I've been lucky enough to see both of those singers lead their respective mainstream bands live, and I can tell you that each was a cathartic experience. This cover is legit. Thanks for sharing.
Balrog99 came with some stuff I still have on frequent rotation. That said, I was in a class the other day where someone didn't know who Lita Ford was (she's coming to the local area soon-ish). After I face-palmed, I asked if they knew who Ozzy Osbourne was at least. They did thankfully, otherwise I'd have had to ask them which rock they lived under their whole life. Anyway, rant over. Here's the song.
I saw her about ... three years ago(?) at a small club in Broad Ripple. I had forgotten just how damn good she could be on slow numbers; she played an old Wes Montgomery song since it was a week before the jazz festival.
Please proceed with your posts @tbone1. I'm enjoying them a lot, as I'm sure everyone else is.
Thanks, will do. Yes, Buddy is coming, but we have some more folks you need to know first. And keep in mind I'm sticking with the folks who had the most influence on metal. I'm not even going to profile some of my favorites (T-Bone Walker, Yank Rachel, Blind Blake ...)
I came across this band over on the DS3 Reddit. On the of the dudes shared his new dark souls tattoo on social media and someone posted it on Reddit. They're pretty cool. And Noisy.
For today’s installment for The Blues Roots of Metal, we're stepping away from Chicago and Chess to look at John Lee Hooker. Hooker was from Mississippi and wound up in Detroit. He played in rough bars, dives, and house parties while working as a janitor during the day. He somehow had a nationwide R&B hit in 1949 with "Boogie Chillen'" with his vocals, jagged guitar, and shoe stomping on plywood. This was at a time when R&B was dominated by smooth vocal groups like The Clovers and jump blues like Louis Jordan. The song wasn't a boogie but had a lot more to do with blues from the Delta. He had several R&B hits like "Boom Boom", "Dimples", and "One Bourbon, One Scotch, One Beer". This last was in 1966, way later than any such song should have charted.
Hooker could also play down home acoustic blues; when his black audiences left blues and northern white folkies discovered blues in the early 60s, he saw where the money was and could play acoustic Delta. But kept playing dives in big cities where he could still pull in crowds in places Gary and the south side of Chicago and the projects in Detroit.
Hooker did record with bands but like Lightnin' Hopkins he never really changed, playing those simple gutbucket blues and inspiring a legion of followers, black and white, who could never quite capture what he had. Like Hopkins, he recorded under several names for several labels, assuming (rightly) that as long as the label owners were screwing him over he might as well record the same record in the next city. Like Hopkins, he had a style all his own. And like Hopkins, he was a b*tch for a rhythm section to follow.
Boom Boom Boom, which he played in The Blues Brothers as a street musician on Maxwell Street. (BTW, they couldn't give him a speaking part because he stuttered.)
Can someone please explain to me how the heck this thread is THREE friggin' pages long but has only ONE Black Sabbath video?? Sabbath laid the groundwork for virtually EVERY kind of metal, from goth to thrash.
We're going back to Chicago today for the king of the post-War blues scene, Muddy Waters. Born McKinley Morganfield in Mississippi, Muddy was raised by his sharecropping grandmother. In 1941, Muddy was a tractor driver and bootlegger who played guitar around the Delta when he was visited by Alan Lomax, who recorded him for the Smithsonian. When he heard himself sing, Muddy decided he could get out and in 1943 moved to Chicago. He worked at various manual labor jobs and bought an electric guitar just so he could be heard in the loud, raucous clubs on the south side. In 1946 his band came to the attention of club owners Phil and Leonard Chess, who were trying to start a record label and gave Muddy a chance. He had his first hits in 1948 with "I Can't Be Satisfied", "Feel Like Going Home", and "Rollin' Stone", a reworking of Robert Petway's "Catfish Blues".
Muddy had great bands with relatively stable lineups and recorded a string of loud, brash, hits that set the standard for blues and rock. They had a long string of hits until 1958, when musical tastes had changed (partly due to a guy Muddy found for the Chess label, Chuck Berry). That year his band introduced England to modern electric blues. And from there ...
Rollin' Stone, which not only inspired a certain band's name but was recorded when most of our ancestors were listening to The Woody Woodpecker Song.
