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(Bandleader, singer-songwriter, b. 1921) Of Greek parentage, California-born John Veliotes topped the US R&B chart twice in 1950 with ‘Double Crossing Blues’ and ‘Mistrustin’ Blues’, both credited to The Johnny Otis Orchestra. After moving from Berkeley to Los Angeles, he supposedly discovered such notable R&B vocalists as ‘Little’ Esther Phillips, Willie Mae ‘Big Mama’ Thornton, ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Drums, vibes, vocals, b. 1921) John Alexander Veliotes, born in Vallejo, California, started as a drummer and formed a big band in 1945. By 1947, Otis had switched to a seven- or eight-piece group. This was one of the earliest R&B combos to tour; the Johnny Otis Rhythm & Blues Caravan included vocalists Little ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

Georgia’s finest soul son, Otis Redding’s story encapsulates the history of soul music. He was a hard-working performer with special gifts who became a role model of dedication and success, an icon for his African-American peers. In the process he also won the hearts of the white audience with his music, and, by the simple act of ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Guitar, vocals, b. 1934) Rush, who was born in Philadelphia, Mississippi, was – along with Buddy Guy and Magic Sam – part of the defining trinity of Chicago’s West Side sound. His 1950s Cobra Records singles ‘All Your Love (I Miss Loving)’ and ‘I Can’t Quit You Baby’ became standards. Rush is undoubtedly a genius, ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

(Piano, vocals, 1930–70) The finest post-war blues pianist, Spann learned to play at churches and parties around his Jackson, Mississippi birthplace. From 1952 until his death from cancer, he was house keyboardist at Chess Records, recording with Muddy Waters, Bo Diddley, Sonny Boy Williamson, Howlin’ Wolf, Little Walter and others. Although ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

(Guitar, banjo, mandolin, harmonica, vocals, b. 1948) Colorado’s Otis Taylor is the most inventive blues songwriter to emerge in recent decades. The Chicago native revives the genre’s role as protest music, often telling stories of lynchings, racial injustice and homelessness. His use of archaic Appalachian banjo tunings, droning progressions and digital delay creates ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

Few would deny that the blues has played a more important role in the history of popular culture than any other musical genre. As well as being a complete art form in itself, it is a direct ancestor to the different types of current popular music we know and love today. Without the blues there would have been no Beatles ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

(Vocals, b. 1945) This raw-edged songstress emerged from the same Austin, Texas scene that yielded Stevie Ray Vaughan, with her 1986 debut Stranger Blues. Strehli, who was born in Lubbock, perfected her slow phrasing and dynamic attack at the famed Antone’s nightclub, learning from visiting artists Muddy Waters, Otis Rush, Albert Collins and ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

The undisputed Queen of Soul since the title was first applied to her in the late 1960s, Aretha Franklin has been hailed as the greatest soul diva of all time. Possessing a voice of power and passion (and an underrated talent on the piano) she has turned her attention to everything from pop through jazz to classical; but with a ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Vocals, 1946–2003) Discovered in 1965 by Otis Redding, Conley shared with him an admiration for Sam Cooke. Redding gets a name-check (twice) in Conley’s one big hit, ‘Sweet Soul Music’ (produced by Redding in 1967), a frantic rock’n’roll work-out with punctuating brass, which exuberantly celebrated the soul greats of the day. Conley was a regular member of ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Tenor saxophone, b. 1927) Cecil James McNeely was born and raised in Los Angeles. Inspired by Illinois Jacquet, McNeely played in high school with future jazz stars Sonny Criss and Hampton Hawes. He was discovered by Johnny Otis and made his recording debut in 1948 with a number-one hit, ‘Deacon’s Hop’. He had another hit in 1959 with ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

(Harmonica, vocals, 1926–84) Willie Mae Thornton was born in Montgomery, Alabama. She settled in Houston, Texas in 1948 and began recording for the Peacock label in 1951. She toured with Johnny Otis in 1952–53 and recorded her number-one R&B hit, ‘Hound Dog’, with his band. The record, famously covered by Elvis Presley, enabled her ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

(Instrumental group, 1962–71, 1973–77, 1994–present) Stax Records’ house band, Booker T. And The M.G.s also toured and recorded instrumentals in their own right. More than any other group they defined the sound of 1960s soul with their sparse, funky arrangements on hits for other Stax and Atlantic stars like Wilson Pickett, Sam and ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Vocals, b. 1942) Aged 17, Thomas recorded ‘Gee Whiz (Look At His Eyes)’, the 1960 track that put Stax Records on the national map with its first Top 10 hit. She went on to become the Queen of Memphis Soul, backed by the talents of producer Isaac Hayes, house band Booker T. And The M.G.s ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Vocals, b. 1935) Floyd first found fame with the 1950s gospel soulsters The Falcons. After going solo, he eventually migrated to Stax Records as writer and producer; with Steve Cropper he co-wrote ‘634-5789’, a No. 1 R&B hit for Wilson Pickett (who had replaced him in The Falcons). The pair also wrote ‘Knock On Wood’, originally meant for Otis ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley
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