death has come to your little town, sheriff.
Photographer: Barry Plummer
From Queen: A Visual Documentary by Ken Dean, 1986.
Groovy Eyeglasses + Sunglasses
From the November, 1970 issue Co-Ed Magazine
Robert Redford in ‘All The President’s Men’, 1976.
“At the height of laughter, the universe is flung into a kaleidoscope of new possibilities.”
Natalie Wood photographed by Michael Childers, 1970s.
Cherie Currie photographed by Chris Stein in Boston c. 1977.
getty images, tenor.com, pinterest, listal.com
Lee Quiñones, Demons Play, Lower East Side, New York, 1979.
Une histoire d'Emil et Joaquin - Anne-Marie Lallement - 1973 - France
Little Joe Blue is one of blues’ lesser known entities, but he was a gifted musician who was able to find a modicum of success when he moved from Detroit to L.A. His biggest problem was B. B. King. LJB was often chided as a clone of King and that caused some people to write him off entirely, but his harshest critics seemed to be missing a crucial point: if you can make music that sounds like B. B. King, you’re definitely good at the blues. The Handbook of Texas Online lays it out best:
He is often unfairly described as a B. B. King imitator, but his records show a fine singer who was always able to find good songs to record. He never found it necessary to compromise his basic style to win a wider audience, and as a result his work has an integrity that more popular bluesmen have sometimes lost.
Although LJB made his official debut in 1963, it wouldn’t be until 1972 that he’d finally release his first full-length album. Titled Southern Country Boy and released on Shreveport, Louisiana’s Jewel Records, the debut LP showed Joe introducing himself to many by going back to his roots. See, even though he had migrated from Detroit to L.A. in order to make a name for himself, Little Joe Blue was never actually a Motor City or City of Angels guy; he was merely a product of Vicksburg, Mississippi and was just a man who appeared to be perpetually far away from his home. Joe wanted it to be known that no matter where he was physically, he was always a southern country boy at heart.
But in the year prior to his debut album, LJB released a pair of singles, and three of the four songs on those singles would make it onto Southern Country Boy. The b-side off of the second single, “Gonna Walk On,” played as Southern Country Boy’s blazing finale. And when the album was later released on the Japanese label P-Vine, the song was actually chosen to open up the album instead.
It’s very difficult to determine which skill it was that Little Joe Blue possessed more of a gift for: vocals or guitar. And a song like this is not going to help you at all in making that decision. People called him ingenuine because he sounded a lot like B. B. King, but I can’t sense any inauthenticity from this song that would lead me to think that Little Joe Blue was only in the game to make some scratch off of a King imitation. LJB really sounds like he’s bearing his soul on this record, as he always did, and if he was faking it, then he was excellent at that, too. But I doubt he was. He just sounds so free on here, from his improvised guitar phrases to his singing that wanders off-beat. Dig his totally uninhibited vocal yowl in the final leg.
Anyone who rejected this dude for being derivative of B. B. King is a dang fool. Little Joe Blue’s skills as both a blues vocalist and guitarist were incredible. He made blues that were head and shoulders above much of whatever else was coming out at the time. He deserves gobs of recognition based on that alone.
What a talent.
Greyhound Computer Corporation (1979)