More Blues Plain sisters dealing with strings and frets


When I was 15 and in high school in 1962, like many of my friends, I listened to a wide cross-section of music. However, the slow rhythms of R&B fueled by blues were my favorite dance tunes during those teenage years, filled with love, crush, heartache, and sadness. It’s no surprise that Barbara Lynn’s song “You Lose a Good Thing” climbed to the top of the charts, although it didn’t occur to me at the time that she was playing guitar—her lyrics and depth—feeling a message to her boyfriend striking a chord. You really made it clear. Does not hold banned:

I’m giving you another chance, to do the right thing
If you just straighten up, we’ll have a good life
Because if you lose me, yeah, you lose something good
This is the last time for me, and I didn’t ask for more
If you don’t do it right, I’ll walk out that door

Here she is performing her song live The !!!! beatsAnd the A 1966 syndicated television show featuring R&B artists.

Steve Huey Lin’s biography, who not only sings and plays left-hand guitar incredibly well, but has also written some of her own songs, as AllMusic covers what was originally a short career:

Lynn was born Barbara Lynn Ozen in Beaumont, Texas, on January 16, 1942; She played the piano as a child before turning to guitar, inspired by Elvis Presley. In middle school, Lynn formed her own band. […]

After winning some talent shows and playing some teen dances, the still underage Lynn started working at local clubs and jock joints, risking getting expelled from school if she was caught. Singer Joe Barry caught her live action and recommended it to his friend, producer/stylist Huey Be Mo, aka Crazy Cajun.

With the consent of her parents, she brought Mo Lin to New Orleans to record at the legendary Cosimo studio. Lynn cut a few singles to name Jimmy on the grounds that if none of them happened, she would go to college rather than pursue music right away. In 1962, her popular single “You’ll Lose Something Good” was a national hit, reaching the pop top ten and climbing to number one on the R&B charts. Her debut album (of the same name) was also released in that year, featuring ten of her original 12 tracks. Lynn continued recording for Jamie until 1965, producing follow-up R&B songs such as “You Gonna Need Me” and “Oh Baby (We Got a Good Thing Goin’), which were recorded by the Rolling Stones in 1965. In 1966, Lynn moved to Meaux’s Tribe label and cut “You Left the Water Running,” which became something of an R&B standard and was covered by the likes of Otis Redding.In 1967, she signed with Atlantic and earned another R&B hit with “This Is” the Thanks I Get” early the following year; she also released another album, Here’s Barbara Lynn, in 1968. Lynn recorded a final song for Atlantic in 1972 “(Until then) I’ll Suffer”, but by this point, it was She has many children to worry about upbringing; unhappy with her promotion anyway, she ended up effectively retiring from the music field for most of the ’70s and ’80s, though she played a low-key tour occasionally.

This will not be the end of her story. Amelia Feathers captures the next chapter of Lynn’s life Arrival of the blues. The title says it all: Barbara Lynn is back in a big way: “

“…when her children grew up and her second husband died, the music inside her was still burning to come out. She started playing again and recorded a live album, You don’t have to go (Ichiban), during a tour in Japan in 1986. She made a second album, very good, for Bullseye Blues in 1994 and received the Rhythm & Blues Foundation Pioneer Award in 1999.

A trip to Austin in the late ’90s began Ms. Lynn’s renewed musical pursuit and led Antone’s Records to record Hot night tonight, which the record company describes as “a spirited blues that bridges the gap between past, future and hip-hop.”

Here’s Lynn’s Blues song from this album, which gives you a great listen to her guitar work.

2009 found Barbara Lynn & Friends performing Texas and Blues Rhythm for the Library of Congress, 2009 American Folklife Center Homegrown Concert Series.

In this short clip of I’m the blues, the 2016 Canadian documentary film, directed by Daniel Cross, Lane demonstrates her left-handed technique.

I’ll conclude the musical portion of her story with this exciting 2010 live performance of “Wild Night Tonight” in Texas at the Jazz + Blues Festival. Take it away, Miz Lane!

Barbara Lynn is now 79 years old; We recently lost another great blues woman of her era, Beverly Watkins, in 2019. Richard Sandomier wrote to her The New York Times obituary.

Beverly Watkins, a rare woman among blues guitarists who cleaned houses when she wasn’t paid enough and didn’t record her first solo album until she was 60, died on October 1 in Atlanta. She was 80 years old. Her son, and her only survivor, Stanley Watkins, said the cause was a heart attack preceded by a stroke.

Mrs. Watkins called her inner musician, trampling the blues and complementing it with weird crowd-pleasing ideas in her seventies—playing her electric guitar on the back and behind her head, gliding across the stage. When she sang, it was often with a growl. “She’s been doing all of that since the late 1950s, but she wasn’t a star because for most of her career, she’s been on the side, playing with bands that haven’t had success,” Brett J. Bonner, editor at Living Blues magazine, said via the phone. “She was a great guitar player.”

Mrs. Watkins, who was often called Watkins “guitar” Beverly, followed in the footsteps of women like sister Rosetta Tharp, the gospel singer whose brilliant electric guitar helped influence rock ‘n’ roll, blues singer, guitarist and songwriter Memphis Mini. But even in the 21st century, having worked since the late 1950s with an R&B star نجم red pianoAnd, with bands like Leroy Redding, Houserockers and Eddie Tigner Ink Spots, it was an anomaly.

