nothing else to me. The only thing Chess and them told me after that was, ‘Hubert, how do you do this? How do you do that? How do you put together these notes so well?’” Hubert laughs hard at the memory. “I told Wolf, ‘Now he talkin’ right.’”

The Rivalry

As the heart of Wolf’s band, Sumlin soon became an in-demand guitarist. “Chuck Berry asked Wolf if he could use me on ‘School Days,’” Sumlin says. “Wolf said, ‘Hey man, go ahead on. He’s gonna pay you.’ Sure enough, before we even played, Chuck Berry reached into his pocket and pulled out 35 bucks. That was some money then. And I helped him make ‘School Days’ and on the other side ‘Deep Feeling.’ He had all the notes written out. He could play man.”

The sessions kept coming. “I was playing with Jimmy Reed, on ‘Going to New York’ and a lot of other numbers. If they needed a guitar player, they come to me. I was glad. It made me feel like I was doing something. Not only that, I love the guitar in the first place.”

As Hubert became more renowned, Wolf did his best to keep Hubert in his place. Wolf’s stern discipline led to a situation that nearly ended their close partnership. Hearing that Hubert was open to playing with other people, Muddy Waters sent his chauffer over from Silvio’s to the Zanzibar with a bankroll of cash. “Muddy offered me three times what Wolf was paying, three times over union scale. Union scale was six dollars a night, and then it went up to eight dollars, 10 dollars, 12 dollars. Hey man, I went with him. Took my amp down and went with him. You know how it is when you’re young. Money’s everything.”

Wolf was furious at Hubert’s defection, but Hubert was in for a rough surprise. The day after hiring him, Muddy took the band out on the road, playing 40 shows in 40 nights all over the South. Hubert had to do all the driving. Hubert got back to Chicago miserable, exhausted, and sick. The band pulled in to town just in time for their show at the 708 Club. Hubert called Wolf on his break.

“I said, ‘Hey, man, I want to come back.’ And Wolf said, ‘Where he at? Where he at?’ talking about Muddy. I said, ‘He’s here.’ And Wolf showed up so quick, I was talking to him thinking he was on the phone and I turned around and he was behind me. I turned around to go back into the 708 Club and Wolf opened the door! Muddy was sitting over there at the table with his women, drunk. He was going to make the band play for him anyway. We had just drove from Miami and we stopped somewhere and got some homemade whiskey and them guys was all drunk. Wolf was yelling, ‘Where he at? Where he at?’ I said, ‘He’s over there at the table.’ Man, Muddy was so drunk, but he got just as sober as a judge when Wolf pointed his finger at him. Wolf said, ‘You gonna have to get up there and play now. I come to get my son.’”

The End

Unlike many of the Chess artists, Wolf and Hubert would continue to have hits long after rock and roll, Motown, and Stax threatened the popularity of the blues. Songs like “Hidden Charms,” “Three Hundred Pounds of Joy,” and “Killing Floor”—all from 1963 and 1964—were some of the strongest songs Wolf and Hubert ever recorded. While gigs dwindled for Muddy Waters and others, Wolf’s showmanship continued to draw crowds to the South Side. More and more, the crowds contained the young white players who would carry the music to a larger audience. Mike Bloomfield, Paul Butterfield, and Charlie Musselwhite became loving and dutiful students of Hubert and Wolf. At the same time, the Rolling Stones scored a hit with a version of Wolf’s “Little Red Rooster.” The Stones paid thanks to him by insisting the producers of Shindig! book Wolf on the show. It was Howlin’ Wolf’s only U.S. television appearance and Wolf would maintain a friendship with the band for the rest of his life.

“It was beautiful, man,” Hubert says of hearing his riffs played back by young white bands on the radio. “Kinda weird, but beautiful.” Jimmy Page, Eric Clapton, Jimi Hendrix, Pete Townshend, Keith Richards, and others, have all cited Hubert as a major influence. Clapton took it a step farther. Chess did not want to pay for Hubert’s airfare for the recording of The London Sessions, a successful 1970 attempt to expose Wolf to a larger audience by teaming him with a supergroup of English musicians. Clapton put his foot down. “They didn’t want to send me, man. And Eric Clapton called them up at Chess and said, ‘Hey, if Hubert ain’t there, I ain’t gonna be there either.’” The session captured a touching moment as an ailing Wolf, suffering kidney failure, shows a young Clapton how to play the slide part from “Little Red Rooster.”

Wolf continued to perform until the very end of his life. Even while receiving dialysis treatment, Wolf gave all during his performances—crawling on all fours, howling, passionately working the crowd. At one of his last shows, his performance was so draining that he had to be taken away by ambulance at the end of the night. The memories are still fresh and painful for Hubert.

