#fred below

[sonicandvisualsurprises]

1965

A powerhouse harmonica jam session featuring five legendary blues harmonica players: Big Mama Thornton, Doctor Ross, J.B. Lenoir, John Lee Hooker, and Shakey Horton.

Recorded live as part of the American Folk Blues Festival, this instrumental showdown is a raw and electrifying display of harmonica mastery!

[kdo-three]

Chuck Berry - School Day (Ring! Ring! Goes the Bell) (1957) Chuck Berry from: "School Day (Ring! Ring! Goes the Bell)" / "Deep Feeling" (Single) "After School Session" (LP)

Rock and Roll | 1st Wave Rock and Roll

@Archive (left click = play) (320kbps)

Personnel: Chuck Berry: Vocals / Lead Guitar Hubert Sumlin: Rhythm Guitar Johnnie Johnson: Piano Willie Dixon: Bass Fred Below: Drums

Produced by Leonard and Phil Chess

Recorded: @ Universal Recording Corp. Studios in Chicago, Illinois USA on January 21, 1957

Single Released: on March 6, 1957 Album Released: in May of 1957 Chess Records (US) Columbia Records (UK)

♪♪♪ ♪♪♪ ♪♪♪

"Hail, hail rock 'n' roll Deliver me from the days of old Long live rock 'n' roll The beat of the drum is loud and bold Rock, rock, rock 'n' roll The feelin' is there, body and soul"

[jonesbrianshining]

Muddy Waters and Fred Below

[dearyallfrommatt]

Otis Spann Trio - “Blues Don't Like Nobody"

 Featuring Willie Dixon on bass and Fred Below on drums. 

 Yeah, buddy.

[shun-tanabe]

フレッド・ビロウ

[blackrockandrollmusic-blog]

Chuck Berry Didn’t Just Invent Rock and Roll. He Perfected It.

Finding the right opener to write about Chuck Berry is a daunting task: After all, among so much else, Berry crafted the greatest “lede” in the history of rock and roll. The furious flurry of twanging, snapping eighth notes that opens Berry’s 1956 hit “Roll Over Beethoven”—and which reappears even more iconically atop 1958’s “Johnny B. Goode”—is to early rock and roll what Louis Armstrong’s trumpet introduction on 1928’s “West End Blues” is to early jazz, a scorched-earth manifesto of craft and virtuosity, laying out the stakes of an audacious new art form. Any consideration of Chuck Berry starts there, with that burst of notes—I count 35 of them, whizzing by in a cool 6 seconds, although I’m on deadline and may have missed a few. Listen closely enough and you’ll hear an entire generation of young people, in the U.S., England, and elsewhere, informing their piano teachers that they’ve decided to switch to electric guitar.

“Who invented rock and roll?” is a truly unanswerable question, but Chuck Berry’s claim is as solid as any. Jackie Brenston’s “Rocket 88,” the 1951 song most frequently cited as the music’s Big Bang, predates Berry’s emergence by four years, and Lloyd Price, Little Richard, Fats Domino, Carl Perkins, and even Elvis Presley had all made records before Berry broke through with “Maybellene” in 1955, at the shockingly advanced age of 28. But Berry was the first to harness the new and unruly sounds into a sort of mission statement for a generation, and many generations after. Years before Berry Gordy Jr. festooned his fledgling Motown Records with the slogan “the Sound of Young America,” Chuck Berry had worked to make each word of that perfect phrase intelligible. Berry was rock and roll’s first great auteur, blessed with an effortless ability to render the specific into the universal, and vice versa. He wrote songs infused with play, humor, ennui, pain, rage, swagger, and sex. They spoke to a generation who assumed they were about them, which was always only partially true.

Berry possessed many geniuses as a songwriter, but the most consequential was his ability to write songs about being black in America that could double as allegories for being a teenager in America, an audacious bit of rhetorical alchemy that altered popular culture and reverberates to this day. Berry brought the blues into America’s high schools, and somehow did so without sacrificing any of the form’s lyricism, wit, and pathos, even while sometimes sacrificing specificity. According to Berry, the “country boy” of “Johnny B. Goode” was originally written as “colored boy”—Berry changed it to ensure the song got radio play. “Brown Eyed Handsome Man,” written after Berry watched a Latino man in California being harassed by the cops as female companions pleaded his innocence, was originally “Brown Skinned Handsome Man.” And yet there was power in the ambiguity, with Berry’s talent and charisma filling in the blanks. Anyone who’s ever listened to “Johnny B. Goode” and assumed the protagonist is white has issues that are well outside Berry’s purview. [Read More]

[kdo-three]

Visit Original Link

Chuck Berry - Reelin' and Rockin' (1958) Chuck Berry from: "Sweet Little Sixteen" / "Reelin' and Rockin'" (Single)

1st Wave Rock and Roll

Tumblr (left click = play) (320kbps)

Personnel: Chuck Berry: Vocals / Guitar Lafayette Leake: Piano Willie Dixon: Bass Fred Below: Drums

Produced by Leonard and Phil Chess

Recorded: @ Chess Studios in Chicago, Illinois USA December 29-30, 1957

Single Released: January, 1958 Chess Records

UK EP Released: March, 1959 London Records

[kdo-three]

Visit Original Link

Lowell Fulson - Check Yourself (1955) Lowell Fulson from: "Check Yourself" / "Loving You (is All I Crave)" (Single) "The Chess Story" (CD05 | 1955-1956) (1999 Box Set)

Blues | R&B

Tumblr (left click = play) (320kbps)

@Archive (left click = play) (320kbps)

Personnel: Lowell Fulson: Vocals / Guitar Otis Spann: Piano Earl Brown: Alto Saxophone Eddie Chamblee: Tenor Saxophone Willie Dixon: Bass Fred Below: Drums

Recorded: @ Chess Records Studios in Chicago, Illinois USA 1955

Released: March, 1955 Checker Records