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      Red Paden, Juke Joint ‘King’ Who Kept the Blues Alive, Dies at 67

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      His unassuming Mississippi Delta nightspot is one of the last of its kind, giving blues musicians a welcoming venue and lately drawing visitors from around the world.Red Paden, who as the self-proclaimed “king of the juke joint runners” spent four decades as the owner of Red’s, an unassuming music spot in downtown Clarksdale, Miss., and one of the last places in the United States to offer authentic Delta blues in its natural setting, died on Dec. 30. He was 67.His son, Orlando, said the death, in a hospital in Jackson, Miss., was from complications of heart surgery.Juke joints, once commonplace across the Deep South, were the loam out of which blues music grew, a vast network of shacks, old shops and converted homes where traveling musicians would play a night for a share of the cover charge, then move on to the next gig.Red’s is the quintessential example: low-ceilinged and the size of a large garage, decorated with old music posters and lighted with neon signs and string bulbs (red, of course).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      The Best Songs Our Readers Discovered in 2023

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      Songs by Labi Siffre, Bessie Banks, the Brat and more that became invested with fresh meaning.A Liz Phair song offered some unexpected parenting advice to one Amplifier reader.Ryan Pfluger for The New York Times Dear listeners,A few weeks ago, I asked readers to share the best older song they discovered — or rediscovered — in 2023. As usual, the Amplifier community did not disappoint.Today’s playlist is a compilation of some of the best submissions along with your (condensed and edited) explanations of why these songs resonated so deeply. The track list is an eclectic mix, featuring rock, soul, jazz, hip-hop, folk, punk and just about everything in between. Quite a few of you introduced me to artists I’d never heard before, like the British singer-songwriter Labi Siffre, the Los Angeles punk band the Brat and the underrated North Carolina-born soul singer Bessie Banks. I’ll definitely be seeking out more music from all of them.I was especially struck by the stories about rediscovered songs. Sometimes a piece of music we’ve known for decades (or, in the case of one reader’s story about a Rosemary Clooney song, about as long as we can remember) boomerangs back into our lives with poetic and fortuitous timing. A classic Chiffons hit becomes an anthem for a freshly resumed relationship; a wry Liz Phair song becomes more earnest in the light of new parenthood. Some of these narratives are fun and playful, while others are powerful reminders of the ways that music can buoy us through our darkest times.Thanks to every one of you who submitted a song and a story. I wish I could have included hundreds of them, but I settled on these 13. Also, on a personal note, reading through them all provided a welcome distraction this week. Remember in Tuesday’s newsletter when I mentioned I was coming down with a cold? That “cold,” I learned shortly afterward, turned out to be Covid. So once again, like the earliest days of the pandemic, I spent my week in isolation — but at least I had all your submissions to keep me company.I hope today’s playlist helps you kick off 2024 right. Here’s to another year of music discovery!Listen along on Spotify while you read.1. Badfinger: “No Matter What”While wandering the aisles in a supermarket this year, I heard this song and launched a mini investigation into why it had such a Beatle-esque sound (answer: recorded at Abbey Road and released on Apple Records). Recently, I was pleased to hear it included in Alexander Payne’s movie “The Holdovers.” The harmonies and hooks really evoke the ’70s for me, just like that film’s nostalgic rhythms and interiors. — Cathy Boeckmann, San Francisco (Listen on YouTube)2. Bessie Banks: “Go Now”When I read that Denny Laine of the Moody Blues died, I immediately thought of his greatest hit, “Go Now.” When I went online, I found out that an American woman, Bessie Banks, recorded it first. It’s fantastic — no disrespect to Mr. Laine, but it is tremendous. Should have been a hit. — Finn Kelly, Long Beach, Calif. (Listen on YouTube)3. Labi Siffre: “Crying, Laughing, Loving, Lying”It seems like a perfect encapsulation of the roller coaster that was 2023, pushing through a rainbow of emotions and holding close what matters most. It’s also just an excellent song from an artist that too few people know. — Jeremy Kotin, Milan, N.Y. (Listen on YouTube)4. John Prine: “Souvenirs”At 69, I am starting to think more about