“Just before he passed, me and Wolf were supposed to leave for Paris, France. I went to the airport and I was waiting on him, thinking I would meet him there. But he was slow about getting there. And sure enough, man, his wife called the airport. She said, ‘Hubert, Wolf checked himself back into the hospital. He’s having chest pains.’ And I raced over to the hospital where Wolf was to find out what was what. I got to the hospital and Wolf was sitting up there eating Colonel Sanders’ chicken! He said, ‘Hubert, I’m okay, go on over and keep our name on the show.’ I got to Paris and he lived five more days. I got over there and I got this telegram, from Wolf, from the hospital. It said, ‘You wanna see your father? You wanna see your daddy? You better make it here.’ I cried Lord have mercy. They got me to the airport. I got back to Chicago and went straight to the hospital and they had Wolf’s eyes taped. Taped! He was dead. He wanted to tell me something. I don’t know what it was, but I have an idea. I believe he was going to tell me about the music.”

Hubert pauses. He has had his own health scares of late. Last year, he beat cancer, but not before he had a lung removed. After recovering, he went on to record the great and Grammy-nominated About Them Shoes, with appearances by Keith Richards and Eric Clapton. He tours regularly, playing a powerful set of Wolf hits with a band that often includes Levon Helm of the Band, Jimmy Vivino, and David Johansen of the New York Dolls. At 80, he has spent his whole life pioneering, preserving, and playing some of the deepest, most powerful music ever made. He has no plans to let up.

“I’m not through yet,” he promises. “There is something here I’ve got to do. And I believe it is in this music and I believe it is something I have to show people. There is something I’ve got to do, man.”

-Ari Surdoval

• Les "Nouveautés"

1. Mongrel - The Menace
2. Devendra Banhart - Summertime
3. The Last Shadow Puppets - Hang The Cyst
4. Midnight Juggernauts - Into The Galaxy (Metronomy remix)

Pourquoi les écouter?

1. Ca y est on a enfin des nouvelles de tous ces groupes qui se sont créés récemment (Je ne m'amuserai pas à tous les citer), c'est, en effet, le groupe de Drew McConnel(Babyshambles), Andy Nicholson(Ex bassiste des Arctic Monkeys) , Matt Helders(Arctic Monkeys), Jon McClure et Joe Moskow(Reverend and The Makers), nommé Mongrel, qui refait surface. Un hip(trip?)-hop bien trampé, pas mal du tout. Je ne crache pas dessus-loin de là. (Mes remerciements)
2. Une brillante reprise , Devendra nous y avait habitué. C'est fou comme c'est beau... Du nouveau sur Devendra Banhart ICI
3. Une envie soudaine de Last Shadow Puppets, même si je sais que ca ne va pas durer bien longtemps...
4. Tu aime les Into The Galaxy, tu aimes Metronomy..et bien tu aimeras se remix...

• Les "Vieux"

1. Chuck Berry - No Particular Place To Go
2. Client - Pornography (feat Carl Barât)
3. Robbie Williams - Rock DJ
4. Vanessa Paradis - Walk On The Wild Side (Lou Reed cover)
5. Adam Green - Hollywood Bowl

Pourquoi les ré-écouter?

1. Parce que Chuck c'est le héros de mes vacances et que ça donne envie de ressortir la cadillac.
2. Parce que Carl prononçant  le mot "Pornography" c'est mieux qu'une glace Ben&Jerry!
3. Parce que Robbie c'est le Jack White de mon enfance...tout le monde se rappelle du clip je pense...
4. Parce que je l'aime bien cette reprise.
5. Parce que à chaque fois que je l'entends, je souris, m'excite et saute de partout!

PS: j'ai récemment acheté Get Behind Me Satan (oui maintenant je les ai tous^^) et j'ai remarqué sur l'une des intro des chanson Red Rain une étrange ressemblance avec le générique de 30 millions d'amis....non?

BONUS :

Jack white Rejoins les Last Shadow Puppets à Glastonbury!

Le titre Hearbeat de Late Of The Pier

Le titre GfC d'Albert Hammond Jr

Le titre Colorful Life des Cajun Dance Party

Je ne vous promets pas des clip resplendissant mais ca aide a tenir ;)

Eu mantenho minha opinião, acho quu a seleção de futebol Olímpica vai chegar aos jogos sem treino. Os quatro jogos agora, Canadá, Venezuela, Paraguai e Argentina, dariam um certo conjunto ao time. UAU! Poderiamos perder dois jogos de eliminatórias. E? Vocês ralmente acham que o Brasil vai terminar em 5º? tem mesmo cinco seleções melhores? Aliás nem em 5º, tem que ser 6º pra ficar de fora mesmo...

