Texas blues: Difference between revisions

296 bytes added ,  2 months ago
The Texas R&B recording industry was based in [[Houston]] with labels, such as [[Peacock Records|Duke/Peacock]], which in the 1950s provided a base for artists who would later pursue the electric Texas blues sound, including [[Johnny Copeland]] and [[Albert Collins]]. [[Freddie King]], a major influence on electric blues, was born in Texas, but moved to Chicago as a teenager. His instrumental number "[[Hide Away]]" (1961) was emulated by [[British blues]] artists, including [[Eric Clapton]]. By the 1960s and 1970s, White audiences began to take interest in rhythm and blues in East Austin, Texas. Clubs around Austin, like [[Vulcan Gas Company|Vulvan Gas Company]], [[Armadillo World Headquarters]], [[Clifford Antone|Antone's]], and Soap Creek Saloon, were the main attractions for Whites to enjoy blues music around the area. It was Antone's that was considered one of the most prestigious blues clubs in Austin. Over the years, Antone's featured some of the United State's most impressive blues artists: [[Bobby Bland]], [[Barbara Lynn]], [[Albert Collins]], [[Jimmy Rogers]], [[Muddy Waters]], [[Howlin' Wolf]], [[Hubert Sumlin]], [[James Cotton]], [[Pinetop Perkins]], [[Stevie Ray Vaughan]], Grey Ghost, and many more. Antone's created an environment where musicians, Black or White, could jam together, and learn from one another. During the 1980s, Clifford Antone opened a record label and had great success recording blues musicians from around the United States. His success began to cultivate more Austin talent, including [[Doyle Bramhall|Doyle Bramball]], [[Doyle Bramhall II|Doyle Bramball II]], Omar and The Howlers, [[Steve James (blues musician)|Steve James]], [[Sue Foley]], [[Kim Wilson]], and [[Lou Ann Barton]]. During this time, Antone continued to record bluesmen from Chicago, San Antonio, Houston, and Louisiana.<ref>{{Cite book|title=Texas Blues: The Rise of a Contemporary Sound|last=Govenar|first=Alan|publisher=Texas: Texas A&M University Press|year=2008|isbn=|location=|pages=485-89}}</ref>
InBy the late 1960s1970s and early 1970s1980s, the Texas electric blues scene began to flourish, influenced by [[country music]] and [[Blues rock|blues rock,]], particularlybegan into the clubs of [[Austin, Texas|Austin]]flourish. TheThis diverse style often featured instruments, such as keyboards and horns, with emphasis on guitar soloing.<ref name=Allmusicblues694-5>V.The Bogdanovmost prominent artists to emerge in these eras where brothers, C.[[Johnny WoodstraWinter]] and [[Edgar Winter]], S.[[Jimmie T.Vaughan]] Erlewinewho formed [[The Fabulous Thunderbirds|The Fabulous Thuderbirds]], ''Alland music[[ZZ guideTop]]. toIt thewas blues:[[Stevie theRay definitiveVaughan]] guidewho broke through to mainstream success during the blues''1980s (Backbeatwith Books,his 3rdvirtuoso ednguitar playing., 2003),Stevie pp.Ray 694–5.</ref>Vaughan Thein now considered one of the most prominentinfluential artistsand togreatest emergeguitar inplayers thisof eraall weretime, changing the brothersway people play the [[JohnnyFender WinterStratocaster|JohnnyFender Stratocastor]] andguitar. [[EdgarStevie's Winter]],guitar whoplaying combinedguided traditionalblues androck southernicons,such styles.<refas name=Allmusicblues694-5/>[[Ian InMoore the(musician)|Ian 1970sMoore]], [[JimmieKenny VaughanWayne Shepherd]] formed, [[TheJohnny FabulousLange|Johnny ThunderbirdsLang]], and[[Chris inDuarte]], the[[Joe 1980sEly]], hisWidgeon brotherHolland, [[StevieEric RayJohnson]], Vaughan[[Al Di Meola|Al DiMeola]], brokeVince throughConverse, to[[Jake mainstreamAndrews]], success[[Gary withClark hisJr.|Gary virtuosoClark guitarJr,]] playing[[John Mayer]], asLance didLopez, [[ZZIndigenous Top(band)|Mato Nanji]], withJesse theirDavey, brandand ofrock Southerntitan rock.<ref>E.[[Joe MBonamassa]], plus many more. Komara,If you''Encyclopediare ofa theguitar blues''player, (Routledgechances are, 2006)at some point, p.you tried to learn some SRV 50licks.</ref>
==See also==