Mick Jagger is one of the most well-known and highly respected musicians in the world. He is a living legend whose career has spanned 5 decades and he, with the help of his Rolling Stones band members, have sold millions of albums worldwide.

So when did it all start? When did Mick Jagger decide he would be part of one of the most popular bands in the history of the world?

He was born in Dartford, Kent (England) in on July 26th, 1943. Amazingly, he met Keith Richards at the tender age of 4, lost touch, then became reacquainted on a train in 1960. Mick left the London School of Economics to become a rock musician. The Rolling Stones formed between 1960 and 1962. Mick Jagger played the harmonica and was on lead vocals, Keith Richards and Brian Jones on guitar, Charlie Watts played the drums, Bill Wyman on bass. Their style was a mix of blues and rock, combining the styles of Muddy Waters and Chuck Berry.

Mick Jagger Biography: The Early Years

The first album released by the Rolling Stones was entitled, "The Rolling Stones," in 1964. The band spent the years 1966-1969 touring after they had accumulated several hits in England and the United States. Brian Jones committed suicide in 1968 and was replaced by guitarist Mick Taylor. With his band, they spawned several top hit recordings such as "I Can't Get No Satisfaction," "Brown Sugar," and "Start Me Up." The Rolling Stones are thought to be one of the most successful rock bands, next to The Beatles.

While recording albums, Jagger was also acting in films. In 1970 he landed roles in Performance, and Ned Kelly. In the 1980's Jagger was cast in Fitzcarraldo. Jagger was also a highly regarded, jet-setting celebrity, and on the down side, The Rolling Stones as a band was spiraling into increased drug abuse.

Mick Jagger Biography: A Change in Direction

By the time the 80's had come around, Mick Jagger and Keith Richards were conflicted over the direction the band should be headed. Keith wanted to stay to the bluesy rock roots, whereas Mick wanted to head the band into more of a pop, dance direction. The result of this was a solo album by Jagger called "She's the Boss" released in 1985. The recent onset of MTV was helpful in promoting Jagger's solo career by airing several music videos from this album. "Just Another Night," and "Lucky in Love," were singles that became hits.

Mick Jagger Biography: Personal Life

May 1971, Mick married Bianca Jagger, who at the time was known as Bianca Perez-Mora DeMacias. About a year later, she gave birth to Jagger's second child, Jade. Jagger's first child, Karis, was born in late 1970 to fellow musician Marsha Hunt. Mick and Bianca divorced in 1980.

Jerry Hall, an American woman had come into his life in the late 1970's and was accused of being the reason he and Bianca had divorced. Jerry gave birth to their first child together in 1984, Elizabeth Scarlett, and in 1985 to their second, James. The two were finally "married" in 1990 in Bali. Afterward their third child was born, Georgia May, and then in 1997, Jerry gave birth to Gabriel Luke. Hall and Jagger's partnership was dissolved in 1999 (due to their original Bali wedding not being recognized under Engligh law) after an affair between Jagger and Luciana Gimenez resulted in yet another Jagger child. This child, Lucas, was born in 1999.

Mick Jagger is one of the world's wealthiest musicians. After 5 decades of rocking the world, he continues even today. In 2006 he played during the SuperBowl halftime special, and shows no signs of slowing down.

Wendy Pan is an accomplished niche website developer and author. To learn more about mick jagger biography, please visit Rock Legends Today for current articles and discussions.

Article Source: http://EzineArticles.com/?expert=Wendy_Pan
http://EzineArticles.com/?Mick-Jagger-Biography---A-Legend-in-Classic-Rock&id=1559334

Both Hughes and Mackay have been traveling to Mumbai since the early 90’s and first worked together there in 1998. Mackay elaborates, “We have a great rapport with the musicians and technicians in Mumbai and have built strong relationships over the last ten years.” Mackay adds, “The soloists are amazing and there is a great selection of musicians, some veterans of the industry who have played on the biggest film scores and records in the last thirty years. Then there are the new breed of young players who are coming up and have great enthusiasm for music and have learned so much from the masters before them. 3 Cities proudly features both.”

