Page 82 - Blues Festival Guide Magazine 2012

Living Legend:

Bobby “Blue”

Bland

Bobby Bland with son
The squall and a legendary sermon Photo by Marilyn Stringer
Roderick on drums

by billy c. Wirtz Like most black Americans, Bobby Bland was a fan of the
Robert Calvin Bland was born January 27, 1930, in the Rev. C. L Franklin. Franklin was one of America’s most famous
town of Rosemark, Tennessee and in 1948 his family moved to and influential black preachers (as well as Aretha Franklin’s
Memphis. His first recording, “Dry Up,” was made for Modern father). He pastored the New Bethel Temple in Detroit from
Records and he continued working with an ad hoc group of other 1944 to 1986. In 1956 he began to broadcast his sermons over
musicians know as the Beale St. Boys (including B.B. King, Roscoe 50,000 Watt WLAC from Nashville, at 10pm on Sunday nights.
Gordon and Johnny Ace), until Uncle Sam called in 1952. Upon Chess Records recorded these sermons and they made Franklin
his release from the Army in 1954, Bland began recording for a national star. His most famous one, “The Eagle Stirreth Her
Don Robeys’ Duke Records. His first national hit, “It’s My Life, Nest,” sold over a million copies. Near the end of this thundering
Baby,” came in 1955, and began a string of hits that would last sermon, Franklin breaks into a gargle, or as some describe it,
until the mid-60s. “a squall.” This distinctive guttural sound raised the intensity
Bland’s success came as a result of his distinctive vocal style, of the already emotionally charged sermon and brought the
the stunning arrangements of his bandleader Joe Scott and the congregation to the edge of hysteria.
jazz-influenced solos of his guitarist, Wayne Bennett. Scott, When Bland lost his high notes, he realized the need to find a
recognizing Bland’s gospel roots, voiced the horn arrangements new voice; a voice that could still convey passion and feeling, but
to resemble church choirs. Bennett was the master at building that would not further damage his voice. In numerous interviews,
dramatic solos based around changes in meter, leaving spaces
and adding distinctive figures (“Further On Up the Road”) that
made songs instantly recognizable.
Although Bland produced a seemingly unending stream of
classics during this period, his songs were so steeped in gospel
and lowdown blues, they never crossed-over to the white pop
charts. As a result, he was forced to play the unending grind
of the one-nighters on the Chittlin’ circuit, with occasional week-
long stands at The Howard, The Apollo and the other northern
theaters; criss-crossing the country in the band bus, often driving
500 miles between gigs. This grueling lifestyle eventually took its
toll. At the height of his popularity he developed throat polyps,
effectively destroying his higher vocal register. Bobby “Blue” Bland still mesmerizes Photo by Irene Weaver

82 Blues Festival Guide 2012