Blues. Robert Cray. The Last Hero.

Создание этой темы назрело, тк Роберт прибудет в Москву с Эриком Клэптоном и тем кто его не знает, следует подготовиться! :)

Очень интересный вариант его истории можно увидеть здесь...
http://www.robertcray.com/history.php

А я продолжу словами...

Robert Cray (born 1 August 1953, in Columbus, Georgia) is a blues musician, guitarist and singer.

Robert Cray was among artists such as Stevie Ray Vaughan and George Thorogood, who got wider radio play while being innovative blues oriented guitarists and songwriters in 1980s. He started playing guitar in his early teens. In high school his love of blues and soul music flourished as he started collecting records. By the time he was twenty, Cray had seen his heroes Albert Collins, Freddie King and Muddy Waters in concert, and decided to form his own band. His band started playing college towns on the west coast. After several years of regional success, Cray was signed to Mercury Records in 1982. His third release, Strong Persuader, received a Grammy Award, while the crossover single "Smokin' Gun" gave him wider appeal and name recognition.

By now, Cray was an opening act for major stars, and sold out larger venues as a solo artist. By the early 1990s his name was immediately associated with his soothing, soulful voice, crisp, clean guitar work, and innovative modern blues sound. Cray has generally played Fender guitars (Telecasters and Stratocasters) and his band has generally consisted of bass, drums, keyboard, saxophone and trumpet.

He continues to record and tour. Cray appeared multiple times on Eric Clapton's Crossroads Guitar Festival.



Discography

Too Many Cooks - 1980
Bad Influence - 1982
False Accusations - 1985
Showdown! - 1985 (recorded with Albert Collins and Johnny Copeland)
Strong Persuader - 1986
Don't Be Afraid of the Dark - 1988
Midnight Stroll - 1990
I Was Warned - 1992
Shame + A SIN - 1993
Some Rainy Morning - 1995
Sweet Potato Pie - 1997
Take Your Shoes Off - 1999
Shoulda Been Home - 2001
Time Will Tell - 2003
Twenty - 2005

Роберт Крей родился 1 августа 1953 года (Колумбус, Джорджия) в семье военослужащего. В детстве учился игре на фортепиано. Особое воздействие на его формирование как музыканта оказали записи Рея Чарлза (Ray Charles), Сэма Кука (Sam Cooke) и других представителей соул. В конце 60-х годов под влиянием групп <британского вторжения> и "Битлз" в первую очередь, играл на гитаре в рок-группах. Под впечатлением от личной встречи с Албертом Коллинзом (Albert Collins) заинтересовался исполнением блюза.

В 1974 вместе с басистом Ричардом Казинсом (Richard Cousins) сформировал собственный бэнд. В 1978 для фирмы Tomato записал дебютный альбом, который был выпущен только два года спустя. Следующие два альбома, записанные для разных фирм, демонстрировали <мягкий> стиль исполнения блюза с элементами соул и мэйнстримовой поп-музыки, который через несколько лет принесет Крэю популярность, однако в то время они прошли незамеченными. Альбом 1983 был относительно успешным, но настоящую известность принесло ему участие в проекте фирмы Alligator, объединившем в студии трех гитаристов: Алберта Коллинза, Джонни Коплэнда (Johnny Copeland) и самого Крэя, Showdown. Удостоенный Grammy, альбом разошелся тиражом более чем в миллион экземпляров. Следующий сольный альбом Крэя, вышедший на мэйджор-лэбле, также стал <платиновым>, несколько песен из него вошли в хит-парад. Блюзовый патриарх Алберт Кинг (Albert King) записал свою версию песни Крэя Telephone Booth. Эрик Клэптон (Eric Clapton) записал версию другой его песни - Bad Influence и пригласил Крэя участвовать в своих лондонских концертах и турне 1987. Участие в фильме Hail! Hail! Rocknroll, снятом к юбилею Чака Берри (Chuck Berry) вместе со <звездами> рок-н-ролла и рок-музыки первой величины, подтвердило обретение Крэем <звездного> статуса, как удостоверили платиновые тиражи его следующих альбомов.