The second city represented on the album is Chennai (Madras). Although both Hughes and Mackay had visited Chennai before, this was their first time recording there. They immediately made a real connection with the musicians, recording at the studios of revered composer and musician A R Rahman. This is where they worked with some of the most dedicated string players and soloists. As Hughes states, “The string players that we recorded with worked extraordinary hours - something you would never find in the UK or US. They were recording from 7am until 2pm with AR Rahman and then we would record with them from 3pm until 9pm. By this time as you can imagine they were pretty tired but it never showed. The players were amazing, especially considering we had never worked with the majority of them before.”

After extensive recording sessions in Mumbai and Chennai, Bombay Dub Orchestra returned back home from their apartment in Lokhandwala, Mumbai to the United Kingdom. They recorded in various parts of the UK including London where the vocals of singers Kartik and Meneka were recorded as well as some sitar and percussion.

The biggest UK sessions were recorded at Rockfield Studios, located on a farm near the hamlet of Rockfield on the Welsh border. A legendary music studio set up in the 1960s, the facility has the vibe left from five decades of recording with the likes of Queen, Black Sabbath, Simple Minds, Echo and the Bunnymen, Robert Plant and Oasis. Here BDO recorded live drums, percussion, tablas, Rhodes and piano. The Bosendorfer Grand piano that was used on 3 Cities is the very same one that Freddie Mercury recorded ‘Bohemian Rhapsody’ on.

3 Cities opens with “Egypt by Air,” an imaginary journey from India to Egypt inspired by a 1930’s travel poster - an intriguing track layered with sweeping strings and built on a heavy dance beat fused with ouds, darabukas and the group’s synthesizer sequences. “Journey” is based on two Indian Raags (scales) featuring singer Kartik, along with Ashwin Srinivasan’s bansuri (flute), Sunil Das’ beautiful sitar, a santoor (a kind of hammered dulcimer) played by Ulhas Bapat, and a slow but heavy trip-hop groove. “Strange Constellations,” an immediate electro-pop melody driven ‘Love Song’ (according to Hughes - the only love song he has ever written) hits home from the first beat with an overwhelmingly beautiful and simplistic melody.

“Junoon,” featuring the vocals of Meneka could almost hail from a classic Indian film with its mix of Hindi/Urdu lyrics. Virtuosic bansuri, with cinematic strings mix with squelchy synths on a slow Indian percussion led beat. “Spiral ( 3 Cities)” is a collage of the sub-continent with its south Indian percussion, North Indian Vocals again by Kartik, dilruba and tarshennai by Chennai based musician Saroja, tough beats and electrically charged strings! “Map of Dusk,” is dreamy and atmospheric with ambient guitar and flute atop live drums and percussion. Shimmering strings rise from the ambience creating another exotic cinematic landscape.

“Fallen” features the vocals of Mumbai based singer Hamsika Iyer. Her haunting voice is supported by Abdullah Mufa’s brushed drums and Mackay’s jazz-inflected piano. Mysterious bansuri lines weave amongst the vocals and evocative strings. “Greenish Blue” is a vast and dynamic cinematic piece, which, according to Mackay “is a gentle nod to the soundtrack of the classic Indian film ‘Ram Teri Ganga Meli’ by blind composer Ravindra Jain.” “Monsoon Malabar’s” multiple male vocals build up layers of harmony leading into a strong electro-dance groove with washes of live Indian percussion. The result is one of the album’s most dynamic and energetic tracks.

“Feasting with Panthers” features bass clarinet clusters, dark melodies, chilled beats and restrained strings and is followed by album closer “Amina,” with an episodic arrangement that starts out quiet and contemplative, then gradually turns beat-heavy (courtesy of young UK based drummer Will Brown).

“We now have a core group of musicians who we have recorded with over the last two albums and who have played live with us over the last two years,” say Mackay. “We’ve been blessed to be working with some of the finest musicians in the world.”