Got My Mojo Workin recorded on Canadian tv in 1966 with the great James Cotton on harmonica.
You Shook Me with Earl Hooker's band in 1962. Angus Young of AC/DC said it inspired "You Shook Me All Night Long". Led Zeppelin did not acknowledge that they ripped it off. (I know! What a shock!)
And a fun one. Bye Bye Baby from a 1963 appearance on German television while on the American Folk Blues Festival tour. The artists are Otis Spann, Big Joe Williams, Sonny Boy Williamson (II), Willie Dixon, Lonnie Johnson ,Victoria Spivey, Muddy Waters, and Memphis Slim. I would give a year of my life to see this today; back then, they were probably happy to get a few bucks. (And without looking at the credits, I know that's T-Bone Walker's guitar on the outro. Ain't enough 'O's in 'smooth' to describe the one and only T-Bone Walker.)
Today for The Blues Roots of Metal looks at Otis Rush. Originally from the Delta, Rush moved to Chicago (sense a theme here?) in 1948 at the age of 15. He quickly established himself in clubs on the South and West sides of town. He first recorded in the late 50s for Cobra records. He exploded onto the national scene with “I Can’t Quit You Baby” in 1956, reaching #6 on the R&B charts. Along with label-mates Magic Sam and Buddy Guy, he was in a newer wave that owed a little more to the music of the church than before. All three brought a sound closer to soul, remained solidly in electric blues, and were master guitar slingers.
Rush bounced around from label to label, never really establishing himself with a wider audience. He had a reputation for being surly and suspicious, but given how people ripped him off, it’s hard to blame him. Now in his 80s, he hasn’t performed for a few years due to health problems.
I Can’t Quit You Baby, with Dave Myers on bass and Fred Below on drums. His first note on vocals is worth the price of admission.
Sweet Little Angel, possibly the best version of the blues classic that I’ve ever heard.
Today’s look at the Blues Roots of Metal takes us to a very key figure, Buddy Guy.
George "Buddy" Guy grew up sharecropping with his parents in rural Louisiana and made his first “guitar” using rubber bands and strands he pulled from window screens. In the early 50s, he was in Baton Rouge, working as a janitor at Louisiana State University and playing in clubs. He saw and was influenced by Guitar Slim (“The Things That I Used to Do”); not only his singing and playing, but also his sense of theatrics. Slim would often start playing outside the bar, walking in with an extremely long chord hooked into his amp; Buddy started doing this and more.
Moving to Chicago in 1957, he scrabbled and scuffled in scruffier bars and dives while working day jobs. He got noticed as a great new hotshot guitarist when someone called Muddy Waters on a pay phone to check out this new player. (Muddy, who was a real mensch, brought bread and salami, figuring a new guitarist in town would be hungry.) Buddy got noticed by Cobra Records when he won a contest over their stars Otis Rush and Magic Sam. When the label folded (the owner was murdered and rumored to have gambling debts), Chess quickly signed him. He became a reliable, steady session musician; recorded his own records in the style selling at the time; and was a wild, frenetic guitarist in live shows. Leonard Chess didn’t want to record “that wild sh*t” thinking it wouldn’t sell, even though Leonard’s son Marshall kept badgering his father. When Jimi Hendrix broke through, Chess realized his mistake, but by then Buddy had signed with another label.
Guy made some great records in the late 60s through the 80s with harmonica player Junior Wells and with his own band which included his brother Phil. He was praised by fellow guitarists in terms bordering on awe and veneration, including: Jeff Beck, Eric Clapton, Stevie Ray Vaughan, Vernon Reid, Jimi Hendrix, John Mayer, B.B. King, Jimmy Page, George Benson, and more. He was a guitarist’s guitarist. However, commercial success eluded him until the early 1990s when he recorded a series of records for the Silvertone label. Originally, these were to be recorded withe Vaughn, but the latter died right before the first sessions were scheduled. In addition, he has played at the inauguration ball for two presidents (George H. W. Bush and Barak Obama).
Buddy is still performing and still better than just about anyone else out there. I’ve seen him two dozen times and he never disappoints. He can play loud or soft, stopping on a dime to switch back and forth and never loses power; the same goes for his singing. For the love of pete, if you see him playing near you, go!
