Bobby Bland

2.1. Birth and Childhood

Bland was born Robert Calvin Brooks on January 27, 1930, in the small town of Barretville, Tennessee. His father, I. J. Brooks, left the family shortly after Robert's birth. He later adopted the surname "Bland" from his stepfather, Leroy Bridgeforth, who was also known as Leroy Bland. Robert's formal education was limited, as he dropped out of school in the third grade to work in the cotton fields, never completing his schooling.

2.2. Musical Influences and Early Associations

In 1947, Bland moved with his mother to Memphis, Tennessee, a city vibrant with musical innovation. There, he began his musical journey by singing with local gospel groups, including one known as the Miniatures. Eager to expand his musical horizons, Bland became a regular presence on Memphis's renowned Beale Street. This frequented locale led him to associate with a collective of aspiring musicians who would later become prominent figures in the blues genre. This group, informally known as the Beale Streeters, included future legends such as B.B. King, Rosco Gordon, Junior Parker, and Johnny Ace. Bland's unique vocal style was profoundly influenced by the sermons of Detroit preacher C.L. Franklin, whose delivery he studied, and by the sophisticated vocal artistry of Nat King Cole.

3.1. Early Career and The Beale Streeters

Bland's professional recording career began in 1951 when talent scout Ike Turner recorded him for Modern Records at Tuff Green's residence in Memphis. As Bland was illiterate, he initially recorded the only song he knew, "They Call It Stormy Monday". Although this particular recording was not released at the time, Bland would later record a hit version of the song in 1961. Ike Turner provided piano accompaniment for Bland's first two records, which were released under the name Robert Bland. Between 1951 and 1952, Bland continued to record singles for Modern and Sun Records, with some of the latter being licensed to Chess Records. These early releases, however, did not achieve commercial success. Bland's progress was interrupted for two years when he served in the U.S. Army, during which he performed in a band alongside singer Eddie Fisher.

Upon his return to Memphis in 1954, Bland found that several of his former associates, including Johnny Ace, had achieved considerable success. He joined Ace's revue and subsequently re-signed with Duke Records, which was then under the management of Houston entrepreneur Don Robey. According to his biographer Charles Farley, Robey presented Bland with a new contract that Bland, being unable to read, signed with assistance. This contract stipulated that Bland would receive only half a cent per record sold, a stark contrast to the industry standard of two cents. Bland released his first single for Duke in 1955. In 1956, he began touring the Chitlin' Circuit with Junior Parker as part of a revue called Blues Consolidated, initially serving as Parker's valet and driver. During his time with Duke, Bland began recording with bandleader Bill Harvey and arranger Joe Scott. This collaboration was crucial in asserting Bland's characteristic vocal style and in developing the melodic, big-band blues singles that would define his fame. He was often accompanied by guitarist Wayne Bennett. Unlike many blues musicians, Bland did not play any instruments, focusing solely on his vocal performance throughout his career from the early 1950s into the 2000s.

3.2. Duke Records Era and Breakthrough Success

Bobby "Blue" Bland's first significant chart success came in 1957 with "Farther Up the Road", which soared to number 1 on the R&B chart and reached number 43 on the Billboard Hot 100. This breakthrough was followed by a consistent string of hits on the R&B chart, including "Little Boy Blue" in 1958. In the same year, he also recorded the album Blues Consolidated with Junior Parker.

The early 1960s marked a golden period for Bland's artistry, as evidenced by a series of critically acclaimed releases such as "Cry Cry Cry", "I Pity the Fool", which topped the R&B chart in 1961, and "Turn On Your Love Light", a song that would become a widely covered standard. While Don Robey often claimed songwriting credits, many of these classic compositions were, in fact, written by his arranger, Joe Scott. Bland also recorded a popular rendition of T-Bone Walker's "Call It Stormy Monday (But Tuesday Is Just as Bad)", though it was erroneously titled "Stormy Monday Blues". His final record to reach number 1 on the R&B chart was "That's the Way Love Is" in 1963.

3.3. Musical Style and Vocal Technique

Bobby "Blue" Bland's musical style was a unique and influential fusion of gospel music and the blues, distinguishing him within the genre. His vocal delivery was highly distinctive, often described as a "spitting" or "shouting" technique, sometimes characterized as a "phlegm-spitting-like singing method" in its raw power and emotional intensity. Bland approached music primarily as a vocalist, setting him apart from many blues musicians who were also instrumentalists; he played no instrument himself. His performances were known for their dramatic orchestrations, creating "tempestuous arias of love, betrayal and resignation" that left listeners deeply moved.

3.4. Commercial Success and Chart Performance

Throughout the mid-1960s, Bobby "Blue" Bland continued to produce a consistent stream of entries on the R&B chart. Despite his significant success in the R&B market, he found it challenging to achieve widespread crossover appeal in the mainstream pop market. His highest-charting song on the pop chart, "Ain't Nothing You Can Do", peaked at number 20 in 1964, notably in the same week that The Beatles dominated the top five spots. Bland's recordings primarily found their audience within the R&B market, rather than achieving broad pop success. Over his career, he accumulated 23 top ten hits on the Billboard R&B chart. In Joel Whitburn's book Top R&B/Hip-Hop Singles: 1942-1995, Bland was ranked as the 13th all-time top-charting artist, underscoring his substantial and enduring commercial impact within the rhythm and blues genre.