Buy the Album:

• In North America: 3 Cities. Also available: Bombay Dub Orchestra
• In Europe: 3 Cities. Also available: Bombay Dub Orchestra.
   

After hearing of Jim James’ unfortunate fall in Des Moines, its a little tough to write about the great time I had catching My Morning Jacket at the Greek Theater a few weeks back. Jim James has such energy and is totally in command when on stage, it is awful to think that he hurt himself doing what he so seemingly loves to do. Those of us who live in Chicago should know that MMJ is fully committed to its fans, the band will come through Chicago to redeem the postponed shows and burn the house down.

While I was in LA I got the chance to spend “An Evening with My Morning Jacket,” as they so aptly named their concerts on this tour. My Morning Jacket understands the concert experience well, something that they probably learned through ten years of exploits. The show had few down periods of energy unless the band seemed to want it that way; they were constantly in control. They played for a good two and a half hours complete with a five song encore. It was fantastic, I was lucky to see them in such a wonderful venue and for those of you feeling a bit bummed because of no MMJ this weekend, believe me, they’re worth the wait.

The Greek Theater is a wonderful little pavilion set up in the Hollywood Hills. The sound was really great, it never became too crowded and the surrounding trees made the equation simple: just you and the band. MMJ came out around 7:45 and broke right into the big rock sound everyone now knows them for.

The band opened with the spiraling “Evil Urges,” the kick drum mimics a heartbeat in the opening measures and quickly got my own beating in time. Then Jim James jumped in and lit up the night with his amazing vocal spectrum. The song almost beckoned the crowd to give in to the eponymous feelings they themselves were having. From “Evil Urges” the band played a string of harder songs from the new LP and Z  that proded the crowd.

“Anytime” was definitely the highlight of the opening three or four songs because it was the first of the extended jams that would dot the night. MMJ would roar into these crazy rock jams throughout the night — as they always do — and really used them well to push the energy to a peak before bringing the crowd back down to earth.

The band rolled into a more tame section for nearly half a dozen songs touching on a number of the great mellow tunes from Evil Urges. The new album has grown on me quite a bit and its 70’s feel is incredible. Some sections of the album are Astral Weeks meets Champagne Jam and I love it. “Sec Walkin” is the epitome of this sound and it showed big time in the live setting. From here, the midsection of the show was nearly all older songs like, “What a Wonderful Man,” “Phone Went West” and “Mahgeetah.” Heavier stuff that was all well played and gave the crowd a good dose of classic MMJ. 

My Morning Jacket has these amazing transition songs in their catalogue that they use to either ease the crowd in or out of a typically high energy section of a show. “Gideon” is the king of these songs, the music is big and hard but Jim James’ ringing solos throughout the song keep it emotionally in touch. The song appeared after the string mentioned above and led into some slower songs perfectly. If I ever learn how to play something well on the guitar its gonna be that riff.

Three mellow tunes helped to wind the show down including a favorite of mine, “Smokin from Shootin.” The band finished the main set with the incredible “Touch Me I’m Going to Scream, Pt. 2″ complete with Jim James on the omnichord and let it ride out for a good while . This song has such a dark side and it was too fun to get into it live.

My Morning Jacket encored with a number of favorites and threw in “Highly Suspicious” for good fun. Personally the song “Golden” really wrapped up my trip out west, it served as an epilogue and for a number of reasons I was perfectly happy for those few moments. Check out the setlist from LA below and I’m sure everyone shares this sentiment when I say: get better quick Jim James, the music world isn’t right without My Morning Jacket on the scene.