I Smell a Rat from his 1981 album Stone Crazy! This is probably the recording that best shows what his live show was like back in the day.
Champagne and Reefer with Stevie Ray Vaughan, recorded live at Buddy Guy's Legends in Chicago on July 30, 1989. Pure awesomeness.
Buddy playing T-Bone Walker's classic Stormy Monday live at the Montreal Jazz Festival in 1992.
Another of Buddy playing "Stormy Monday", in 1968 shortly after MLK's assassination, with Jimi Hendrix in the audience.
Buddy and Vernon Reid playing Jimi Hendrix' Red House from 2003. I think this is from a Hendrix tribute/documentary.
And if you watch only one of the videos that I'm linking, make it this one. On a CBS show in 1968, Buddy accompanies the legendary Son House on "How to Treat a Man". You can see Buddy watching Son play. I'm not sure whether he's picking up pointers or trying to follow him. Probably both. EDIT: The video says it's My Black Mama, but it's definitely How to Treat a Man.
Having introduced you to Buddy Guy, the next obvious person is Jimi Hendrix. I’m going to assume you are familiar with Jimi Hendrix. If you aren’t, y’ momma didn’t raise you right.
Hendrix was from Seattle — hardly fertile ground for the blues — and grew up with alot of family chaos. He grew up listening to the same R&B songs as his schoolmates, but also dug into his father’s blues records by Muddy Waters, Jimmy Reed, and so on. He knew early that he wanted to be a guitarist, but he also wanted to be more than a scuffling bluesman playing on the chitlin’ circuit and wanted more. He also kept experimenting with sounds and trying to get more out of his guitar. He loved Buddy Guy and cancelled his own gigs to see Guy if they were playing in the same town.
Unlike the other arists, I am going to show some examples of Hendrix’ bluesy side
Catfish Blues, a Delta classic that Muddy Waters used for Rollin’ Stone. Recorded live in Sweden.
With Hendrix, I find myself looking back to see blues influences rather than looking ahead to see signs of heavy metal, so this seems like a sensible place to stop. However, I won’t, instead showing people and songs who may not have been direct influences but certainly affected the environment one way or another.
After a brief interruption caused by life (if you can call that living), I am back with a singer who was not a direct influence on early metal but certainly contributed to that harder blues that lead to it, along with other forms of African-American music.
Etta James is remembered today as a great singer in a jazz/blues/r&b style, but she could certainly rock the blues like few others. Born in the Bay area to an irresponsible (at best) mother and professional billiards player Minnesota Fats (or so it was alleged), she was raised by a strict grandmother and turned to music very early. She was noticed by Johnny Otis and sang on a few R&B records for West Coast labels before being signed by Leonard Chess. She sang tremendous blues and R&B for the label, but addiction caught up with her. She managed to return after seven years' absence at the ceremonies for the 1984 Olympics and continued to perform until shortly before her death in in early 2012.
Etta wasn't known for hard blues, but she had one of the best examples with this 1963 live version of Jimmy Reed's Baby What You Want Me to Do, probably the best version of that song ever. In my opinion.
Took me a while to realise that's Maximum the Hormone. They're somewhat well-known, though I don't think I had ever actually heard anything by them before.
While we're doing Japanese bands...
Babymetal - Megitsune (Kawaii) Heavy Metal I fell in love with this band the first time I heard them. Never thought kawaii girl voices could go along with heavy metal music but it does and it's beautiful. https://www.youtube.com/watch?v=cK3NMZAUKGw
Silence iz Mine - Killing Me Ska/Reggae Punk mix I'm not sure if it's a well known music style or not but I've never heard another band quite like this one. They have more metal-ish songs, but this one is my favourite. https://www.youtube.com/watch?v=vyUMYYc8lxU
Moving on to something a little on the harder side...
Magane - Beginning at the End Black Metal Full album right here, I haven't listened to them in ages so I couldn't decide on a song to post. https://www.youtube.com/watch?v=h4FzE844q6w
I used to explore a lot of different bands from different countries, though I haven't done so in a while. You'd be amazed how different japanese black metal sounds from norwegian black metal, for example. I can do a couple more thematic posts by country if anyone else is interested. I haven't listened to some of these in years.