mortality and memories. This song evokes both. It also evokes the memory of Steve Goodman, one of my favorites, who recorded it with Prine. — Dennis Walsh, Media, Pa. (Listen on YouTube)5. The Chiffons: “One Fine Day”This song, written by Gerry Goffin and Carole King, resonated this year because a former girlfriend and I got together after being apart for many years, and we are now so happy! — Nick Lange, Cambridge, Mass. (Listen on YouTube)6. Liz Phair: “Whip-Smart”My wife and I had our second child this year, our first boy. I am constantly thinking about how to raise both of my kids in this world and then I rediscovered this song, which flips the script on centuries of raising macho, stiff-upper-lip boys. — Ryan Humphries, Millersville, Pa. (Listen on YouTube)7. Big Maybelle: “My Country Man”This song swings so hard and has an appreciation for proper farming technique. It is a welcome burst of elemental pleasure in a year with a lot of bleakness. No one can remain motionless with this on. — Brent Bliven, Austin (Listen on YouTube)8. Billy Bragg: “A New England”I like the lyric “I loved the words you wrote to me, but that was bloody yesterday/I can’t survive on what you send every time you need a friend.” It’s a short, cut-to-the-quick tune that I didn’t immediately take to, but now I’m always in the mood for it. — Kimberly Melinda Hogarty, Tucson, Ariz. (Listen on YouTube)9. The Brat: “The Wolf (and the Lamb)”The Brat were a Chicano punk band from Los Angeles that emerged in the early ’80s. As a fan of ’80s indie rock, I thought I knew all of the bands from that era, but this year I was astonished to hear this urgent, ferocious song for the first time. Had the Brat come around later, they likely would have been much bigger, but the music industry in 1980 was unwilling to accept a Chicano punk band with a female lead singer. Hearing this song, and this band, is a reminder of all that we’ve lost through the years when we ignore artists outside the mainstream. — Kelly Mullins, Seattle (Listen on YouTube)10. Grandmaster Flash and the Furious Five: “Superrappin’”It’s such an influential track that has been name-checked, sampled and quoted by so many artists, yet I’d never heard it until hip-hop turned 50 this year. I think it does a great job of capturing the vibe of what I imagine hip-hop was like its first decade. It’s hype, it’s a party track, and when I listen to the song I can see Flash and the crew performing it live at a rec room party in the Bronx. — Jack Kershaw, New York City (Listen on YouTube)11. Doris Troy: “What’cha Gonna Do About It”Doris Troy was part of the original lineup of the greatest ensemble I had never heard of, the Sweet Inspirations, whose members included Cissy Houston (Whitney’s mother) and her nieces Dee Dee and Dionne Warwick. There’s something about the staccato piano combined with Troy’s elongated “I love you”s that reassures me that love isn’t fireworks — it’s the world they illuminate as they ascend and break up the darkness. — John Semlitsch, Austin (Listen on YouTube)12. Nina Simone: “Blues for Mama (Live at the Newport Jazz Festival)”This year has been a lot. War, rockets, drones: All that I could hear and see in Kyiv as a civilian resident. One might be amazed at how people can adjust. This is a song I discovered when I was riding my bike to the hospital in Kyiv where I work. It was a morning after some powerful explosions overnight. But there was also sunlight and spring, and the tune playing in my headphones, forcing me to smile. — Nazar, Kyiv, Ukraine (Listen on YouTube)13. Rosemary Clooney: “Count Your Blessings Instead of Sheep”A young woman I know recently posted a photo of herself and her newborn baby girl on Instagram with Rosemary Clooney’s rendition of this Irving Berlin song in the background. When my mother passed away and I was only 4 years old, her older sister, my aunt Edie, sang this song to me often as she tucked me in for the night. It’s a bittersweet memory, but now, 71 years later, it still reminds me of how fortunate I am to have had so much love in my life. — Norman Reisman, New York City (Listen on YouTube)When they do the double Dutch, that’s them dancing,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“The Best Songs Our Readers Discovered in 2023” track listTrack 1: Badfinger, “No Matter What”Track 2: Bessie Banks, “Go Now”Track 3: Labi Siffre, “Crying, Laughing, Loving, Lying”Track 4: John Prine, “Souvenirs”Track 5: The Chiffons, “One Fine Day”Track 6: Liz Phair, “Whip-Smart”Track 7: Big Maybelle, “My Country Man”Track 8: Billy Bragg, “A New England”Track 9: The Brat, “The Wolf (and the Lamb)”Track 10: Grandmaster Flash and the Furious Five, “Superrappin’”Track 11: Doris Troy, “What’cha Gonna Do About It”Track 12: Nina Simone, “Blues for Mama (Live at the Newport Jazz Festival)”Track 13: Rosemary Clooney, “Count Your Blessings Instead of Sheep”Bonus TracksWant to get an absurdly early head start on your Best Songs of 2024 list? Jon Pareles and I have compiled our first Friday Playlist of the year, featuring some notable new tracks from Béla Fleck, A.G. Cook, Mary Timony and more. More

