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Kgb Band Navigation menu VideoKGB -Midnight Traveler The band was phenomenal! They came to our GFWC convention. The band was incredible, they were professional, sounded amazing and had everyone up dancing! I think we exhausted them! If you need a band you definitely need to hire KGB!. the texas kgb music info the texas kelly green band kelly green jace kody lee violet lea songs in the key of pain upcoming albums captain americana. KGB In , the "super-group" KGB were formed, the letters being an acronym for the last names of the founding members Ray Kennedy, Barry Goldberg, and Michael Bloomfield. Line-up Mike Bloomfield - guitar' Carmine Appice - drums 'Rick Grech - bass 'Barry Goldberg - keyboads 'Ray Kennedy - sax,vocal. This KGB is not a spy organization, but a band from Seattle that plays for New England style contradance, English Country Dance (as MI-5), Mostly Waltz and other social dance events, concerts, and private functions such as wedding receptions. The Kalob Griffin Band (The KGB) is a Philadelphia based five-piece Americana rock band that formed in , most commonly known for their impromptu shows and the allegiance of their community driven fanbase.
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In he married Susan Smith. Writing in , keyboardist, songwriter and record producer Al Kooper said Bloomfield's talent "was instantly obvious to his mentors.
They knew this was not just another white boy; this was someone who truly understood what the blues were all about.
Black people suffer externally in this country. Jewish people suffer internally. The suffering's the mutual fulcrum for the blues.
He developed a friendship with blues singer Big Joe Williams. With help from his friend Joel Harlib, a Chicago photographer who became Bloomfield's de facto manager, he became a Columbia Records recording artist.
In early Harlib took an audition tape by Bloomfield to Columbia producer and talent scout John Hammond , who signed him to Columbia's Epic Records label.
Bloomfield recorded a few sessions for Columbia in that remained unreleased until after his death. Elektra Records producer Paul Rothchild recorded the band in spring , but the majority of the tracks were not released until the s.
However, one of the tracks Rothchild recorded during his first pass at producing the group, a Nick Gravenites song titled "Born in Chicago," was included on the Elektra album Folksong '65 , which sold two hundred thousand copies when it was released in September The club was bankrolled by future Dylan and Butterfield manager Albert Grossman , who would play a major part in Bloomfield's career.
Bloomfield demurred, preferring to continue playing with the Butterfield Band. During the first part of , the band played in California, and they recorded their second album, East-West , that summer.
The record's title track found the band exploring modal music, and it was based upon a song Gravenites and Bloomfield had been playing since , "It's About Time.
Bloomfield played on recording sessions between and He became a mentor and teacher for many guitarists in the area.
Bloomfield tired of the Butterfield Band's rigorous touring schedule and, relocating to San Francisco, sought to create his own group. He formed the short-lived Electric Flag in ,  with two longtime Chicago collaborators, Barry Goldberg and vocalist Nick Gravenites.
The band featured a horn section. The band's rhythm section was composed of bassist Harvey Brooks and drummer Buddy Miles.
The group's first effort was the soundtrack for director-producer Roger Corman 's movie, The Trip , which was recorded in the spring of that year.
Critics complimented the group's distinctive, intriguing sound but found the record itself somewhat uneven.
By that time, however, the band was already disintegrating; rivalries between members, shortsighted management, and heroin abuse all took their toll.
Shortly after the release of that album, Bloomfield left his own band, with Gravenites, Goldberg, and bassist Harvey Brooks following.
Why not try and legitimize rock by adhering to these standards? In addition, as a fan, I was dissatisfied with Bloomfield's recorded studio output up until then.
It seemed that his studio work was inhibited and reined in, compared to his incendiary live performances. Could I put him in a studio setting where he could feel free to just burn like he did in live performances?
The result was Super Session , a jam album that spotlighted Bloomfield's guitar skills on one side. Guitarist Stephen Stills completed the album with Kooper.
It received excellent reviews and became the best-selling album of Bloomfield's career. Bloomfield continued with solo, session and back-up work from to He released his first solo album, It's Not Killing Me , in Bloomfield composed and recorded the soundtrack for the film Medium Cool , directed by his second cousin, Haskell Wexler.
The film includes footage shot in Chicago during the Democratic National Convention. Shooting junk made everything else unimportant, null and void, nolo contendre.
My playing fell apart. I just didn't want to play. Columbia rejected it; the complete version of the record would not appear until Also in , he cut Triumvirate with Dr.
John and guitarist and singer John Hammond Jr. In he recorded an album with the group KGB. The group's name is an acronym of the initials of singer and songwriter Ray Kennedy , Barry Goldberg and Bloomfield.
The band also included Ric Grech and drummer Carmine Appice. As the record hit stores in , Bloomfield told journalists that the group had been an ill-conceived moneymaking project.
The album was not well received by critics,  but it did contain the standout track "Sail On, Sailor".
Its authorship was credited to "Wilson-Kennedy", and had a bluesy, darker feel, along with Ray Kennedy's original cocaine-related lyrics. In the s Bloomfield played in local San Francisco Bay area clubs, including the Keystone Korner , and sat in with other bands.
An unreleased single, "Andy's Bad",  was also produced for the project. During — he performed often with the King Perkoff Band, sometimes introducing them as the "Michael Bloomfield and Friends" outfit.
Although Bloomfield came from a wealthy family, he never inherited a large lump sum. Bloomfield died in San Francisco on February 15, Bloomfield originally used a Fender Telecaster , though he had also used a Fender Duo-Sonic while recording for Columbia following his signing to the label.
During his tenure with the Butterfield Blues Band he used that Tele on the first Butterfield Album and on their earliest tours in fall of The Les Paul Standard had proven unpopular in the late s because it was deemed too heavy and too expensive by rock and roll guitarists.
Gibson discontinued manufacturing the model in He later switched between the Les Paul and the Telecaster, but his use of the Les Paul inspired other guitarists to use the model and spurred Gibson to reintroduce the Les Paul Standard in Bloomfield eventually lost the guitar in Canada; Wolkin and Keenom's biography revealed that a club owner kept the guitar as partial compensation after Bloomfield cut short a round of appearances.
This turned out to be accurate and the gig in question was at the Cave in Vancouver, booked from Tue. The band played the first night but the next day, Bloomfield boarded a plane and flew home to San Francisco with virtually no notice to the club, hotel, or band members; his friend Mark Naftalin found a note on a torn piece of paper in the hotel room that read, "bye bye, sorry".
Bloomfield's two guitars had been left at the club and were retained by club owner Stan Grozina, who wanted compensation for lost revenues.
Unlike contemporaries such as Jimi Hendrix and Jeff Beck , Bloomfield rarely experimented with feedback and distortion, preferring a loud yet clean, almost chiming sound with a healthy amount of reverb and vibrato ; this approach would strongly influence Jerry Garcia , who segued from a career in acoustic-based music to electric rock at the height of the Butterfield Band's influence in One of his amplifiers of choice was a Fender Twin Reverb.
His solos, like those of most blues guitarists, were based in the minor pentatonic scale and the blues scale.
However, his liberal use of chromatic notes within the pentatonic framework and his periodic lines based on Indian and Eastern modes allowed a considerable degree of fluidity in his solos.
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