Greek Theatre,  Los Angeles 09/21/08
1. Evil Urges
2. Touch Me I’m Going To Scream Pt.1
3. Off The Record
4. Anytime
5. I’m Amazed
6. The Way That He Sings
7. Two Halves
8. Thank You Too!
9. Sec Walkin
10. I Will Sing You Songs
11. What A Wonderful Man
12. Mahgeetah
13. Lay Low
14. Phone Went West
15. Gideon
16. Dondante
17. Librarian
18. Smokin From Shootin
19. Touch Me I’m Going To Scream Pt.2
———-
20. Golden
21. Wordless Chorus
22. Highly Suspicious
23. Run Thru
24. One Big Holiday

Here’s a couple tracks off the new EP, Endurance:
Oceans : “Tall and Bulletproof” (mp3)
Stream “The Nightingale” at Localtone Radio

We had the opportunity to chat with the band this week, talking about their new concept EP, how the band formed and how they fit into the Minneapolis music scene…

Who is Oceans?
We are a 5-piece band hailing from Minneapolis, With Rhea as lead vocalist, Paul Pederson for guitars, vocals and keys, Pauly Hansen for Bass, Mark Jacobson for drums and percussion, and then myself, Dave Raso for guitars and backing vocals.

How long have you been around? What’s your story?
Oceans was conceived by “mistake” almost. 3 Years ago, Dave was looking to put a U2 tribute band together and one guy responding to the ad was Eric which was also a guitarist. So Dave and Eric felt that they could work together on an all original project, instead of the U2 project. Eric then knew some people from the Area 52 musicians cooperative and Pauly Hansen (bass) and Chris Hagen (drums) were there from the beginning. It was a rough start for us and members started to leave, first Chris when he announced to leave the States for Panama and later that year Eric left as well.

To replace Eric and Chris we found later Paul Pederson (guitars, vocals, keys) and Mark Jacobson (drums) and we finally started to work on songs which ended up later on our EP “Endurance”. But the new year was as tough to go on as the previous one and due to differences with then singer Danny Melgarejo, everyone in the band left except for Dave. At that time we just moved in a new practice space and so it was hard for him to keep going except he convinced Paul and later Pauly and Mark to continue this journey and keep going with writing.

Six months later Oceans or what was called back then SH/VR found in Lorenzo Michelutti the new vocalist and main lyricist. Almost all the lyrics on “Endurance” are penned by Lorenzo. We had a few show with that line up, but right before we started with recordings for “Endurance” Lorenzo obtained the opportunity to front the well known local band Concentual and left the band. So we were again without a singer. In the mean time we moved like another 2 times our practice space….and we were in the brink of disbanding and let the project go…After several auditions and a short stint with Robert Powers it took us 8 months to find our current vocalist Rhea. So we resumed recordings and finished our EP 18 months later.

How would you classify your music?
We believe that our music is hard to classify, due to our influences such as Pink Floyd, U2, Muse, Coldplay…so it’s hard to say we are rock, alternative or progressive….but Paul likes to say we are Powerpop. But maybe a good fit would be melodic rock/pop.

How do you guys fit into the Minneapolis music scene?
With a shoe-horn! The Minneapolis Music scene is huge to say the least. There are lots of cover bands, and the hard-rock and metal community is pretty big as well. While what we are doing isn’t groundbreaking by any means, we feel that our sound is something that not many bands are doing currently. We draw our influences from a more classic-rock background (U2, Pink Floyd, Journey…etc) and we put a lot of thought and craft into the songs arrangements and structures. It’s not “bubble-gum” pop music by any means, but it has hooks and enjoyable melodies.

The people in the scene are all good people and always try to help each other even with bands that are starting right now. They try to put bills together and support each other with going to their shows. We mentioned Area 52, which is a musician cooperative in Northeast Minneapolis. This is a place where musicians come on each Friday night and jam together, network and socialize!

Endurance is a bit of a concept album, right?
Well, very loosely. It didn’t start out that way as a “goal”, but after looking at the song subjects, we picked a select bunch and saw they could carry some cohesive themes and ideas.