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      12 Key Music Collections, From Future to the Who

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      Whitney Houston’s gospel music, Future’s prolific mixtape run, a chunk of Joni Mitchell’s archives and a soundtrack of Brooklyn’s early discos arrived in new packages this year.Artists were eager to revisit the past in 2023 — some tweaking recent albums (like Taylor Swift), others revisiting long-dormant work in the vaults (like the two surviving Beatles). Boxed sets and reissue collections serve a different purpose, helping put catalogs and musicians into context, and bringing fresh revelations to light. Here are a dozen of the best our critics encountered this year.Julee Cruise, ‘Floating Into the Night’(Sacred Bones; one LP, $22)The absorbing, unconventional debut album from the deep-exhale vocalist Julee Cruise, who died in 2022, was produced by Angelo Badalamenti and David Lynch; the three had previously collaborated on music for Lynch’s 1986 alt-noir film “Blue Velvet.” This batch of songs, released in 1989, plays as an extension of that fun-house mirror, lightly terrifying universe, with twisted 1950s melodies meeting destabilizing, plangent guitars meeting Dali-esque shimmers. “Falling” became the theme song for “Twin Peaks” in instrumental form, but its full vocal version is the essential one. Songs like that, “The Nightingale” and “Into the Night” feel, even now, sui generis — not exactly dream-pop or new age, but something utterly amniotic. And lightly harrowing, too. JON CARAMANICADeYarmond Edison, ‘Epoch’(Jagjaguwar; five LPs, four CDs, 120-page book, $130)Anna Powell Denton/JagjaguwarBon Iver didn’t come out of nowhere. Before he started that project, Justin Vernon was in DeYarmond Edison, a pensive, folky but exploratory band that made two albums before splitting up; other members formed Megafaun. DeYarmond Edison — Vernon’s middle names — delved into folk, rock, Minimalism and bluegrass, learning traditional songs but also experimenting with phase patterns. It made two studio albums and left behind other songs, including “Epoch.” This extensively annotated boxed set includes songs from Mount Vernon, DeYarmond Edison’s jammy predecessor, along with DeYarmond Edison’s full second studio album (though only part of its first), unreleased demos, intimate concerts, collaborations outside the band and Vernon’s 2006 solo recordings. It’s a chronicle that opens up the sources of a style getting forged. JON PARELESWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Why Nina Simone Was Always Ahead of Her Time

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      A recently unearthed live version of “Blues for Mama,” written by Simone and Abbey Lincoln in the 1960s, took on domestic abuse in a momentous way.Nina Simone was always ahead of her time. And in the mid-1960s she found a fellow musical innovator and ideal feminist collaborator in the jazz vocalist Abbey Lincoln, whom she teamed up with to write the song “Blues for Mama.” When Simone performed it at the Newport Jazz Festival in 1966, she introduced it as “a gutbucket blues.”“It will appeal to a certain type of woman,” she said, “who has had this kind of experience.”That experience was domestic violence, a trauma that the titular Mama endured and that others blamed her for causing. “They say you’re mean and evil/Don’t know what to do,” Simone sang. “And that’s the reason that he’s gone/And left you black-and-blue.”I’ve been intrigued by “Blues for Mama” since I first heard it on Simone’s 1967 album “Nina Simone Sings the Blues.” And now, thanks to Verve Records’ recent issue of the previously unreleased recording of her Newport performance — packaged as the album “You’ve Got to Learn” — we have an even earlier version of the song out in the world.