@tbone1 that Buddy Guy post was the best thing in this whole thread so far. Thank you.
Okay, I'm back with a real bad, bad guitar slinger, Albert King. Albert King was a blues guitar originally from Indianola, Mississippi, who grew up in Arkansas. He sang at a church with a family gospel group, in which his father played guitar. He likely was born Albert Nelson but used the name King and claimed he was B.B. King’s half-brother. In the great blues tradition, he made a diddley bow then made his first guitar from a cigar box, a piece of a brush, and some broom wire. He was left-handed but played the guitar as strung for a right-hander. A big guy, King was no stranger to manual labor. Until he could support himself as a musician, he picked cotton, drove a bulldozer, worked in construction, and had various other jobs.
King moved to Gary, IN, in the early fifties, then to Chicago where he recorded his first records (including Bad Luck Blues) for the Parrot label. He moved to Brooklyn, IL, (near St Louis) and formed a new band. He started playing his signature Gibson Flying V at this time. He recorded again in 1959 and had a minor hit with Little Milton’s I’m a Lonely Man for Bobbin. His first major hit was 1961’s Don’t Throw Your Love on Me So Strong for the King label.
He struggled for a few years, bouncing around until he moved to Memphis where he signed with Stax. Backed by Booker T. and the MGs, King recorded Crosscut Saw and a string of other hits. Stax released the album Born Under a Bad Sign in 1967, a collection of singles, which brought him to the notice of white fans. Live Wire/Blues Power has been cited by many guitarists as a great influence. He continued to record a series of popular, influential albums until Stax went bankrup; he struggled to stay relevant by recording a mix of blues and funk to minimal success. In the mid-80s he returned to his blues roots and became a popular touring artist. His health limited his schedule; he died of a heart attack in December, 1992, two days after his last concert.
Among those who have cited King as an influence are Jimi Hendrix, Eric Clapton, Gary Moore, Stevie Ray Vaughan, Robbie Robertson, Gary Clark, Jr., Mick Taylor, and many others.
Blues Power from a 1970 concert at the Fillmore East.
Crosscut Saw. Can you hear Strange Brew in here like I do? Clapton did.
So Jonathan Young and Caleb Hyles took their old cover of The Plagues from Prince of Egypt and changed the backing to make it more metal. I prefer their original cover but it was interesting to compare the two. And since this is the metal thread... https://www.youtube.com/watch?v=kDwsEazARio
For those that haven't heard of him Eric Calderone (E-Rock) is an amazing guitarist with a popular youtube channel where his ".. Meets Metal" videos take all the songs from pop culture, rock, video games, tv and movies and other sources and he metalizes them. There are hundreds of videos on his channel from pop culture, metalized.
https://www.youtube.com/user/331Erock/playlists Star Wars Arcade Sushi "Meets Metal" Episodes Classic Rock Meets Metal Classic Pop Meets Metal Anime Meets Metal Classical Meets Metal Memes Meet Metal Holidays Meet Metal Superheroes Meet Metal Pop Meets Metal
Comments
Power metal
Ayreon - The Day That The World Breaks Down - The Source (2017)
Prog metal
X Japan - Art Of Life (Live) (1993.12.31 TOKYO DOME)
34:18
Ratt - You're in Love
Def Leppard - Pour Some Sugar on Me
Whitesnake - Love Ain't no Stranger
Dokken - Dream Warriors
W.A.S.P. - Wild Child
Hooker could also play down home acoustic blues; when his black audiences left blues and northern white folkies discovered blues in the early 60s, he saw where the money was and could play acoustic Delta. But kept playing dives in big cities where he could still pull in crowds in places Gary and the south side of Chicago and the projects in Detroit.
Hooker did record with bands but like Lightnin' Hopkins he never really changed, playing those simple gutbucket blues and inspiring a legion of followers, black and white, who could never quite capture what he had. Like Hopkins, he recorded under several names for several labels, assuming (rightly) that as long as the label owners were screwing him over he might as well record the same record in the next city. Like Hopkins, he had a style all his own. And like Hopkins, he was a b*tch for a rhythm section to follow.