Mas beleza, a maioria vence...

(Nej, jag kom inte på det här själv, jag snodde det på last.fm.)
(Återigen, nej, jag har ingen koll på vad alla scener innebär... speciellt inte som det handlar om mitt liv.)

1. Opening song: Bruce Springsteen - Because The Night (Dessutom en outtake, från Lost Masters-serien... kan bli knepigt med rättigheterna.)
2. Waking up: Johnny Cash - Orange Blossom Special (Och vad vill filmskaparen säga med detta val?)
3. First date: Fragglarna - En Vimsig Sång (Nostalgikickar! Dock hade jag hellre sett att det engelska orginalet, Wemblin' Song, spelats.)
4. First kiss: Stefan Sundström - Hambo För Skapelsens Krona (Kanske inte riktigt det man känner när man mottar sin första kyss.)
5. Falling in love: Fuck Off - Het På Gröten (Kaosbandets tolkning av Donna Summers Hot Stuff... inte heller en låt som passar särskilt bra i sammanhanget)
6. Being in love: Bell Book & Candle - Heyo (Den hade passat mycket bättre "Breaking up"... kan inte ha varit en lycklig kärlek.)
7. Breaking up: Staffan Hellstrand - Bilder Av Dig (Äntligen ett val jag till viss del förstår.)
8. Making up: Woody Guthrie - This Land Is Your Land (Jag kommer aldrig mer att anlita snubben/jäntan som väljer ut vilka låtar som ska vara med...)
9. Seeing an old love: Rolling Stones - Street Fighting Man (Jaja, lite Stones kan man väl gå med på, för sakens skull.)
10. Heartbreak: John Lenin (Johan Johansson) - Vi Kommer Aldrig Fram (Tja, lyssnar man enbart på titeln, så... visst, det funkar. Men nu är det ju så att en låt är mer än en titel...)

(För enkelhetens skull delar jag upp det här, blir lättare för er att läsa då.)

11. Revenge for the heartbreak: Nick Cave And The Bad Seeds - Mercy (Hämnd är primitivt, det var nog hon som hämnades på mig, såvida filmskaparna inte har något emot mig, och vill sätta mig i dunkelt stråkastarljus. För övrigt en passande låt.)
12. Driving fast: Journey - After The Fall ("Köra fort"!?! Vadå "köra fort"!?!?!)
13. Fighting back: Kjell Höglund - Håll Ut (Kommentarer överflödiga.)
14. Getting ready to go out: Nils Lofgren - Tears On Ice (Kanske inte den ultimate peppen inför en utekväll, även om den inte är helt fel, textmässigt... typ...)
15. Dancing in the club: Mikael Wiehe - Jag Vill Inte Va Fattig (Tja, nog kan man säkert dansa till den.)
16. Flirting: Lars Winnerbäck - Prinsessor (Tja, inte helt fel, faktiskt rätt så rätt. Kan dock bli strul med rättigheterna, än en gång... blir en dyr rulle det här, undrar vad filmskaparna drar in på för att få råd med soundtracket? Kanske skådespeleriet... iofs är det sällan svenskt skådespel är högklassigt.)
17. Feeling sexy: Leonard Cohen - Closing Time (En av de bästa låtar som någonsin skrivits, men har den verkligen något att göra med att känna sig sexig...? Sanningen att säga, så ja!!)
18. Angry drunken stupor: Denis Leary - More Drugs (Stand-up comedy som soundtrack, det var nåt nytt.)
19. Walking alone in the rain/snow: Edguy - Land Of Miracle (Faktiskt rätt så passande, rent musikaliskt, och lite textmässigt också.)
20. Missing someone: Iggy Pop - Lust For Life (Uhu...?)

(Och här...)
21. Saying goodbye: Springsteen - Prove It All Night (Ett fint avsked, med andra ord!)
22. Learning a lesson: Allan Edwall - Familjeporträtt (Tja, Edwall var en förnuftig man.)
23. Playing in the ocean: Di Leva - Kom Till Mig (...)
24. Drug binge: DLK - Rysk Bompa (Jag och knark, don't think so...)
25. Summer vacation: Sober - Snowbored (Kan knappast ha vart nån tillfredsställande semester.)
26. Fighting the undead: Sparks - Propaganda (O-kej...)
27. Acting goofy with friends: Dean Martin - Johnny Get Your Girl (Tja, alla mina vänner, undantaget Tyranna, tycker att det är märkligt att jag lyssnar på såna här gamla goda klassiker.)
28. Thinking back: Håkan Hellström - Kär I En Ängel (Jag levde visst ett rätt så gott liv ändå.)
29. Suicide scene: Weird Al Yankovic - The Night Santa Went Crazy (Tja, mycket möjligt att tomten flippade lite mer efter att han flippat.)
30. Feeling depressed: Chuck Berry - Johnny B Goode (Upbeat när man är downbeat - det gillar vi!)