“Blues for Mama” signified a new moment. Rather than accept the abuse and the negative rumors, Nina tells Mama to set the record straight: “It wasn’t you that caused his bitter fate.”The track appears at the album’s midpoint, before the politically trenchant “Mississippi Goddam,” a song Simone wrote in response to two tragedies in 1963: the assassination of the civil rights activist Medgar Evers in Mississippi and the murder of four African American girls in a church bombing in Birmingham, Ala.Her fans are likely to have appreciated “Blues for Mama” as further proof of her musical dexterity and ability to seamlessly move across genres. And it stands out as one of few songs from the era to explicitly take on gender-based violence, actively refusing to blame the victim. “They say you love to fuss and fight/And bring a good man down,” Simone narrated. “And don’t know how to treat him/When he takes you on the town.”At the time, Lincoln, too, was known for both her vocal virtuosity and her radical politics, including her collaboration as the lead singer on “We Insist! Freedom Now Suite,” the civil rights jazz album from the bebop drummer Max Roach, whom she later married. Though “Blues for Mama” is one of Lincoln’s earlier songwriting credits, it isn’t so surprising that she and Simone chose to embed their critique of sexism within a blues format.“Violence against women was always an appropriate topic for the blues,” the activist Angela Davis wrote in the book “Blues Legacies and Black Feminism.” Davis goes on to say that this is because the blues, as a genre, often blurred the boundaries that separate the “private sphere from the public,” making the violence that Black people experience in their homes as lyrically and politically relevant as what happened to them outdoors and on the road.Lincoln and Simone were, in some ways, extending a tradition that dated back to the early 20th century, when classic blues singers recorded songs about domestic violence, among them Ma Rainey in “Black Eye Blues” (written by Thomas A. Dorsey) and Bessie Smith in “Outside of That” (by Jo Trent and Clarence Williams).Later, Billie Holiday sang, “Well, I’d rather my man would hit me/Than for him to jump up and quit me” in her cover of the blues standard “T’ain’t Nobody’s Business if I Do.” (It’s worth noting that Dianne Reeves changed those lyrics in her 1997 take on the song to, “I’d rather my man quit me/Than for him to even rear up and think about how he might even try to hit me.”) Except for Rainey’s “Cell Bound Blues,” about a woman jailed for shooting her violent lover, most blues songs presented abuse against women matter-of-factly and as one of many experiences that led to their feeling the blues.“Blues for Mama” was the rare protest song that could galvanize multiple social justice movements — civil rights, women’s liberation and Black Power — at once. It would take a quarter century for Simone to reveal in her memoir, “I Put a Spell On You,” that her marriage in the 1960s to Andy Stroud was rife with violence, while Lincoln would later allude to the tumult in her relationship with Roach.“He was a great big drummer, but he was a gorilla,” Lincoln told The Chicago Tribune. “I got tired of him ‘gorilla-ing’ me and telling me what I had to do.” She also revisited the themes in the later part of her career when she, divorced from Roach, established herself as a consummate songwriter. She recorded “Blues for Mama” as “Hey, Lordy Mama” in 1995, and addressed abuse in the ballad “And It’s Supposed to Be Love” (1999).Perhaps Simone sensed even back then that “Blues for Mama” would have to be rediscovered to be more fully appreciated. That July evening at the Newport festival, she broke midsong to admonish her audience and declared, “I guess you ain’t ready for that.” More

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      Chris Strachwitz, Who Dug Up the Roots of American Music, Dies at 91

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      Traveling the nation to discover little-known performers for the Arhoolie label, which he founded in 1960, he earned a nickname: El Fanático.Chris Strachwitz, who traveled in search of the roots of American music with the eagerness of a pilgrim, discovered traditional musicians with the skill of a detective, promoted their careers with the zeal of an ideologue and guarded their work with the care of a historian, died on Friday at an assisted living facility in San Rafael, Calif. He was 91.The cause was congestive heart failure, his brother, Hubert, said.Mr. Strachwitz (pronounced STRACK-wits) specialized in music passed down over generations — cotton-field music, orange-orchard music, mountain music, bayou music, barroom music, porch music. The songs came not only from before the era of the music industry but even from before the existence of mass culture itself.Like other leading musical folklorists of the modern recording era — among them Moses Asch, Alan Lomax and Harry Smith — Mr. Strachwitz rescued parts of that history before they vanished.But the extent of his devotion and the idiosyncrasy of his passions defy comparison.Mr. Strachwitz was the founder of Arhoolie Records (the name comes from a term for field hollers). In addition to recruiting his own artists, he did his own field recordings, music editing, production, liner