3.5. Later Career and Label Transitions

By 1968, financial pressures led Bobby "Blue" Bland to reduce the size of his touring band, ultimately resulting in the group's dissolution. During this period, he grappled with depression and an increasing reliance on alcohol, but he successfully stopped drinking in 1971. His record label, Duke Records, was subsequently acquired by the larger ABC Records group. This transition ushered in a new phase of his career, yielding several successful and critically acclaimed contemporary blues and soul albums, including His California Album and Dreamer. These albums, along with the later 1977 release Reflections in Blue, were recorded in Los Angeles and featured many of the city's top session musicians of the era, with arrangements by Michael Omartian and production by ABC staffer Steve Barri.

The lead single from His California Album, "This Time I'm Gone for Good", marked Bland's return to the pop Top 50 for the first time since 1964 and reached the R&B top 10 in late 1973. The opening track from Dreamer, "Ain't No Love in the Heart of the City", became a significant R&B hit. This song gained further recognition when a version was released in 1978 by the hard-rock band Whitesnake, featuring singer David Coverdale. Much later, Kanye West famously sampled it on Jay-Z's hip-hop album The Blueprint (2001). The song also appeared on the soundtrack of the 2011 crime drama film The Lincoln Lawyer, starring Matthew McConaughey. The follow-up single, "I Wouldn't Treat a Dog", became his biggest R&B hit in several years, climbing to number 3 in late 1974, though it only reached number 88 on the pop charts. Subsequent attempts to incorporate a disco sound into his music were largely unsuccessful. In 1980, Bland returned to his roots with Sweet Vibrations, a tribute album to his mentor Joe Scott, produced by veterans Monk Higgins and Al Bell. However, this album struggled to sell well outside of his traditional "chitlin circuit" fan base.

In 1985, Bland signed with Malaco Records, a label specializing in traditional Southern Black music. This move allowed him to continue making albums and performing concerts, often alongside B.B. King. While many blues artists in the late 1970s and throughout the 1980s were increasingly performing for white audiences, Bland expressed a desire to continue performing for African American audiences, believing that signing with Malaco Records would facilitate this. His album Members Only on Malaco reached number 45 on Billboard's R&B albums chart in 1985, and its title song peaked at number 54 for R&B singles, becoming Bland's signature song for the remainder of his career. Despite occasional age-related health issues, Bland continued to record new albums for Malaco and perform occasional tours both solo, with guitarist and producer Angelo Earl, and with B.B. King, appearing at blues and soul festivals worldwide.

3.6. Collaborations and Tributes

Bobby "Blue" Bland engaged in notable collaborations and received significant tributes throughout his career. He frequently collaborated with B.B. King, with whom he released two albums in the 1970s and continued to tour extensively.

The Irish singer-songwriter Van Morrison was an early admirer of Bland's work. Morrison's band Them covered "Turn On Your Love Light", and Morrison later covered "Ain't Nothing You Can Do" on his 1974 live album It's Too Late to Stop Now. Bland was also an occasional guest singer at Morrison's concerts. In 2007, Morrison's compilation album, The Best of Van Morrison Volume 3, included a previously unreleased duet of Morrison and Bland performing "Tupelo Honey" from March 2000.

In 2008, the British singer Mick Hucknall, lead vocalist of Simply Red, released the album Tribute to Bobby, which featured songs associated with Bland. The album achieved commercial success, reaching number 18 on the UK Albums Chart.

3.7. International Performances

Bobby "Blue" Bland's musical reach extended internationally, with notable performances in Japan. He toured Japan in 1978, 1988, and again in 1998, often in a double bill with Clarence "Gatemouth" Brown on his first visit.

7.1. Major Inductions and Awards

Bland was honored with several prestigious inductions and awards:

• Blues Hall of Fame - inducted 1981
• Rhythm and Blues Pioneer Award - 1992
• Rock and Roll Hall of Fame - inducted 1992
• Grammy Lifetime Achievement Award - 1997
• Rhythm & Blues Foundation Lifetime Achievement Award - 1998
• Memphis Music Hall of Fame - inducted 2012
• National Rhythm & Blues Hall of Fame - inducted 2021

7.2. Grammy Hall of Fame

In addition to his Lifetime Achievement Award, one of Bobby "Blue" Bland's most iconic songs was recognized for its historical significance:

• "Turn On Your Love Light" (1999)

8.1. Studio Albums

8.2. Live Albums

8.3. Compilation Albums

• The Best of Bobby Bland, 1967 (Duke)
• The Best of Bobby Bland, vol. 2, 1968 (Duke)
• Blues Consolidated, 1958 (Duke) (with Junior Parker)
• First Class Blues, 1987 (Malaco)
• The "3B" Blues Boy: The Blues Years 1952-1959, 1991 (Ace)
• I Pity the Fool: The Duke Recordings, vol. 1, 1992 (MCA)
• Turn on Your Love Light: The Duke Recordings, vol. 2, 1994 (MCA)
• That Did It!: The Duke Recordings, vol. 3, 1996 (MCA)
• Greatest Hits, Vol. 1: The Duke Recordings, 1998 (MCA, Duke/Peacock)
• Greatest Hits, Vol. 2: The ABC-Dunhill/MCA Recordings, 1998 (MCA)
• The Anthology, 2001 (MCA)
• Unmatched: The Very Best of Bobby Bland, 2011 (Malaco)
• Angel in Anguish: The Deep, Deep Soul of Bobby Blue Bland, 2013 (Fingertips)

8.4. Singles