Роберт Крей продолжает активно гастролировать и выпускать альбомы каждые полтора года или даже чаще, оставаясь непременным участником проектов <всех звезд>, таких как альбомы Джона Ли Хукера (John Lee Hooker) 90-х годов, Blues Summit Б. Б. Кинга (B. B. King), 24 Nights Эрика Клэптона, Tribute To Stevie Ray Vaughan.

http://www.peoples.ru/art/music/jazz/cray/

by Rick Landers

http://www.modernguitars.com/archives/000870.html

Master storyteller and guitarist extraordinaire Robert Cray smiles as he walks across the stage at the Birchmere in Alexandria, Virginia, steps up to the mic, and unleashes a song torrent that pulls the packed house into his orbit.

The cool darkened pitch of the opener "Poor Johnny", his signature sound on "Does It Really Matter?", and the gravitas of the anti-war song "Twenty", bolt everyone in place.

Cray's songs have always been thoughtfully soulful, yet muscular.

And they have sold in the millions.

Hitting the charts with the 1986 double platinum Strong Persuader album, the Robert Cray Band has since amassed honors that include two gold albums, five Grammy awards and eleven Grammy nominations.

Cray is also the recipient of numerous W.C. Handy awards and on April 4, 2004, was inducted into Hollywood's RockWalk with Ike Turner, Etta James, and the late Muddy Waters.

His music serves as a backdrop to such films as When a Man Loves a Woman, Mother, and The Truth About Cats and Dogs. His music can be heard in Martin Scorcese Presents the Blues series and he has appeared in Tina Turner's TV special Break Every Rule, the Chuck Berry tribute Hail! Hail! Rock 'n' Roll, and the Rolling Stones' pay-per-view video Voodoo Lounge.

Whenever the titans of the blues gather, Robert stands among them.

He performed with Eric Clapton, Buddy Guy, Jimmie Vaughan, Bonnie Raitt, B.B. King and others to pay tribute to his friend Stevie Ray Vaughan, played at Eric Clapton's Crossroads Guitar Festival 2004 concert, and has shared stages with, among others, John Lee Hooker, Keb' Mo', Albert Collins, Tina Turner, Johnny Copeland, the Neville Brothers and the great Muddy Waters who called Robert his "adopted son".

Twenty is the Robert Cray Band's fourteenth album on which they roam a diverse musical neighborhood opening doors to the blues, jazz, pop, rock, ska-reggae, and R&B, all the while welcoming us in to enjoy the tall cool one once again.

The Robert Cray Band is starting the Twenty Tour having already played over 1,000 shows together?

Robert Cray: Yeah, awhile ago we had our 1,000th show with this particular unit.

Kevin Hayes and Jim Pugh have been part of the band since 1989. And then Karl Sevareid joined us around 1991 or '92. The way we keep it together is just by having fun. And we have a lot of fun. We contribute to one another’s tunes, like if I bring an idea to the guys I don’t have to tell them anything. It’s pretty cool that way. We’re older and we’ve learned how to hang with one another and give everyone their space. The band has been around a bit, but our front house technician has been with us longer than anyone else, except for myself, - twenty years. We have a good team.

Why did the teenage Robert Cray grab a guitar?

RC: I got a guitar because of the Beatles. When they came out it seemed like everyone in my neighborhood got a guitar. All the carports and garages and bedrooms were screaming with all kinds of bad music!

I wanted to learn everything that was out. Everything was cool, like Johnny River’s “Secret Agent Man.” Everything. So, that’s what I listened to and it was great. It was a time of great innocence, no prejudice in music. That went on for a while and it was pretty cool.