notes, advertising and sales. In the company’s early years, he affixed the labels to the records and mailed them himself.He was a lifelong bachelor who said that having a family would have thwarted his career. On his journeys around the country to record new music, he had for company a manually operated orange juicer and 20-pound bags of oranges. The targets of his search included a highway grass cutter, a gravedigger and a janitor, all of whose musical talents were at the time basically unknown.He emigrated from Germany after growing up as a teenage count under Nazi rule and went on to explore the fullest reaches of American pluralism. He took an interest not just in the standard roots repertory of folk and blues, but also in norteño, Cajun, zydeco, klezmer, Hawaiian steel guitar, Ukrainian fiddle, Czech polka and Irish dance music, among countless other genres.To account for what united his passions, Mr. Strachwitz said he liked music that was “pure,” “hard-core” and “old-timey,” particularly if one of the musicians had a “spark.” His language grew more colorful when he defined his type of music negatively.“It ain’t wimpy, that’s for sure,” he said in a 2014 documentary about him. The movie took its title from Mr. Strachwitz’s ultimate insult, which he used to refer to anything that he considered commercial, artificial and soulless: “This Ain’t No Mouse Music!”The first Arhoolie album, released in 1960, was “Texas Sharecropper and Songster,” by the blues singer Mance Lipscomb. It vaulted Mr. Lipscomb into prominence during the 1960s folk revival.The first Arhoolie record, released in 1960, was “Texas Sharecropper and Songster,” by the blues singer Mance Lipscomb. Mr. Lipscomb’s music had never been recorded, and the new release vaulted him into prominence during the 1960s folk revival. Mr. Strachwitz went on to help revive the careers of other blues singers, including Lightnin’ Hopkins, Mississippi Fred McDowell and Big Mama Thornton.As both a record executive and a record collector, he made a particularly profound historical contribution to norteño, music from the Texas-Mexico border. The Smithsonian Institution last year called his archive of Mexican and Mexican American music “the largest collection of commercially produced vernacular recordings of its kind in existence,” noting that it contained many records that are “irreplaceable.”It was the result of about 60 years of collecting — yet Mr. Strachwitz never learned to speak Spanish. Norteño musicians nicknamed him El Fanático.Mr. Strachwitz might have been considered a preservationist, but he also shaped the worlds that he documented. That was particularly true of his recordings of Cajun musicians In 2000, the rock historian Ed Ward wrote in The New York Times that Mr. Strachwitz “helped prod the culture into what is now a full-blown renaissance.”Perhaps his most notable discovery in Louisiana was Clifton Chenier, who became known as the leading exponent of the mix of rhythm and blues, soul and Cajun music known as zydeco. During a visit to the New Orleans Jazz and Heritage Festival as an older man, Mr. Chenier discussed his frustrations with the record industry.“They wanted you to do what they wanted you to do, and I didn’t like that,” Mr. Chenier said. “Then I met Chris.”Mr. Strachwitz with Clifton Chenier, who was known as the king of zydeco. Other record companies “wanted you to do what they wanted you to do, and I didn’t like that,” Mr. Chenier said. “Then I met Chris.”via Arhoolie FoundationMainstream musicians also saw something exceptional in Mr. Strachwitz. In a 2010 profile of Mr. Strachwitz in The Times, the guitarist Ry Cooder said that Arhoolie’s second release, “Tough Times,” an LP by the blues musician Big Joe Williams, “started me on a path of living, the path I am still on.”Christian Alexander Maria Strachwitz was born on July 1, 1931, in Berlin. He grew up on a country estate called Gross Reichenau, located in what was then the Lower Silesia region of Germany (it is now a village called Bogaczow in southwest Poland). His father, Alexander Graf Strachwitz, and his mother, Friederike (von Bredow) Strachwitz, ran a vegetable and grain farm of about a couple hundred acres. The men of the family had the royal title of count.The family lived in a manor originally built during the time of Frederick the Great, the king of Prussia. The Nazis appointed Chris’s father a local game warden, and during World War II he joined the military and attained the rank of captain, though Hubert Strachwitz said his service was limited to escorting troop transports bound for Italy. On the family’s bucolic ancestral property, the war seemed far away to young Chris.That changed in February 1945. The family fled as the Russians invaded the estate. Chris