As we were working on “Endurance” we discovered that it would be eventually a concept EP, about “Mr. and Ms. Nightingale”’s disturbed and estranged relationship. The first track, “The looking Glass” is an instrumental intro to the second track, which represents the sunrise and the early morning of Mr.Nightingale, where he wakes up next to Alice, his wife…..The story continues on “The Other Side” where Nightingale looks into Alice ’s eyes as he wakes up and sees himself through a looking glass, with the meaning that he looks at himself through his wife’s eyes and all he wants is to look into the looking glass from the other side so he could see his wife again…… “Blueprint for Perfection” reveals the compulsive obsessive Nightingale, where he drives to work everyday, taking the same route, even though he passes many crossroads and dreams of taking one of those roads one day…..so he can just break through… “Tall and Bulletproof” tells about Nightingale’s confidence and arrogance at the same time. He thinks he’s the top of the office that nothing could take him down…

In “Heaven” Nightingale walks into a bar for happy hour, and the songs reminds him how good we have it here while we are kicking back and toasting to our friends, while our soldiers are fighting a war……..In “Blood from a Stone” Mr. and Ms. Nightingale decide to seek counseling and look to save their relationship……but they both give up…..the story ends with “The Nightingale” a self portrait of the man , who was letting himself go, night after night, falling asleep in front of the TV……knowing that he won’t wake up next to Alice ….because she’s long gone….but his schizophrenia allows him to see Alice through the looking glass on the other side.

Ever think of acting out the plot on-stage?
It’s not THAT epic of a story! We’re not The Who presenting “Tommy” by any means! But if there is a Film maker and a screenwriter we would sure working with them…HAHA!

I saw one of your songs made it to Australia. What was that and how did that happen?
Well the contact emerged through our Myspace site. Andrew has a Myspace site of his “3rd ear” weekly show on FM 97.9 in Melbourne Australia and he liked our music so much that he decided to play it on his radio show. So we were thrilled that he did it. We haven’t heard back since then but he was trying to get us outside of his show as well!

You guys have a couple of shows coming up. Tell me about them.
Well tonight we are playing our CD-Release party at O’Garas in St. Paul. We are so fortunate and thrilled to have the following supporting acts to celebrate with us: The Dregs, The New Monarchs, Owen Sartori and NemoJoe. After this show we are going to open for Stellar Vector and the Godddamn Gallows on October 25th at Club Underground.

What does the future hold for Oceans?
Well it took us 18 months to record and finish “Endurance”. Rhea is a brilliant songwriter and she wasn’t able to show that on our CD, because the songs were already written and mostly recorded. We started to work on new songs already and we finished two which we will play tonight as well. There are already several demos and bits that we already have worked on and we are looking forward to work on the follow up of Endurance. In the mean time we hope to play shows in the Cities and going out to Mankato, St.Cloud and Duluth.

Experience is invaluable toward the delicate craft of music. Despite some ingenious qualities, all artists have only a limited amount of entirely imaginative ideas with little to no personalized dimensions involved. Their personal lives encompass a degree of relevantly invigorating reflections – whether it is through their own experiences or those of their acquaintances – that uplift their music into something that is wholesomely personal, consequently making their material enthralling if other more musically-laden elements are successfully prevalent. Whether you look at legends like Bob Dylan chronicling the unlawful justices of historically documented racism in a track like “Hurricane” or Johnny Cash relaying the rite of passage from youth to adulthood on “Don’t Take Your Guns to Town”, the majority of the most venerable songwriters of this generation and past have used both events and experiences that they have personally related to in an effort to make their music much more than a catchy melody or a series of intricately impressive arrangements. They have created art that is both admirably thought-provoking and genuinely invigorating, aspects that many contemporary artists now take wisely to heart. While looking at her influences and admirable method of songwriting, it is quite evident that Jolie Holland values many of these aspects in a form that other modern artists push foolishly aside.

For her fourth studio album, Holland has taken on a thematic approach that will not seem bizarre at all to listeners of her previously acclaimed three albums. Ever since the release of her debut album, Catalpa, in 2003, listeners have been treated to her perspective viewpoints on the present and past, a constantly reoccurring theme among her albums and the songs within them. As one of the founders of The Be Good Tanyas, Holland found her ambitions to be too individualistically expansive for a group atmosphere, departing from the group in 2001 after contributing to the release of their first album, Blue Horse. After a move back to San Francisco, she began smoothing out her pre-written songs and put them in demo form. The demos exhibited a remarkable fusion of folk, blues, and country, with tinges of the latter showing Holland’s original Texas roots in stylishly memorable form. It was even enough to grab the attention of Tom Waits, the legendary songwriter whose selfless qualities have always seen him swoop up unrecognizable songwriters into a deservedly influential spotlight based on his name alone. He even went as far to nominate Catalpa, her released collection of demos, for the Short List Music Prize. It did not make the final cut, but gave her plenty of recognition to garner a substantial fan base and begin work on her second album, Escondida.