Then Jimi Hendrix came out and turned my head backwards! And the whole psychedelic thing. I started playing in ‘65 and I started with the blues around ’69. That’s when I saw Albert Collins in an outdoor concert and it was weird. He just blew us all away. He just walked out into the crowd and did his thing.

I saw him again when he played at our high school graduation in 1971. I took the opportunity to walk up to him and say thanks for the show and told him I was a big fan. He said, “Young man, you play guitar? Keep it up!”

Around that time the older traditional blues players were beginning to get noticed by a new generation.

RC: Yeah, and at that point I had already started getting into the blues with my friends. Back then you could still find the albums in stores in the cut-out bins. Elmore James, Otis Rush, the whole blues thing. They were so cool with their suits, their cool names and huge pompadours. You know, Howlin’ Wolf, Muddy Waters and the association Robert Johnson had with the devil.

So we started reading books and picking up on the double entendre in the lyrics. The feeling was there, especially with all the Stax records. In our late teens we played "Hip Hug - Her", then we'd try something Little Walter did when we had a harmonica player in the band.

What were you plugging in back then?

RC: I started out with a Harmony Sovereign acoustic. Since I started taking lessons I got a Harmony electric with, I think, a D’Armond pickup. Later, I bought a Kalamazoo amp with an 8” speaker and then an Ampeg Gemini, a great amp. Then I bought a Gibson SG in 1970. I don’t have that anymore.

Like I mentioned, I met Albert Collins in ’76. We had the Cray Band that we started in ’74 in Eugene, Oregon. We played as Albert’s backup band. He was a great guy! My dad was in the Army and we spent a lot of time in the Tacoma-Seattle area, the home of some great groups like the Kingsmen, the Sonics, the Wailers, and Paul Revere and the Raiders

Did your folks ever urge you to get a real job?

RC:They like music. We had a lot of good music on records and tape at home. They were the ones who were buying me the gear when I wanted to play. And for them it was alright. When things started popping they really got into it.

Tell us how the Robert Cray Signature Stratocaster came about and the collaboration with Fender.

RC: I was approached by Fender in the late 1980s and I think my Signature model came out in 1990. When they asked, I said, “Sure!” I had just found a ’58 Strat with a maple neck and sunburst body. It’s the one I used on the Strong Persuader album. I had a ’64 Strat that was Inca Silver and I wanted the Signature model to be a combination of the two as far as the neck radius. I gave them both guitars to get the neck right.

They worked with them for a little while and told me that they were going to build the new guitar out of the Fender Custom Shop. I jumped on that and told them I’d like three of them, purple, sunburst, and Inca Silver! And why not get some of that curly maple on the neck? I wanted it to be a hard tail because I don’t use a whammy bar. I also wanted some custom pickups.

The pickups in the Mexican made model are hotter than the ones in the Custom Shop guitar. What happened was the prototype from the Custom Shop had these super hot pickups and I opted for a different style, less hot. So when we did the Mexican Strat, I gave them the prototype and they copied from that one.

Your new CD, Twenty has been getting some buzz about being controversial – at least the title song.

RC: When I sat down to write this song I was trying to put myself in the place of the soldier and the mother. It’s like a situation that no one talks about. Like my dad who was in the Army took orders and couldn’t question them. Now that we know what we know about Iraq and all that crap and in the song the soldier never makes it home. I sat down and tried to piece it together. People talking about it all and with all of the civilians dying. I read two newspapers a day and listen to the radio, alternative stations for better information.

It’s a song that has strong compassion for the troops. I think it's patriotic.

Tell us about working with engineer Don Smith and what he contributed to your sound on the new CD.

RC: Don Smith is fantastic. I was with him in the studio just yesterday and they were working on Buddy Guy’s record and he’s incredible. Don and Steve Jordan are really into sound. So, every recording will have a different sound. When we were working with Steve, we were tuning things high and de-tuning, With Don it was all of these different types of microphones. using all types of microphones and we used tape, really hot distortion. Really hot! We played with dirty sounds and clean sounds and tons of amps and tons of different guitars, and different bass rigs. And every time we grabbed an axe it was like putting on a different mask at a party. We got into that spirit of being somebody else. It was really cool and that’s what those guys bring.