and two of his sisters had left shortly beforehand on a train; his father escaped in a horse and buggy; Hubert, Chris’s other two sisters and his mother left on a tractor-trailer. Thanks to a wealthy relative in the United States, the family was able to reunite in Reno, Nev., by 1947.Chris served in the U.S. Army from 1954 to 1956. Soon after being honorably discharged, he graduated from the University of California, Berkeley, with a bachelor’s degree in political science. He taught high school German in the suburbs of San Jose for several years.In his free time, Mr. Strachwitz collected records, and he developed a particular interest in Lightnin’ Hopkins, whom he struggled to learn more about. There was no public information about whether Mr. Hopkins was even still alive.Mr. Strachwitz going through the Arhoolie archives in El Cerrito, Calif., in 2010.Jim Wilson/The New York TimesIn 1959, a fellow music enthusiast told Mr. Strachwitz that he had found the bluesman in Houston. When the school year ended, Mr. Strachwitz went on a road trip.He later recalled that he found Mr. Hopkins playing in “a little beer joint” — improvising songs in a conversational style, telling a woman in the crowd to quiet down, wondering in song about the man from California who had traveled all the way to Texas “to hear poor Lightnin’ sing.”Mr. Strachwitz believed that nobody had ever recorded a scene like that live. Following a tip from one of Mr. Hopkins’s songs, he returned to Texas the next year and found Mr. Lipscomb. This time, he brought a recorder.Meeting musicians where they lived and recording them where they liked to play, rather than in a studio, became Mr. Strachwitz’s signature style.He found unexpected commercial success when Country Joe and the Fish performed their “I-Feel-Like-I’m-Fixin’-to-Die Rag” at Woodstock in 1969. Joe McDonald, the band’s lead singer and principal songwriter, had used Mr. Strachwitz’s equipment to record the song back in 1965 and given him publishing rights in exchange. With his share of the royalties, Mr. Strachwitz put a down payment on a building in El Cerrito, Calif., near Berkeley, that became the home of Arhoolie and a record outlet he called the Down Home Music Store.Aside from recording music, he drew attention to the artists he loved by collaborating with the filmmaker Les Blank on several music documentaries.As the record industry declined, Mr. Strachwitz focused on a nonprofit arm of Arhoolie that digitizes and exhibits his singular record collection. In 2016, Smithsonian Folkways Recordings, the nonprofit label of the Smithsonian Institution, acquired the Arhoolie catalog.In addition to his brother, Mr. Strachwitz is survived by three sisters, Rosy Schlueter, Barbara Steward and Frances Strachwitz.There was one word Mr. Strachwitz often used to describe success in his field. When he found an aged master of traditional music playing a song at a resonant time and place, he called it, as if he were hunting butterflies, a “catch.” More

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      Jeff Beck’s 10 Essential Songs

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      The guitarist, who died on Tuesday, could make his instrument slash, burn and sigh. Listen to tracks released from 1966 to 2010 that reveal his range and intensity.Songs could barely contain Jeff Beck’s guitar. It jabbed at tunes with brute-force riffs. It sparred with singers for the spotlight. It clawed at the limits of verses and choruses, screaming melodies of its own, making notes slide and wriggle; sometimes it scraped out funky, contentious rhythm chords.Yet in quieter moments, Beck’s guitar could also be startlingly tender, cherishing a melody or proffering teasing, insinuating undercurrents. Beck, who died on Tuesday at 78, was also a master of electric guitar tones, of amplification and distortion. He could make his Stratocaster sound icy, searing, slashing and otherworldly in the course of a single track.With a career that began during the British Invasion, Beck at first tucked his guitar work into songs aimed for pop radio. But by the end of the 1960s, he was leading his own groups, backing his lead singers with roiling, slamming arrangements that made them shout to keep up; he was blasting his way toward metal. Beck’s instrumentals moved to the forefront in the 1970s, as his material shifted toward jazz-rock. But he never left behind the blues and rockabilly that had inspired him from the start.Here, in chronological order, are 10 tracks that reveal Beck’s range and intensity.The Yardbirds, ‘Over Under Sideways Down’ (1966)The pushy, up-and-down, Eastern-tinged guitar line that opens the song, and the squirming guitar riff behind the chorus, turn this track from jaunty