Listen to what you missed.

Vent editor Michael publishes AnalogPlanet This obituary and description On Watkins’ performance and interview:

Unknown to most audiences, the 79-year-old Watkins delivers a hot, funny, and fierce one-hour show on the first night of Chad Kasem’s blues festival “Blues at the Crossroads” on Friday, October 26. The Atlanta, Georgia native has had a long and fruitful career, including two successful singles “Dr.Feelgood” and “Right String But the Wrong Yo-You” as a member of the Piano Red and Houserockers.

The subsequent group in which she played included Roy Lee Johnson, who composed “Mr. Moonlight” later made famous by the Beatles. You’ll hear Mrs. Watkins covering a very similar ringtone in this wonderful set. She has also worked with James Brown, BB King and Ray Charles and is still active. Watch her amazing performance here and remember that she’s 79! While she plays mostly sitting, when you are standing and playing the guitar behind her back, you may find yourself standing and cheering while watching this on your computer. Everyone in the audience did, too. Michael Framer, editor of AnalogPlanet, met Mrs. Watkins in the hotel dining room the next morning and asked how her hands remain flexible at 79 and her rhythmic drive and musical creativity still so fresh. “You must find Jesus,” she replied with the absolute certainty he had appeared on stage the night before.

As older women ranks out of the blues, we’re left with a question: What young black women would continue this tradition forward?

when Latonia Bennington Wrote this introductory article to afropunk, sorry for their loss, the first image I used for the story was a Memphis Mini, which I featured last week. Bennington also refers to Deborah Coleman’s book I Am A Woman.

Bennington criticized the emphatic male bias at work, as well as offering her thoughts to black women who carried the music forward.

“I am a woman / I can sing the blues / I am a woman / I can switch from old to new.” This song comes from “I’m a Woman”, one of the most popular songs by blues guitarist Deborah Coleman. Coleman has the distinction of being a nine-time WC Handy Blues Award nominee. It is also rare in blues music. It’s nothing new for a black woman to play the blues on the guitar. The Memphis Mini was a pioneering black blues guitarist. Mrs. Poe played a backup role for her boss Beau Diddley in the late 1950s. However, with the recent death of Lady Poe, I have learned that there are very few black female guitarists.[…]

For a black blues listener like me, this can be a problem when some black blues artists put out songs with misogynistic lyrics. In Robert Johnson’s “Me and The Devil’s Blues,” Johnson sings to hit his woman until he is satisfied. In Bo Diddley’s “Crackin’ Up,” he asks the woman to stop complaining while likening her to an animal that has been caught and cared for.

While there’s no denying the influence of Robert Johnson or the late BB King in music, it can sometimes be annoying to research their lyrics and delve into offensive tracks. It is also disappointing to think that Deborah Coleman may never get the same recognition as her male counterparts.

I agree with Pennington’s complaint about misogyny The lyrics of the songs, which are frequent in both blues and contemporary music, hip-hop and rap. Not only are women disrespected in the lyrics, the industry as a whole relegates many of the sisters to second-tier status.

She speaks lovingly of playing Deborah Coleman, whom we unfortunately lost in 2018.

Record her, blind pig, He has a biography of Coleman, and a tribute to the announcement of her death.

Coleman was born in Portsmouth, Virginia, and raised in a music-loving military family that lived in San Diego, San Francisco, Bremerton, Washington, and the Chicago area. With her father playing the piano, two brothers on guitar, and a sister playing guitar and keyboards, Deborah felt natural with an instrument in her hands, picking up a guitar at the age of eight. At fifteen, she started performing with a string of rock and R&B bands. She started out as a bass player, but after hearing about Jimi Hendrix, she switched to driving. Radio had an important early influence. “Back then, the formats of radio stations were more diverse. I remember hearing Joe Cocker, James Brown, Ray Charles, and the Beatles on the same station.” As her interest in guitar grew, she began listening to rock groups such as the Yardbirds, Cream and Led Zeppelin, and followed the roots of their music to the blues. “Jeff Beck was one of my favourites,” she recalls. “I didn’t find out until later that they were performing blues tunes and went to find the original artists.” One of Deborah’s pivotal events was the concert she watched when she was 21 that featured Howlin’ Wolf, Muddy Waters, and John Lee Hooker on the same bill. “I’ll never forget that show. It got me down the path to my roots.”

Coleman gained notoriety and critical acclaim after the release of her debut album I can’t lose in 1997, and would go on to wow blues critics with its second release in 1998, Where blue begins.

Watch her shine at the 2007 North Atlantic Blues Festival in Rockland, Maine.

Sister Coleman is torn apart.

Her death is not the end of the line. There may not be many new black female guitarists we hear about – yet. But they do exist. So let me post a little teaser since we ran out of space to give them the full treatment.

Check out Austin, Texas, Citizen, Jackie Vinson, who started as a classical pianist and now rocks blues.

and reclaiming blues in a rock tradition that has become an almost exclusively white male venue, rocking an upside-down guitar, they meet Malina Moi.

And last but not least, from a country town Goose, Texas, Ruthie Foster, winner of the 2019 Blues Foundation’s Coco Taylor Award for Traditional Blues Artist.

I hope these teasers wet your taste buds, and you’ll join me in the comments section below for more blues from sistas strokin’ those strings and frets.

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