By Steve Cushing, Jim O'Neal
This assortment assembles the simplest interviews from Steve Cushing's long-running radio software Blues prior to Sunrise, the nationally syndicated, award-winning software concentrating on classic blues and R&B. As either an observer and performer, Cushing has been concerned with the blues scene in Chicago for many years. His candid, colourful interviews with favorite blues gamers, manufacturers, and deejays demonstrate the behind-the-scenes global of the youth of recorded blues. a lot of those oral histories element the careers of lesser-known yet tremendously influential blues performers and promoters.
The e-book focuses particularly on pre–World conflict II blues singers, performers energetic in Fifties Chicago, and nonperformers who contributed to the early blues global. Interviewees contain Alberta Hunter, one of many earliest African American singers to transition from Chicago's Bronzeville nightlife to the foreign highlight, and Ralph Bass, one of many maximum R&B manufacturers of his period. Blues specialist, author, checklist manufacturer, and cofounder of Living Blues Magazine Jim O'Neal presents the book's foreword.
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Additional resources for Blues Before Sunrise: The Radio Interviews
It wasn’t too many people playing electric at that time. Later on, Charlie Christian was playing with Benny Goodman—it kinda excited me a little bit, ’cause I never heard anything like that solo on an electric guitar with a band. indd 28 an c i ent age 10/23/09 8:20:45 AM It seems to me you have a unique setting when you set your amp. Do you have a specific way that you set it? No, there’s no specific way. What that is, is the way I tried playing after I learned how to play music. I was so crazy about piano music and instruments like saxophones and clarinets.
Can’t you play something else? ” And that discouraged me, too, you know. What’s the use of me playing something don’t nobody wanna hear and I can’t make me no money? When I can go out and play popular music and get on some of these live parties with some of the rich guys—play on the lake and places like that and make money. And I made my living playing music without playing the blues, ’cause I couldn’t make a living playing the blues. How long did that go on? Went on till I went to California and started playing with Lloyd Glenn and them.
I think I ordered it from Montgomery Ward. And amplifier, I got a amplifier from Montgomery Ward. A pickup you would tape it onto your wooden guitar—acoustic box pickup electric like that. What did you think of that sound? I was glad to get it ’cause it brought the sound out, you know. I would always be drowned out on my acoustic box. It was good when you’re playing with a small group or a small room, but when you get with a band, they couldn’t hear me. When you get in a big crowd of people, you couldn’t hear it.