British Invasion pop into something far more urgent. Beck’s lead guitar takes over for the entire last minute, melding rockabilly and something like raga, leaving the rest of the band to whoop along.Jeff Beck, ‘Shapes of Things’ (1968)Beck’s supercharged remake of a Yardbirds song has Rod Stewart on vocals and a churning, whipsawing arrangement that rivals anything from contemporaries like the Who. The song gallops from the get-go, as Beck answers his own power chords with countermelodies high and low. The bridge rockets into double time, and after the final verse the band stages a neat slow-motion collapse.Donovan with the Jeff Beck Group, ‘Barabajagal’ (1969)Beck the bandleader, abetted by wailing backup singers including Suzi Quatro, catalyzed this rowdy song by Donovan, the normally soft-spoken flower-child troubadour. Beck’s electric guitar opens with twangy rockabilly syncopation, sets up the choppy piano groove and pointedly spurs things along. He really starts to wail toward the song’s free-for-all finish.Stevie Wonder, ‘Lookin’ for Another Pure Love’ (1972)Beck and Stevie Wonder shared songs and appeared on each others’ albums in the 1970s, and “Lookin’ for Another Pure Love” from Wonder’s “Talking Book” featured the guitarist at his most sweetly melodic in the song’s bridge. His solo eases up to a high note and then casually trickles down, continuing through the track to garland Wonder’s vocals with little slides and curlicues, reveling in the song’s sophisticated chord progression.Jeff Beck, ‘Cause We’ve Ended as Lovers’ (1975)Beck’s best-known ballad is an instrumental version of a Wonder song. He plays it with long-lined phrases and constantly changing nuances of tone: as a dialogue, as a keening lament, as bitter self-accusations, as an anguished plea, as a fragile chance at hope. From start to finish, it sings.Jeff Beck, ‘Freeway Jam’ (1975)Written by Max Middleton, then the keyboardist in Beck’s band, “Freeway Jam” is a brisk shuffle that materializes and fades out as if it’s excerpted from a jam session, though parts are clearly mapped out. It gives Beck room to peal some clarion melodies and then attack them with trills, bent notes, blues licks and dissonances. A live version featuring the keyboardist Jan Hammer, released in 1977, makes the tune even more gleefully frenetic.Jeff Beck and Rod Stewart, ‘People Get Ready’ (1985)Rod Stewart rejoined Beck for a remake of the Curtis Mayfield gospel-soul standard, “People Get Ready,” that starts out restrained but grows fervid. Beck offers a stately, fanfare-like guitar hook after the first verse, then engages Stewart more and more: taking over the melody with note-bending variations, surging up from below, goading Stewart to shout and leap into falsetto. Despite its dated 1980s production, the song finds the spirit.Jeff Beck, ‘THX 138’ (1999)Could a player as physical as Beck handle the mechanical drive of electronica? Of course. A tireless programmed drumbeat drives “THX 138,” but Beck rides it in multiple ways: with an Eastern-tinged modal loop, with sustained power chords, with high blues lines, with ferocious stereo call-and-response chords, with a melody that leaps skyward. For all the gadgetry, human hands dominate this mix.Jeff Beck with Jimmy Page, ‘Beck’s Bolero’ (2009)Before he formed Led Zeppelin, Jimmy Page was Jeff Beck’s colead guitarist, and then his successor, in the Yardbirds. In 1966 they collaborated to record “Beck’s Bolero,” written by Page, for Beck’s first solo single. This gracious latter-day reunion for the Rock & Roll Hall of Fame is noisy, flashy, virtuosic and over the top in exactly the right proportions.Jeff Beck, ‘Over the Rainbow’ (2010)For all his speed and dexterity, Beck never underestimated the beauty of a sustained melody. He played this Hollywood standard backed by chords from a string orchestra, sliding through the tune, holding back some notes and using tremolo on others, making every turn of the familiar song sound like a precious discovery. More

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      Kim Simmonds, a Key Figure in the British Blues Movement, Dies at 75