(Och en gång till...)
31. Driving off into the sunset, in defeat: Clarence Clemons - You're A Friend Of Mine (What if mountains fall/nothin' left at all/I'll be fine/'cause you're a friend of mine)
32. Driving off into the sunset with the one you love at your side: Heather Nova - I Wanna Be Your Light (Varför två såna här scener efter varandra - varför?!)
33. Death Scene: Stefan Sundström - Fånmåne (Den vackraste svenska låten någonsin - i en dödsscen?)
34. Falling asleep: The Beatles - Revolution (Falling asleep i som att somna in för all evighet, eller som i att somna in för natten?)
35. Closing song: David Bowie - Heroes

Gah, det här tog ju hur lång tid som helst! Något som kanske beror på att jag lyssnade på mer eller mindre hela låtarna... aja, jag fördrev åtminstone tiden på nåt vänster.

Genre:Blues

Why are the "blues" such an underated genre? Ever since 1955, Rock and Roll has featured many so called "stronger" genres like Rock, Pop, Rap and Disco, yet the Blues seem to be second class American pop culture. I don't know about you, but i always felt that the Blues was responsible for "Rock n Roll's" progression. Elvis, the Beatles and Rolling Stones were all influenced by the legendry Blues by the likes of Chuck Berry's, Little Richard's, Fats Domino, BB King's and maybe even the "Wilbert Harrison's" of the time. I can only come to one conclusion, that the Blues were a fad, just like, say, Disco was and the simple fact .... people dont care about the Blues anymore. I just find that a shame. (Now where did i leave me original Fleetwood Mac albums?)
01.05.29 to 26.10.94
Perceived by casual oldies fans as a two-hit wonder (his 1959 chart-topper "Kansas City" and a heartwarming "Let's Work Together" a full decade later), Wilbert Harrison actually left behind a varied body of work that blended an intriguing melange of musical idioms into something quite distinctive.
Country and gospel strains filtered into Wilbert Harrison's consciousness as a youth in North Carolina. When he got out of the Navy in Miami around 1950, he began performing in a calypso-based style. Miami entrepreneur Henry Stone signed Harrison to his Rockin' logo in 1953; his debut single, "This Woman of Mine," utilized the very same melody as his later reading of "Kansas City" (the first rendition of the Jerry Leiber/Mike Stoller composition by pianist Little Willie Littlefield came out in 1952, doubtless making an impression). Its flip, a country-tinged "Letter Edged in Black," exhibited Harrison's eclectic mindset.
After moving to Newark, NJ, Harrison wandered by the headquarters of Savoy Records one fortuitous day and was snapped up by producer Fred Mendelsohn. Harrison recorded several sessions for Savoy, beginning with a catchy cover of Terry Fell's country tune "Don't Drop It." Top New York sessioneers -- arranger Leroy Kirkland, saxist Buddy Lucas and guitarists Mickey Baker and Kenny Burrell -- backed Harrison on his 1954-56 Savoy output, but hits weren't forthcoming. That changed instantly when Harrison waxed his driving "Kansas City" for Harlem entrepreneur Bobby Robinson in 1959. With a barbed-wire guitar solo by Wild Jimmy Spruill igniting Harrison's no-frills piano and clenched vocal, "Kansas City" paced both the R&B and pop charts soon after its issue on Fury Records (not bad for a $40 session). Only one minor problem: Harrison was still technically under contract to Savoy (though label head Herman Lubinsky had literally run him out of his office some years earlier!), leading to all sorts of legal wrangles that finally went Robinson's way. Momentum for any Fury follow-ups had been fatally blunted in the interim, despite fine attempts with "Cheatin' Baby," the sequel "Goodbye Kansas City," and the original "Let's Stick Together."
Harrison bounced from Neptune to Doc to Constellation to Port to Vest with little in the way of tangible rewards before unexpectedly making a comeback in 1969 with his infectious "Let's Work Together" for Juggy Murray's Sue imprint. The two-part single proved a popular cover item -- Canned Heat revived it shortly thereafter, and Bryan Ferry chimed in with his treatment later on. Alas, it was an isolated happenstance -- apart from "My Heart Is Yours," a bottom-end chart entry on SSS International in 1971, no more hits were in Wilbert's future. But Harrison soldiered on, sometimes as a one-man band, for years to come. ~ Bill Dahl, [All Music Guide]

Harrison died in 1994 in a Spencer, North Carolina nursing home at the age of 65. In 2001, his recording of "Kansas City" was given a Grammy Hall of Fame Award. His recording has also been named as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
For Elvis Presley see Number 840
For The Beatles see Number 947 & Number 894
For The Rolling Stones see Number 767 & Number 689
For Chuck Berry see Number 783
For Canned Heat see Number 937

Viacom Nazi police say u cant watch the original version
Lyrics to the song
Previous Song 595 ..... Next Song 597

I’m not sure whether to classify this as a rap or a rock and roll post, so I’m going to do both. Sometimes rapper/sometimes rock and roller Kid Rock is going against the grain and boycotting working with download music giant iTunes.