How did your life change after the Strong Persuader album exploded on to the scene?

RC: Well, when that came out I had been thinking that we couldn’t work any harder than we’d been working. That came out in ’86 or ’87 and we’d been going to Europe for a couple years. When Persuader came out and it hit, we were already tired. But, it was good. We were working. The Bad Influence and False Accusations albums took us all over Europe and that was cool. Then the Persuader album came out and all of a sudden the crowds got huge!

It got scary, but it was fun! We had that period when we were playing the occasional coloseum gig. That was a big rush for a bar band to go to a coloseum. It was funny!

How’d your equipment stand up?

RC: Well, we realized it wasn’t about the bigger equipment. We were still playing through [Fender] Super Reverbs and stuff like that until this guy from Matchless came around at the Hollywood Bowl gig. We were playing with Bonnie Raitt and the guy said, “You gotta try this!” I tried it and it was like “Whoaaa!” And that was that!

You don’t really need a whole lot of bigger equipment. Everything goes through the main [sound board].

And on Twenty?

RC: We had a thirty-five watt amplifier on the record. Don Smith brought in a Fender tweed Deluxe, a vintage one, and that’s what I played through on some of the solos like “I’m Walkin’”. The Deluxe was cranked up and I was thinking, “Wow, this thing is baaad!” And I played it on a few of the other songs too, so it’s not about the bigness. You get your sound and then you mic it up.

Your music often leaves traditional blues to venture into other musical arenas. Is traditional blues still your bedrock?

RC: Yeah, I think that’s the home ground. But, really my background is all a part of it. I have that, I love the blues, but I have that Beatles sensibility and that soul thing. We also love gospel music. It all melds together, but I have an allegiance to the blues. But, you know I’ve heard a lot of other music and you can't keep me in the closet! [Laughs]

Do you listen to any international music like African, Middle Eastern, Native American or other outside influences to get you out of your comfort zone?

RC: I haven’t really gotten into the African music. There’s so much. I need somebody to walk me through all that’s out there. My friends in England, some are DJs, and they know a lot about music. Guess they should, that’s what they do. One guy brings in a stack of CDs and I bring in a stack of CDs and I play a song, then he plays a song. We try to bring something to play that nobody’s ever heard. He plays some incredible stuff from England. And it’s pretty cool. They're schooling me on this stuff and play some pretty incredible music from Africa.

I’ve been a big fan of Brazilian music for awhile and I like this guitar player, Baden Powell, who passed away about three, four or five years ago. I have about twenty of his CDs and a lot of other Brazilian music. The sambas, the bossa nova and things like that. And I’ve been a big fan of Jamaican music, mostly the earliest stuff like ska.

I like people like [Thelonius] Monk. I listen to a little Grant Green, Pat Martino – music along those lines. And I get into a lot of soul and blues music, and rock, like Hendrix -always there.

Any younger guitar players who you think will have some longevity?

RC: I like young Jonny Lang. He’s got his head on right. He’s a good guy. He’s cool and is probably the youngest of the guys I've seen out there in awhile.

Any chance of another Crossroads Concert?

RC: If it happens and I’m invited I’ll be there. You know, I think Eric said something when it was over. I don’t think he planned on doing another right away. But, if I’m invited I’ll go.

When you go on stage do you and the band have a set list or do you roll with it?

RC: We have a list out there just in case we have a mind lapse, so we have something to go to. But we go out there and we call them. I just turn around and tell them, "Let's do this!" or walk over and ask Jim what he wants to do. It’s more like how can we find a roll and keep it going. Or change the mood with a ballad here and there. It’s that kind of thing.

What gear are you using on the Twenty tour?