Translating to “hidden” in Spanish, the titling of Escondida was somewhat ironic in the sense that it uncovered Holland to an even broader audience with her first batch of new material designed specifically for one album. It was received just as well as her debut, displaying a variety of classic American genres with her accustomed forms of folk and country now being integrated with a sharp jazzy demeanor. In addition to playing a handful of instruments on the album herself, she was also credited with production credits in addition to lead vocals, guitar, piano, and ukulele. The album was a somewhat lighter experience than Catalpa without sacrificing the brooding imagery and eclectic thematic grasp, resulting in an album that was just as strong as the first. Her third album, the bleakly titled Springtime Can Kill You, saw the most widespread acclaim yet with Holland once again taking the helms as producer in addition to lead songwriter. The style was a continuation, but many felt that the batch of songs that Holland put out were the most captivating of her new but exciting career. French horns, glockenspiels, tubas, accordions, and Hawaiian guitars were only a few of the instruments that accompanied Holland’s impressive stylistic accompaniment. From the progressively jazzy demeanor of the title track to free-flowing country tracks like “Moonshiner” and “Ghostly Girl”, the album was a winner in all formats.

To keep up with her constant discography, Holland released her fourth studio album, The Living and the Dead, on October 7th through Anti Records, the label that has released all four of her albums. Now featuring a few familiar names like M. Ward and Marc Ribot on guitar, Holland resumes her role as producer (alongside Shahzad Ismaily) and lead songwriter on ten tracks that again define why her simultaneous grasp of several American music genres is hard to compare amongst contemporary songwriters. It is highly prevalent even on the opening “Mexico City” that her talents as a vocalist should not go overlooked either, as they are responsible here for a variety of emotionally credited hooks that sees her extensive vocal range quiver and somberly reflect upon the loneliness of life’s travails as she concludes resoundingly by repeating the album’s title, “the living and the dead”. It is all part of the album’s theme, one that opts to successfully display the emotional embodiments of the past and present. Like songwriters in the vein of Tom Waits, one of the individuals responsible for bringing the talented Holland to light, she is able to create characters and scenarios that effectively portray her thematic intentions and genuinely foretold experiences effectively.

“Only a few old petals left on the rose that touched your hand,” she sings on the ceaselessly expanding guitar-led fervor of “Palmyra”. “My little heart is a graveyard; it’s a no man’s land.” Frustration, regret, and moving on are all highlighted in this outstanding effort, proving to be yet another great example of Holland’s talents as a lyricist and songwriter. Other highlights include a sparsely enjoyable cover of “Love Henry” with subtle electronic elements and the exotically enthralling thump of the rhythmically led “Fox in Its Hole”. As for the majority of The Living and the Dead, I found it to be her best release yet. Considering that she seems to be getting better with each successive release, it should only be a matter of time before she becomes a brand name in a genre that will never be quite singularly definable.

——————————————————————————————

Jolie Holland - Mexico City

Download audio file (jholl-mex.mp3)

——————————————————————————————

Jolie Holland - Palmyra

Download audio file (jholl-pal.mp3)

——————————————————————————————

Jolie Holland - Fox in Its Hole

Download audio file (jholl-fox.mp3)

——————————————————————————————

Official Web Site

MySpace

BUY

November 1964 American Folk Blues tour concert featured musicians Sunnyland Slim, Hubert Sumlin, Willie Dixon and Clifton James