According to Rock, iTunes doesn’t pay musicians what they’re really worth and that Itnues has gone out of its way to cut musicians out of better paying deals. “It’s based on an old system where iTunes takes the money, the record company takes the money, and they don’t give it to the artist,” said Rock in a recent BBC News interview.

Rock went on to compare the struggles of today’s stars with those past. “Back in the day, we all know stories of the Otis Reddings and Chuck Berrys and Fats Dominos who never got paid.”

As much as Rock might not want to, it is inevitable that his music will be available for download on the industry’s leading site at some point and he admits that even he can’t stand in the way of progress. “I will be on iTunes eventually because I can’t avoid it, but I like to stick to my guns and prove a point.”

Por mais..... uhm....... “mau” que pareça, é sempre muito reconfortante saber que tem alguém pior que você, e nem venham os moralistas reclamar. Coloco esse blog numa rifa agora se alguém negar que é muito reconfortante mesmo quando agente se sai mal em alguma coisa – no meu caso alguma prova... – saber que tem alguém que foi bem pior – no meu caso era o Gabriel, Grande Gabriel! –.

Ta, podem desconsiderar quase tudo até agora, como disse, tava meio deprê, mas falar do Gabriel ajudou pra caramba, um dia quem sabe faço um post pra ele...

Antes que eu esqueça, o assunto principal desse post era pra ser Chuck Berry! O cara que - pelo menos na minha humilde opinião – criou o riff de guitarra mais famoso da história, estará hoje, repito, H O J E e somente hoje no HSBC Brasil. O velhinho é o cara.

Agora vocês queridos leitores perguntam: Tio Rodrigo, por que Chuck Berry é o cara?
#1 O cara é negão, putz, eu queria ter nascido negão, mas isso também é história pra outro post
#2 O cara praticamente criou o que minha vó chamaria de rock ‘n’ roll – quando digo minha vó me refiro as pessoas que nasceram a 5399 anos atrás -.
#3 Ele tinha uns fãs que nem entendiam de musica, só um John Lennon e Angus Young – AC/DC –.

É isso, agora vamos acabar ouvindo Johnny B Goode

PS: Esse Wordpress é extremamente bugado.

Por: Rodrigo

...I was born a wrangler and a rambler and I guess I always will"

"Heard It In A Love Song" - The Marshall Tucker Band

No Depression columnist Grant Alden has a great post up on his site about America's long-running romance with the open road and some of the great literature and music inspired by said romance. I can certainly speak to this in my own experience. Some of my favorite songs, movies, and books have centered around road trips (or life lived on the road). Alas, as Alden states, that romance may soon be coming to an end with gas prices at $4 per gallon and rising. If this is what kills cross-country travel, it would be a terrible shame. The road really is the best way to see our great land in all its variety and splendor.

Some of my happiest times have been spent on the road, loaded up with family or friends and a lot of Cd's. I love the sights, sounds, and smells of the road and even the satisfaction of arriving at my destination. I can't count the number of road trips I have been on and I have never regretted one of them. A few years ago my brother rode along with me when I drove cross-country for a move and it is one of my favorite memories. Another great road memory: tearing through western Maryland and Pennsylvania in the dead of night during a freak snowstorm with Diggity Dave on our way to Carl and Shayna's wedding in Pittsburgh. Dave drove, I prayed (under my breath).

For me, no road trip is complete without a wide and varied selection of tunes, especially the all-important road songs.  I have listed some of my favorite road tunes below in no particular order, and I would love to hear what music you find essential to road trips. I don't care what it is, just share what and why. I found that many of my favorites are by the same artists, so I have categorized them accordingly. Also, please note that what is listed is my favorite version of a song, not necessarily the original.