RC: I’ve got my Matchless, I have two Clubman 35 heads with four tens in each box and I have them wired so I can use my vibrato, which is stereo, that goes between the two. It's like the old Magnatone thing. My former tech, Zack, put that together for me. And then I use a Vibro-King for some stuff. Those are the amps.

I use about three different Cray model Strats and a James Trussart Steel DeVille. It's a hollow steel guitar. I also have this fake Telecaster body with big wood block in front of the bridge to get a sitar sound. It's got a Telecaster neck on it. I used it on Time Will Tell album song called "Up in the Sky" that Jim wrote. It's got that '60s groove and a sitar thing going. It's cool. Put a little vibrato on it, a little reverb and dwah, dwah, dwah - [sings] Cry like a baby!

What new things are you trying to learn on guitar?

RC: Everything's new to me! I don’t know, I just play and try to keep fresh.

Some of our readers are struggling to make careers in music. Any advice?

RC: I think playing together with other people is a really good thing to do. I think just getting together and having fun is the most important thing when someone’s trying to make it in the industry.

I think you can’t look at it too hard, so that you get frustrated by the process. The whole process is frustrating. Even for us where we are today it's frustrating. You always have to hope when you have an album come out that it’s going to be big. It’s like starting all over every time!

So, I think the thing to do is to go out and have fun, make good music and make people happy. And when people see you happy, they’ll be happy. It kind of goes from there on its own.

You've backed up and played with some legendary guitar legends.

RC: I’ve had the good fortune to play with John Lee Hooker and Muddy Waters. John Lee - it was a beautiful thing because he was one of those guys! We played on a few of his records. We toured with John Lee. The first time I met him we were there to back him up. We opened the set as the Cray Band and then John Lee Hooker walked out on stage playing and it was like, “Uh, what key?” [Laughs]

And it’s not like, oh, twelve-bar blues, it’s like thirteen-and-a-half bars. But it was okay, back to school again! Which was great, it was a great lesson and taught us to follow the front man. When John Lee did his thing - he was unique.

We played six shows with Muddy Waters and on five of those shows he invited me up for the encores to sing the song with him, "Mannish Boy." And on the last show one of the blues guitarists ended up going to Chicago and Muddy asked if I could play some of that Muddy Waters!

I got to sit back with him before and after the shows and talk to him about people like Little Walter and Otis Spann.

And of course, playing with Eric Clapton was great. I was good friends with Stevie Ray Vaughan and we did a lot of dates together. I was at Alpine.

And B.B. [King] is the nicest man walking the planet! He’s got time for everybody. He’s just a beautiful man.

Any guest musicians joining you on this tour?

RC: I don’t know off the top of my head who’s doing some of the shows. We do an occasional show with Johnny A. I can’t remember who else we're going to play with this year.

You now have your star on the Hollywood RockWalk.

RC: Yeah, it was cool because I got to meet Ike Turner. I mentioned to him some of the songs he did with Albert Collins, like “Bold Soul Sister.” It’s so funky and Collins comes in blazing. It’s a rockin’ tune. I found a compilation CD and it’s on there. It was a single and I remember it from the '60s. Back then, I didn’t know who was playing it, but I thought it was cool.

Solomon Burke was at the Rock Walk too. I live in Los Angeles and RockWalk is on Sunset and Hollywood Boulevards. It’s a bit different. It’s in front of a guitar store with all of those guitar players’ stars. I was able to pick mine, so it's next to John Lee Hooker and Les Paul. Les Paul is funnier than hell, isn’t he? Lots of stories. He’s such a great guy.

The five-time Grammy Award winning Robert Cray has enjoyed an accomplished career that spans nearly three decades, and recently celebrated the 1,000th performance with his band in early 2005. Working with legendary Grammy-winning engineer, Don Smith (The Rolling Stones, Miles Davis, LeAnn Rimes and many more), The Robert Cray Band's latest project, Twenty (produced by Cray and his keyboardist Jim Pugh), finds the ever-popular group exploring an array of musical settings and drawing on diverse influences from blues to rock, gospel and soul music.