Crawlin King Snake
Boogie Chillun
Boom Boom Boom, which he played in The Blues Brothers as a street musician on Maxwell Street. (BTW, they couldn't give him a speaking part because he stuttered.)
His first cover of Amos Milburn's One Bourbon, One Scotch, One Beer
Can someone please explain to me how the heck this thread is THREE friggin' pages long but has only ONE Black Sabbath video?? Sabbath laid the groundwork for virtually EVERY kind of metal, from goth to thrash.
Nearly half a century later, this is still THE greatest rock song of ALL time IMO:
A harmonica has never kicked so much ass, before or since:
The birth of thrash:
Muddy had great bands with relatively stable lineups and recorded a string of loud, brash, hits that set the standard for blues and rock. They had a long string of hits until 1958, when musical tastes had changed (partly due to a guy Muddy found for the Chess label, Chuck Berry). That year his band introduced England to modern electric blues. And from there ...
Rollin' Stone, which not only inspired a certain band's name but was recorded when most of our ancestors were listening to The Woody Woodpecker Song.
Got My Mojo Workin recorded on Canadian tv in 1966 with the great James Cotton on harmonica.
You Shook Me with Earl Hooker's band in 1962. Angus Young of AC/DC said it inspired "You Shook Me All Night Long". Led Zeppelin did not acknowledge that they ripped it off. (I know! What a shock!)
His 1977 version of I'm a Man with Johnny Winter.
And a fun one. Bye Bye Baby from a 1963 appearance on German television while on the American Folk Blues Festival tour. The artists are Otis Spann, Big Joe Williams, Sonny Boy Williamson (II), Willie Dixon, Lonnie Johnson ,Victoria Spivey, Muddy Waters, and Memphis Slim. I would give a year of my life to see this today; back then, they were probably happy to get a few bucks. (And without looking at the credits, I know that's T-Bone Walker's guitar on the outro. Ain't enough 'O's in 'smooth' to describe the one and only T-Bone Walker.)
Rush bounced around from label to label, never really establishing himself with a wider audience. He had a reputation for being surly and suspicious, but given how people ripped him off, it’s hard to blame him. Now in his 80s, he hasn’t performed for a few years due to health problems.
I Can’t Quit You Baby, with Dave Myers on bass and Fred Below on drums. His first note on vocals is worth the price of admission.
Sweet Little Angel, possibly the best version of the blues classic that I’ve ever heard.
All Your Love his second hit from the Cobra days.
EDIT: Oh, and if tomorrow doesn’t go to sh*t as I half expect, I’ll talk about Buddy Guy justfor @Dev6
George "Buddy" Guy grew up sharecropping with his parents in rural Louisiana and made his first “guitar” using rubber bands and strands he pulled from window screens. In the early 50s, he was in Baton Rouge, working as a janitor at Louisiana State University and playing in clubs. He saw and was influenced by Guitar Slim (“The Things That I Used to Do”); not only his singing and playing, but also his sense of theatrics. Slim would often start playing outside the bar, walking in with an extremely long chord hooked into his amp; Buddy started doing this and more.
Moving to Chicago in 1957, he scrabbled and scuffled in scruffier bars and dives while working day jobs. He got noticed as a great new hotshot guitarist when someone called Muddy Waters on a pay phone to check out this new player. (Muddy, who was a real mensch, brought bread and salami, figuring a new guitarist in town would be hungry.) Buddy got noticed by Cobra Records when he won a contest over their stars Otis Rush and Magic Sam. When the label folded (the owner was murdered and rumored to have gambling debts), Chess quickly signed him. He became a reliable, steady session musician; recorded his own records in the style selling at the time; and was a wild, frenetic guitarist in live shows. Leonard Chess didn’t want to record “that wild sh*t” thinking it wouldn’t sell, even though Leonard’s son Marshall kept badgering his father. When Jimi Hendrix broke through, Chess realized his mistake, but by then Buddy had signed with another label.
Guy made some great records in the late 60s through the 80s with harmonica player Junior Wells and with his own band which included his brother Phil. He was praised by fellow guitarists in terms bordering on awe and veneration, including: Jeff Beck, Eric Clapton, Stevie Ray Vaughan, Vernon Reid, Jimi Hendrix, John Mayer, B.B. King, Jimmy Page, George Benson, and more. He was a guitarist’s guitarist. However, commercial success eluded him until the early 1990s when he recorded a series of records for the Silvertone label. Originally, these were to be recorded withe Vaughn, but the latter died right before the first sessions were scheduled. In addition, he has played at the inauguration ball for two presidents (George H. W. Bush and Barak Obama).