NEW YORK, N.Y. — In the pantheon of blues, Howlin’ Wolf was in a category of his own. At 6’3” and 275 pounds, he had a voice that resonated with menace — not every bluesman could make a song like “I Asked Her for Water (She Brought Me Gasoline)” convincing. The Blues Foundation Hall of Fame and Rock ‘n’ Roll Hall of Fame inductee made several classic recordings for the Sun, RPM, Crown and Chess labels in the ‘50s and ‘60s. The soon-to-be-released Rockin’ the Blues: Live in Germany 1964, due out in the U.S. on November 11 on the Acrobat Music label, captures the Wolf in his prime, when he was surrounded by a dream team of Chicago blues all-stars: long-time guitarist Hubert Sumlin; songwriter/producer Willie Dixon on bass; Sunnyland Slim, piano; and Clifton James, drums.
 
Howlin’ Wolf was renowned for his ability to rock the house down, and this November 6, 1964 Bremen, Germany concert recording confirms that with a mixture of self-penned songs, Willie Dixon compositions and covers: “Shake It for Me,” “Love Me,” “I Didn’t Mean To Hurt Your Feelings,” “Rockin’ the Blues,” “All My Life,” “Howlin’ for My Darling,” “Forty Four, ” St. Louis Jimmy’s “Going Down Slow” and Elmore James’ “Dust My Broom.”
 
Howlin’ Wolf, born in West Point, Miss., and named Chester Arthur Burnett after the 21st president of the U.S., followed in his father’s footsteps, becoming a farmer, but a chance meeting with Delta blues patriarch Charley Patton changed this. Wolf’s inimitable voice and entertaining prowess were inspired by Patton, and his rhythmic style on harmonica was influenced by Rice (Sonny Boy Williamson) Miller. Sam Phillips of Sun Records was the first to record Howlin’ Wolf and leased the tracks to the Bihari brothers in Los Angeles, who released them on RPM and Crown, and to the Chess brothers in Chicago, where he achieved stardom. Despite hits on the R&B charts, it was not until Wolf combined with Chess staff writer Willie Dixon (featured on this live recording) that record sales began to blossom.
 
The Rolling Stones reached No. 1 with their cover of Howlin’ Wolf’s “Little Red Rooster,” and they showed additional respect when they insisted he appear on the music TV show “Shindig,” where he proceeded to mystify and possibly frighten a generation of American teenagers. Interest in his music spread throughout Europe, and in October/November, 1964, Wolf joined fellow artists Sonny Boy Williamson, Lightnin’ Hopkins and Sugar Pie DeSanto on the third American Folk Blues Festival tour. It was there that he made the recordings that constitute Acrobat Music’s Rockin’ The Blues: Live in Germany, 1964.
 
As guitarist Sumlin, the lone survivor from these sessions, recalls of his European reception, “The people, they knew Wolf. I think that this guy put his heart out over there, I know he did.”

Howlin’ Wolf’s renown in the rock community grew in the later ‘60s and early ‘70s. But as the ‘70s progressed, Wolf became increasingly ill. He died in Chicago on January 10, 1976. A life-size statute was erected in Chicago and a child education center in Chicago was named in his honor. His face even appeared on a U.S. postage stamp.
 
The audience in Bremen, Germany got to see some of that Howlin’ Wolf power up close. Forty-four years later, he performance will be made available to American music consumers on November 11th. One thing’s for sure: They don’t make ‘em like Howlin’ Wolf no more.

Acrobat is a UK-based record label specializing in collectors’ and reissue CDs across just about every genre of music. In 2007, Acrobat Music Group purchased the Kruger Organisation catalog, a library of more than 22,000 original tracks by Frank Sinatra, Miles Davis, Billie Holiday and Nina Simone, among scores of others. Launching its U.S. label out of New York this October 21, Acrobat will establish its presence as a premier independent reissue label in the U.S. through its distribution with TVT Distribution.

The U.S. label debut features 15 reissues that offer high quality, historical significance and excellent value. The first set of releases includes jazz/big band, blues, country, R&B, doo-wop and rock. All the Premier Collection titles are showcased in “deluxe packaging,” with o-cards, extensive liner notes and either a large number of tracks or lengthy play time.