Steve Earle

• "Guitar Town"
• "Someday"
• "I Ain't Ever Satisfied "
• "Nowhere Road"

The Allman Brothers Band

Pretty much their entire catalogue, but the ones that come to mind for our purposes here are:

• "Ramblin' Man"
• "Midnight Rider"
• "Seven Turns"

Reckless Kelly

• "Desolation Angels"
•  "Set Me Free"
• "Vancouver"

"Desolation Angels" has one of my all time favorite opening lyrics:

I saw the same old streets for far too long
I put the rubber on the road
I left it all behind
And now paved with memories
Those streets are long since gone
Rubber on the road & the blood inside

And I've been around this land of opportunity
The road is hard and it don't offer up immunity
I've rode this country hard, from sea to shining sea
I've shared a dance with Lady Liberty

Doesn't that just make you want to gas up and head out?

 Chuck Berry

• "The Promised Land"
• "You Can't Catch Me"
• "Memphis, Tennessee"
• "Little Queenie"
• "No Particular Place to Go"

The Grateful Dead

• "Truckin'"
• "St. Stephen"
• "Friend of the Devil"
• "Alabama Getaway"

John Hiatt

• "Memphis in the Meantime"
• "Drive South"
• "Slow Turning"
• "Walk On"
• "Dust Down a Country Road"
• "Riding with the King"
• "Tennessee Plates"
• "Paper Thin"
• "Child of the Wild Blue Yonder"
• "Crossing Muddy Waters"

Bruce Hornsby

•  "On the Western Skyline"
• "The River Runs Low"
• "The Valley Road"
• "Across the River"

Last Train Home

• "List of Sorrows"
• "Heartache Express"
• "My Sally"
• "Never Been To Memphis"
• "Louisiana"

Bob Dylan

• "Blowin' in the Wind"
• "Highway 61 Revisited"
• "Lilly, Rosemary, and the Jack of Hearts"
• "Tangled Up in Blue"

Tom Waits

• "Lookin' for the Heart of Saturday Night"
• "Heart Attack and Vine"
• "Christmas Card from a Hooker in Minneapolis"
• "Ol' 55"

Bruce Springsteen

• "Thunder Road"
• "Born to Run"
• "Promised Land"
• "The River"
• "Cadillac Ranch"
• "State Trooper"
• "Darlington County"

Marshall Crenshaw

• "There She Goes Again"
• "Someplace Where Love Can't Find Me"
• "Whatever Way the Wind Blows"

Ryan Adams

• "Answering Bell"
• "Trains"
• "The Sun Also Sets"

Blue Rodeo

• "Lost Together"
• "5 Days in May"
• "Hasn't Hit Me Yet"

Creedence Clearwater Revival

• "Travellin' Band"
• "Long As I Can See the Light"
• "Who'll Stop the Rain"

Dave Alvin

• "King of California"
• "Long White Cadillac"
• "Rio Grande"
• "Everett Ruess"  

The rest will be random singles:

"There'll Be No Next Time" - Louis Prima

"I Feel Fine Today" - Kevin Welch

"City of New Orleans" - Steve Goodman

"Operator" and "I Have A Name" - Jim Croce

"Pancho and Lefty" - Merle Haggard and Willie Nelson

"Roam" - B-52s

"Train Don't Stop Here Anymore" and "Don't Worry Baby" - Los Lobos

"So Long Baby Goodbye" - The Blasters

"Route 66" - Nat King Cole

"This Big City" - The Derailers

"Willin'" - Little Feat

"On the Road" - Lee Roy Parnell

"Turn the Page" - Bob Seger and the Silver Bullet Band

"Mama Knows The Highway By Heart" - Hal Ketchum

"Green Grass and High Tides" - The Outlaws

"No Sleep Til Brooklyn" - The Beastie Boys

"Running on Empty" - Jackson Browne

"Solsbury Hill" - Peter Gabriel

"Come Early Morning" and "Tulsa Time" - Don WIlliams

"Moonlight Mile" - Rolling Stones

"King of the Road" - Roger Miller

"America" - Simon and Garfunkel

"Country Road" - James Taylor

"Laid A Highway" - Tift Merritt

Now - if you've made it this far, what are some of your favorite road songs and why? 

The first open tuning assignment, is Dropped D.If your guitar has a whammy bar, or a floating bridge, this wont work. SG's , Les Pauls, Tele type guitars, and most flat-top acoustics are good for open tuning. Simply tune up your guitar in standard tuning, and detune the 6th(fattest) string one whole tone, from E, down to D. It should sound the same as your 4th string (D) when you play a harmonic on the 12th fret( 6th str./12th fret) Using a tuner, it will register as your 4th (D) string, when you play a 12th fret harmonic. Don't touch the 3 high strings, they aren't part of this exercise. You can strum all 3 bottom strings together, or play arpeggios. Don't forget to count beats and bars! Choose a simple chord pattern, for example a 12 bar D-G-D-A-D, starting with your (open) D chord, to G (bar all 3 strings on 5th fret), and A is barred at the 7th fret.  Don't be afraid to fool around and experiment. Be aware of the distance between chords, in a progression, and try starting songs in different keys. Try to hear the relationships of chords, a D to a G, is a fourth, so is G to a C. D to an A is a fifth, so is G to D. When you start thinking of chord progressions as numbers, it makes it much easier to transpose a song from one key, to another. This will also help you recognize chords as major, minor 7th,9ths ect.