Buddy is still performing and still better than just about anyone else out there. I’ve seen him two dozen times and he never disappoints. He can play loud or soft, stopping on a dime to switch back and forth and never loses power; the same goes for his singing. For the love of pete, if you see him playing near you, go!
I Smell a Rat from his 1981 album Stone Crazy! This is probably the recording that best shows what his live show was like back in the day.
Champagne and Reefer with Stevie Ray Vaughan, recorded live at Buddy Guy's Legends in Chicago on July 30, 1989. Pure awesomeness.
Buddy playing T-Bone Walker's classic Stormy Monday live at the Montreal Jazz Festival in 1992.
Another of Buddy playing "Stormy Monday", in 1968 shortly after MLK's assassination, with Jimi Hendrix in the audience.
Buddy and Vernon Reid playing Jimi Hendrix' Red House from 2003. I think this is from a Hendrix tribute/documentary.
And if you watch only one of the videos that I'm linking, make it this one. On a CBS show in 1968, Buddy accompanies the legendary Son House on "How to Treat a Man". You can see Buddy watching Son play. I'm not sure whether he's picking up pointers or trying to follow him. Probably both. EDIT: The video says it's My Black Mama, but it's definitely How to Treat a Man.
To think, we used to have stuff like this show up on broadcast tv. But these days, ...
That said, Symphonic Power Magic is great too.
Hendrix was from Seattle — hardly fertile ground for the blues — and grew up with alot of family chaos. He grew up listening to the same R&B songs as his schoolmates, but also dug into his father’s blues records by Muddy Waters, Jimmy Reed, and so on. He knew early that he wanted to be a guitarist, but he also wanted to be more than a scuffling bluesman playing on the chitlin’ circuit and wanted more. He also kept experimenting with sounds and trying to get more out of his guitar. He loved Buddy Guy and cancelled his own gigs to see Guy if they were playing in the same town.
Unlike the other arists, I am going to show some examples of Hendrix’ bluesy side
Catfish Blues, a Delta classic that Muddy Waters used for Rollin’ Stone. Recorded live in Sweden.
Hear My Train a-Comin’ on an acoustic twelve string.
The Jimi Hendrix Experience doing Howlin’ Wolf’s Killimg Floor live.
His blues staple Red House
With Hendrix, I find myself looking back to see blues influences rather than looking ahead to see signs of heavy metal, so this seems like a sensible place to stop. However, I won’t, instead showing people and songs who may not have been direct influences but certainly affected the environment one way or another.
EDIT: spelling
Why haven't I heard from this band before OMG
I like ARKONA quite a lot. Especially since the female lead singer's voice is just as powerful as that of ARCH ENEMY's.
Etta James is remembered today as a great singer in a jazz/blues/r&b style, but she could certainly rock the blues like few others. Born in the Bay area to an irresponsible (at best) mother and professional billiards player Minnesota Fats (or so it was alleged), she was raised by a strict grandmother and turned to music very early. She was noticed by Johnny Otis and sang on a few R&B records for West Coast labels before being signed by Leonard Chess. She sang tremendous blues and R&B for the label, but addiction caught up with her. She managed to return after seven years' absence at the ceremonies for the 1984 Olympics and continued to perform until shortly before her death in in early 2012.
Etta wasn't known for hard blues, but she had one of the best examples with this 1963 live version of Jimmy Reed's Baby What You Want Me to Do, probably the best version of that song ever. In my opinion.
Sweet Little Angel from the same album.
As an example of her more bluesy, soulful singing, here is I'd Rather Go Blind. And this was a B side, to Tell Mama.
While we're doing Japanese bands...
Babymetal - Megitsune
(Kawaii) Heavy Metal
I fell in love with this band the first time I heard them. Never thought kawaii girl voices could go along with heavy metal music but it does and it's beautiful.