Rolling Stone Magazine has called the CD "Cray's strongest album since Strong Persuader," stating, "Cray did more than his fair share to keep roots music alive in the Eighties, so it's encouraging to hear him sounding so on his game twenty years later."

Robert Cray - Twenty


Eric Clapton & Robert Cray - Old Love - Night Music TV show


Tribute to SRV: Buddy Guy, Eric Clapton, B.B King, Bonnie Rait, Robert Cray, Jimmie Vaughan and Dr. John.


Crossroads Guitar Festival, Buddy Guy, Jimmie Vaughan, Hubert Sumlin, Eric Clapton, Robert Cray

SergeK
у меня к Вам вопрос по Крэю. у меня есть один его ранний альбом с Коллинзом и Коуплэндом (Showdown Аллигатора) и два поздних - Shoulda Been Home и Time Will Tell. два последних понравились не очень. в первую очередь, как звучат. мягко (для меня - неправильно мягко) и сглаженно. а ранний хорош. что взять еще? Strong Persuader? наверное, его. а альбомы начала девяностых? Вам какие нравятся?
спасибо.

Пока Сергея нет, можа тожэ сказать?...
О Крэйе свое мнение я высказывал в темке про Эрика К ранее, и оно менее востроженное, но для себя отмечаю его альбомы: "I Was Warned" и "Some Rainy Morning".
Знаменитый аллигаторовский "Шоудаун!" фсё-тки считаю коллективной работой трех артистов, а не сольником сабжа.

2One Day:
Я, увы, не тот Сергей, который Вам нужен, но тоже рискну высказаться. Действительно рекомендую Strong Persuader и Bad Influence (это его второй альбом, собственно и принесший ему успех).

У меня только один сольный альбом Крэя, Shame + A Sin 1993,довольно блюзовый:-)

Всем Сергеям и не Сергеям - спасибо.
john lee hooker
вот и у меня пока не очень восторженное. и альбом "шоудаун", конечно, коллективная работа. но альбом отличный, и Крэй там присутствует, поэтому я его и упомянул)
Old Bluesman
Ваше мнение (хотя Вы и признались, что Вы не тот Сергей)) учтено. Большое спасибо) думаю, с этих альбомов и начну.
papan
довольно блюзовые они все) но в поздних отчетливое влияние соула. а в этом?

Можно я? Можно я?! :)

2One Day:
>два поздних - Shoulda Been Home и Time Will Tell.
Они сделаны с упором на СОУЛ.

Мне кажется, прежде всего надо найти - Too Many Cooks - 1980 - это абсолютно блюзовая пластинка.
Some Rainy Morning - была любимой пластинкой Джона Ли Хукера (реального).
В принципе, можно попробовать все, что было до перехода на RYKO - 1980-1997

Bad Influence, False Accusations - звук чуть мягче, но "все на месте" :)
Strong Persuader - диск принесший ему признание.
Midnight Stroll - очень хорошая пластинка, но многим не нравятся арранжировки.
I Was Warned - потрясающая заглавная песня.
Shame + A SIN - есть дуэт с Альбертом Коллинзом.

Есть еще концертный диск - Robert Cray with Albert Collins IN CONCERT (1977)

Короче говоря, если БЛЮЗ, то -
Robert Cray with Albert Collins IN CONCERT (1977)
Too Many Cooks (1980)

Bad Influence, False Accusations, Strong Persuader - близко к блюзу :)

SergeK
спасибо.
"Они сделаны с упором на СОУЛ."
вот это я как раз заметил, даже написал минутой раньше)
в общем, большущее спасибо за мини-рецензии, понял в каком направлении двигаться.

2One Day:
Рад, если смог чем-то помочь! :)
Я могу слушать его всего, просто под каждый альбом нужно свое настроение.
А вообще, если есть возможность достать бутлеги (аудио или видео), лучше слушать/смотреть концерты!!!