A lenda Chuck Berry vem ao Brasil aos 81 anos. O pai do Rock 'n' Roll se apresentará dia 17 de junho no Rio de Janeiro, 18 em São Paulo, 20 em Curitiba e 21 em Porto Alegre.

A banda terá a presença de seus dois filhos: Chuck Berry Jr. (guitarra) e Ingrid Berry Clay (gaita e vocal) e mais James “Jim” Bassala (baixo), Bob Lohr (piano) e com a participação do brasileiro Maguinho Alcantara (bateria).

Alguns clássico de Berry são “Roll Over Beethoven”, “Sweet Little Sixteen”, “Route 66”, “Memphis” e “Johnny B. Goode”, são músicas que influenciaram gente como Elvis Presley, Beatles e Rolling Stones.

Veja um vídeo da música Johnny B. Goode.

From Reuters:

SAO PAULO (Reuters) - Republican candidate John McCain may have used his song in the U.S. presidential campaign, but veteran rock 'n' roller Chuck Berry has no doubt whom he wants to see in the White House next year.

"America has finally come to this point where you can pick a man of color and that not be a drawback," the legendary 81-year-old guitarist said of Barack Obama, who clinched the Democratic presidential nomination last week and would become the country's first black president if he wins in November.

"It's no question, myself being a man of color ... I mean, you have to feel good about it," Berry, himself a black pioneer in the 1950s music scene, told Reuters by phone from New York ahead of a Brazil tour that starts next week.

"Definitely a proud and successful moment for all the people of this country, not just black people, but Americans in general."

Now that Chuck has officially endorsed him, Barack should hit him up for the right to use "Brown Eyed Handsome Man" as his campaign song. Or at least have him perform at the inauguration.

I've always loved Chuck Berry's music and I think hes one crazy mofo all around too. But that doesn't mean hes not bad ass. Sure he is a giant creeper when it comes to women and he was caught filming women on the toilet in one of his clubs. His bad assness overwhelms that.

I mean come on the man is paid with bags of money (it's the only way he will work.) He is also all business because after he is paid he plays the show for the allotted time and then he goes. He is also a perfectionist of sorts as you will see with this movie from the documentary on him from the late 80s. I like him and I wouldn't mess with him either way. Besides he did pretty much invent rock and roll...so he deserves some credit for that.

rolling stone magazine has yet another top 100 list concerning the greatest guitar songs of all time and chuck berry wrote it. jimi hendrix was number 2 with "purple haze". i wanted to click through to find out the rest but realized i really could care less. can we compile a top 100 of the best top 100 lists? these things are out of control.

Guitar legend Chuck Berry will perform B.B. King's "Club and Grill" in NYC tonight at 8 p.m. The club is owned by B.B. King himself which he bought off a woman who used to own the place several months ago. B.B. King has turned the place into a live music venue which features everything from local unsigned bands to famous legendary bands performing there.

For more information on tonight's show at B.B. King's Club and Grill, click here:

http://www.bbkingblues.com/schedule/moreinfo.cgi?id=3375

Pretty cool. Sounds like a cool place to watch live music.

I wonder if B.B. King himself played a gig at his own club yet? I'm sure he played at the grand opening though, not sure.

Kev

Ingressos:

Setor A - R$ 150,00

Setor B - R$ 125,00

Setor C - R$ 100,00

Mezanino em pé - R$ 125,00

Pista - R$ 80,00

Camarote para 6 pessoas - 1.200,00

Confira o mapa dos setores aqui.

Pra variar colocaram a pista lá no fundo do Pepsi On Stage, isto é, quem quiser ficar em pé pra curtir o show não vai nem conseguir enxergar o palco...

Postos de venda: 

• Bilheteria do Teatro Bourbon Country.

• Lojas AM/PM dos postos Ipiranga nos seguintes endereços:

Av. João Wallig, 1903

Av. Farrapos, 361

Av. Carlos Gomes, 11

Av, Otto Niemayer, 2265

Av. Borges de Medeiros, 2205

e Teleentrega Opus (51) 8401.0555

Um pouco salgado se quiser ver o cara de perto, mas pra assistir um dos precursores do Rock n' Roll ta valendo a pena.