Silence iz Mine - Killing Me
Ska/Reggae Punk mix
I'm not sure if it's a well known music style or not but I've never heard another band quite like this one. They have more metal-ish songs, but this one is my favourite.
Moving on to something a little on the harder side...
Quest for Blood - Takasago
(Mostly-Instrumental) Black/Folk Metal
Magane - Beginning at the End
Black Metal
Full album right here, I haven't listened to them in ages so I couldn't decide on a song to post.
Samayoi - Kanashimi
(Depressive) Black Metal
One of the best examples of the genre IMO.
That's, huh... That's three black metal bands in a row so let's try to move on to something that doesn't include shrieking...
JAM Project - MAXIMIZER
Heavy Metal
Versailles - The Revenant Choir
(Visual-Kei) Symphonic Power Metal? Something like that...
The next links aren't metal at all. But I really really really want to show them to other people because they're beautiful.
Ryo Fukui - Scenery
Jazz
Osamu Kitajima - Masterless Samurai
New-Age Prog Jazz? Not sure how to classify this one.
Minoru Muraoka - Bamboo
Jazz Fusion
Kyoto Jazz Massive - Spirit of the Sun
Acid Jazz
Maki Asakawa - Blue Spirit Blues
Blues/Folk/Jazz
But wait... There's more guitars!
Waggaki Band - Akatsukino Ito
Classical Japanese Music + Rock
Yoshida Brothers - Rising
Shamisen + Rock
I used to explore a lot of different bands from different countries, though I haven't done so in a while. You'd be amazed how different japanese black metal sounds from norwegian black metal, for example. I can do a couple more thematic posts by country if anyone else is interested. I haven't listened to some of these in years.
@tbone1 that Buddy Guy post was the best thing in this whole thread so far. Thank you.
Also it's always nice to see talented beautiful women
BABYMETAL - ギミチョコ！！- Gimme chocolate!! (OFFICIAL)
My kids like this cover lol -
Gimme Chocolate!! [] BABYMETAL [] English Cover by EileMonty
King moved to Gary, IN, in the early fifties, then to Chicago where he recorded his first records (including Bad Luck Blues) for the Parrot label. He moved to Brooklyn, IL, (near St Louis) and formed a new band. He started playing his signature Gibson Flying V at this time. He recorded again in 1959 and had a minor hit with Little Milton’s I’m a Lonely Man for Bobbin. His first major hit was 1961’s Don’t Throw Your Love on Me So Strong for the King label.
He struggled for a few years, bouncing around until he moved to Memphis where he signed with Stax. Backed by Booker T. and the MGs, King recorded Crosscut Saw and a string of other hits. Stax released the album Born Under a Bad Sign in 1967, a collection of singles, which brought him to the notice of white fans. Live Wire/Blues Power has been cited by many guitarists as a great influence. He continued to record a series of popular, influential albums until Stax went bankrup; he struggled to stay relevant by recording a mix of blues and funk to minimal success. In the mid-80s he returned to his blues roots and became a popular touring artist. His health limited his schedule; he died of a heart attack in December, 1992, two days after his last concert.
Among those who have cited King as an influence are Jimi Hendrix, Eric Clapton, Gary Moore, Stevie Ray Vaughan, Robbie Robertson, Gary Clark, Jr., Mick Taylor, and many others.
Blues Power from a 1970 concert at the Fillmore East.
Crosscut Saw. Can you hear Strange Brew in here like I do? Clapton did.
The original Stax recording of Born Under a Bad Sign
Elmore James’ The Sky is Crying, Live in 1989 at the age of 66. Stick with it to the bass solo at 5:05. Seriously.
A 90 minute video of Albert King and Stevie Ray Vaughan in the studio for a Canadian tv special
Here's on of his latest videos
The Legend of Zelda Meets Metal - Gerudo Valley from Ocarina of Time
His most popular video
Let It Go (from Frozen) Meets Metal
Africa by Toto Meets Metal
Different Playlists (categories)
https://www.youtube.com/user/331Erock/playlists
Star Wars
Arcade Sushi "Meets Metal" Episodes
Classic Rock Meets Metal
Classic Pop Meets Metal
Anime Meets Metal
Classical Meets Metal
Memes Meet Metal
Holidays Meet Metal
Superheroes Meet Metal
Pop Meets Metal