Bill Campbell: One Of The Under-Rated, imo.

Go here to peruse an elegantly composed outline of his profession. He is pretty much as the title of this website section demonstrates, very nearly shockingly under-evaluated. I say in light of the fact that I've seen him being "truly on" by and by. Heck, ask somebody who knows, in the same way as Jimmie Vaughan. Ask soul divas Angela Strehli or Lou Ann Barton. Ask Clifford Antone. Ask Johnny Moeller, or his sibling Jay (drummer for Austin soul wonderkid Gary Clark Jr).

Jay Moeller, a few years back, related this story to me. He said he was helping Bill move late one Sunday evening, and after landing there he was strolling down the walkway to his condo when he heard what he portrayed as unquestionably the bluesiest acoustic guitar being played; As it was getting to be clearer to him the closer he got, he was attempting to evaluate what in the damnation record that was ('reason he needed a greater amount of it). Bill's front entryway was open, so Jay strolled in. There sat Bill, his once again to the entryway, pickin' on an old acoustic guitar. To be more exact, as Jay put it, "Pickin' the LOW DOWN HELL out of an old acoustic guitar. I didn't say poo. I simply remained there and tuned in.

I said fundamentally the same thing when I heard him (shockingly) play bass behind Lou Ann Barton at an outside Deep Ellum celebration a couple of years prior. My recommendation, get him and contract him when you can. On guitar or bass.

Other than all that Zuzu Bollin let me know that amid the time he used (post rediscovery) in Austin, that Bill was his most loved feline. For me, cap says more than whatever else might be available ever could.

Btw, one all the more thing before I stop whipping on this tired old stallion; I continue listening to Cheney and his team saying the reason they took care of things the way they did, was on account of their primary concern was the welfare of Mr Whittington. THAT IS odd as damnation, on the grounds that on the off chance that you or me had recently accidently shot a companion, and were worried about their treatment and condition, we would have emulated the rescue vehicle to the clinic. Dick didn't go till late the following day. He was covering up inside the farm, ducking the neighborhood sheriffs who needed to question him about what had happened.

Is it true that he was drinking? Who knows, he has had two dwi's in the past however, so there is room to ponder. That may additionally be the reason he didn't show up at the healing center the nighttime of the mischance.

Alright, quick...how numerous individuals do you realize that have one of their tunes secured by the unbelievable (however fleeting) band Blind Faith? Times up. The chances are thin and none, unless maybe you know multi-WC Handy honor winning soul performer Sam Myers! The tune is "Resting In The Ground," and they make a reasonable showing of it. Not on a par with Sam's unique, that is a gem waiting to be discovered, that we'll never be equalled.

Significantly more imperative than that will be that tomorrow (Feb nineteenth) is Sam's 70th Birthday! A few Dallas soul people, with Hash Brown in charge at his jam tomorrow nite at the Cottage Lounge, are setting up Sam a gathering (6-10pm). C'mon out and give to him all the best. He is the closest thing this town has to a genuine, soul legend. We're fortunate to have had in our middle throughout the previous 20 years, and God willing he'll be here for 20 more.

And Then Some

#1s… and Then Some is the title of a two-disc compilation album released on September 8, 2009 by country music duo Brooks & Dunn. It is the duo's fifth greatest hits package and their last album together. The package contains two new tracks that were both released as singles, "Indian Summer" and collaboration with ZZ Top lead guitarist Billy Gibbons, "Honky Tonk Stomp", the latter of which is Brooks & Dunn's 50th and final single as a duo.

#1s… and Then Some is the final release from Brooks & Dunn, who announced their 2010 retirement in August 2009. The album reprises twenty-eight singles from the duo's previous studio albums, as well as the newly-recorded "Indian Summer" and "Honky Tonk Stomp," the latter of which features ZZ Top lead singer Billy Gibbons. Both of these new songs have been released to radio as singles.

Blues

Blues is the name given to both a musical form and a music genre that originated in African-American communities of primarily the "Deep South" of the United States around the end of the 19th century from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues, and rock and roll is characterized by specific chord progressions, of which the twelve-bar blues chord progression is the most common. The blue notes that, for expressive purposes are sung or played flattened or gradually bent (minor 3rd to major 3rd) in relation to the pitch of the major scale, are also an important part of the sound.

The blues genre is based on the blues form but possesses other characteristics such as specific lyrics, bass lines and instruments. Blues can be subdivided into several subgenres ranging from country to urban blues that were more or less popular during different periods of the 20th century. Best known are the Delta, Piedmont, Jump and Chicago blues styles. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a hybrid form called blues-rock evolved.

The term "the blues" refers to the "blue devils", meaning melancholy and sadness; an early use of the term in this sense is found in George Colman's one-act farce Blue Devils (1798). Though the use of the phrase in African-American music may be older, it has been attested to since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition.In lyrics the phrase is often used to describe a depressed mood.

Blues

Blues is the name given to both a musical form and a music genre that originated in African-American communities of primarily the "Deep South" of the United States at the end of the 19th century from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues, and rock and roll is characterized by specific chord progressions, of which the twelve-bar blues chord progression is the most common. The blue notes that, for expressive purposes are sung or played flattened or gradually bent (minor 3rd to major 3rd) in relation to the pitch of the major scale, are also an important part of the sound.

The blues genre is based on the blues form but possesses other characteristics such as specific lyrics, bass lines and instruments. Blues can be subdivided into several subgenres ranging from country to urban blues that were more or less popular during different periods of the 20th century. Best known are the Delta, Piedmont, Jump and Chicago blues styles. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a hybrid form called blues-rock evolved.

The term "the blues" refers to the "blue devils", meaning melancholy and sadness; an early use of the term in this sense is found in George Colman's one-act farce Blue Devils (1798). Though the use of the phrase in African-American music may be older, it has been attested to since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition. In lyrics the phrase is often used to describe a depressed mood.