Todos que me conhecem, sabem o quanto sou apaixonado por rock'n'roll. É minha obsessão, e por isso fiquei muito abatido quando abri a porta, peguei o jornal e li que ontem na Flórida, Bo Diddley morreu por causa de uma parada cardíaca, aos 79 anos de idade. OK, ele já estava velhinho, e se recuperando de um derrame desde o ano passado, mas mesmo assim, deixará saudades.  
Bo Diddley e o Chuck Berry inventaram o rhythm’n’ blues, que mais tarde passaram a chamar de rock’n’roll. Bo tinha como contemporâneos, caras como o Little Richards, Fats Domino e Jerry Lee Lewis, que também recebem créditos pela criação do rock. Alguns dos ícones mais importantes do rock foram influenciados por Bo Diddley, como o Rei, Elvis Presley e o indendiário, the Who.
Assista ao video de Bo, detonando com sua guitarra quadrada, reparem o jeito que ele esmirilha as cordas, como ele dança, e grita para levantar a galera. Assista também aos videos dos seu contemporaneo, Chuck Berry, e também ao video dos icones que tinham Bo como grande influência, The Who e o Elvis. Vamos celebrar o ROCK'N'ROLL HOJE!!!

Bo Diddley

Chuck Berry - Jonny B. Good

Elvis - Tutti Frutti

The Who - My Generation

Promoção surpreendente

We got random for you after the jump.

✄ I haven't said a thing about Hillary Clinton in some time because as far as I was concerned the election was over weeks ago and she became irrelevant. But the primary elections do in fact end today and Obama will claim the nomination within 24 hours. This got me thinking of Hillary again. What does she want? We know she wants Obama to play the First National Bank of Bail-Me-Out but she must want more. Is it a cabinet position, a chair of an influential Senate committee, a job for Chelsea? I think she wants Obama to become President and make Bill the Ambassador to the coral atoll of Tuvalu. Only banishment will make her happy. Bill Clinton has gone from elder statesman of the Democratic party to unlistenable blowhard in five months. Even if you like him, it's hard to watch.

✄The music industry has been bellyaching for years that the profit picture didn't justify developing new artists. I don't know about you but I think the music scene is thriving. I love finding new artists. I feel like it keeps me fresh. Yesterday, I came across James Hunter from Colchester, England. He's been around for awhile and has a sound that has been around for even longer.  But his retro take on the late 50's/60's has an authentic ring. Have a listen while you read. [audio http://thegrandview.files.wordpress.com/2008/06/03-jacqueline.mp3]

✄Do you really think that if the Phoenix finds signs of life on Mars the government will tell us about it?

✄For those of you with children, you will appreciate the Grand View's quote of the week from author John Mitchinson:

You're taught for the first five years of your life how to walk and talk; and for the next ten, you're told to shut up and sit down.

✄I say again, I like John McCain but can't you just see him self destructing over the next five grueling months?

✄The new iPhone is here, the new iPhone is here; well, Monday when Steve Jobs presents at Apple's developers conference. By the way, for anyone still making presentations for work, Jobs is the best at the art.  Watch him and you are sure to get some usable tips.

✄World famous architect and designer, Brad Pitt, has been selected to help design a Dubai hotel. That Brad Pitt! Don't believe me?  The Reuter's story is here. This just in, Angelina Jolie assisted Duke doctors in the removal of Ted Kennedy's brain tumor.

✄I know Ted Kennedy's brain tumor is no joking matter. I am a brain tumor survivor myself (30 years anniversary in November). I never agreed with his politics but most assuredly my prayers and thoughts are with him.

✄The government's economic numbers suggest that we are not in a recession. That's just hooey (an old word that I like to say to keep it alive). Try and get a loan. Or a job. Times are tough and unfortunately, I think they are going to get significantly tougher. Whenever you get a new President it becomes a case of clear the decks and that comes with an ancillary cost to the economy.

✄The Boston Celtics have the big three (redux) of Garnett, Pierce and Allen. But the music industry had the big four of Chuck Berry, Little Richard, Fats Domino and Bo Diddley. Unfortunately Bo passed away this week at age 79. In his honor and memory, the 1957 recording the self named, "Bo Diddley."

[audio http://thegrandview.files.wordpress.com/2008/06/18-bo-diddley.mp3]

✄Should I bring back the 5x5 or has it run its course?

✄I think that's enough randomness for now. Thanks for reading. Good day and bonne chance to all. 

Rock And Roll - The Early Days - Chuck Berry...Bo Diddley

Bo Diddley "When the Saints Go Marchin' In"

Another saint went marching into heaven.

BO DIDDLEY - WHO DO YOU LOVE // Checker 45 rpm

Bo Diddley - Bo Diddley

Bo Diddley - You Can't Judge A Book

Bo Diddley - Hey Mona