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      His band, Savoy Brown, never had a hit single, but it showcased his skills as a guitarist and songwriter and remained active for more than 50 years.Kim Simmonds, a fleet and commanding guitarist who for over 50 years led one of Britain’s seminal blues bands, Savoy Brown, died on Dec. 13 in Syracuse, N.Y. He was 75.His wife and manager, Debbie (Lyons) Simmonds, confirmed the death, in a hospital. Mr. Simmonds, who lived in nearby Oswego, had announced in August that he had Stage 4 signet ring cell carcinoma, a rare form of colon cancer that is seldom detected early enough to be treated successfully.Though Savoy Brown never had a hit single, and though only two albums from the group’s vast catalog broke Billboard’s Top 40, it held an important place in the British blues movement of the 1960s alongside bands like John Mayall’s Bluesbreakers, Ten Years After and the early Fleetwood Mac.Mr. Simmonds changed the band’s lineup often, bringing to mind a subway turnstile at rush hour, making it difficult to build an audience. The most notable firing happened in 1970, when he got rid of all the other members — who then went on to form a far more commercially successful band, Foghat. In all, more than 60 musicians played under the Savoy Brown banner.“I don’t want to stand still,” Mr. Simmonds told the website Music Aficionado in 2017. “Once I’ve climbed a mountain, I want to climb another. If a band weren’t willing to do that, I would get another band.”Throughout all the personnel changes, he maintained a musical vision anchored in the skill of his guitar work, the melodicism of his songwriting and his commitment to American blues.As a guitarist, he could be stinging or sweet, lithe or robust. He also drew attention for the speed of his playing, and for his ability to spin long solos without losing the melodic thread or breaking a song’s momentum. In addition to the blues, his music drew from jazz and — most notably on Savoy Brown’s highest-charting album (it reached No. 34 in Billboard), “Hellbound Train” (1972) — R&B.Savoy Brown at a festival in Sussex, England, in 1970. From left: Roger Earl, Dave Peverett, Mr. Simmonds and Tony Stevens. The band changed personnel frequently over the years, with Mr. Simmonds the only constant.Michael Putland/Getty ImagesKim Maiden Simmonds was born on Dec. 5, 1947, in Caerphilly, Wales, to Henry Simmonds, an electrician, and Phyllis (Davies) Simmonds, a homemaker. As a child, he was drawn to the early rock ’n’ roll albums owned by his older brother, Harry, who later worked for Bill Haley’s British fan club.“My brother took me to see all the rock ’n’ roll movies,” Mr. Simmonds told the magazine Record Collector in 2017. “I grew up with all that: Little Richard, Bill Haley and, of course, Elvis.”By age 10 he had moved with his family to London, where his brother took him to jazz record stores that sold blues albums. The singer and pianist Memphis Slim — “one of the sophisticated blues guys that could keep one foot in the jazz world and one foot in the blues world,” he told Record Collector — became a favorite.He bought his first guitar at 13 and began imitating the blues licks on the records he loved. So intent was he on a music career that he never completed high school.A chance meeting at a record shop in 1965 with the harmonica player John O’Leary led to the formation of what was initially called the Savoy Brown Blues Band. (The first word in the name echoed the name of an important American jazz and R&B label.) The group’s initial lineup featured six players, two of them Black — the singer Brice Portius and the drummer Leo Manning — making them one of the few multiracial bands on the British rock scene of the 1960s.While playing gigs with Cream and John Lee Hooker, the band developed a reputation for its intense live performances, leading to a contract with Decca Records in 1967. The band’s debut album, “Shake Down,” consisted almost entirely of blues covers. By its second album, “Getting to the Point,” issued in 1968, most of the lineup had changed. The most significant additions were the soulful singer Chris Youlden (who also wrote memorable original songs, often with Mr. Simmonds) and the forceful rhythm guitarist and singer Dave Peverett.Mr. Simmonds in performance in Nashville in 2017.Rick Diamond/Getty Images for IEBAHalf of the band’s third album, “Blue Matter,” issued in 1969, was recorded live, highlighted by a revved-up version of Muddy Waters’s “Louisiana Blues,” which became a signature piece. Its 1970 album, “Raw Sienna,” forged a dynamic new direction that reflected the emerging jazz-rock movement, best evidenced by Mr. Simmonds’s Dave Brubeck-like instrumental, “Master Hare.” When Mr. Youlden elected to leave for a solo career, Mr. Peverett stepped up impressively to sing lead on the band’s “Lookin’ In” album later that year.Mr. Simmonds’s desire to add more R&B influences led to the firings that paved the way for Foghat. The resulting sound on the album “Street Corner Talkin’,” released in 1971, earned heavy play on FM radio in the U.S., where the band enjoyed a larger following than in its native country.Though Savoy Brown’s subsequent albums weren’t as commercially successful, Mr. Simmonds kept producing them at a steady clip, resulting in a catalog of more than 40. His last releases, both in 2020, were a studio album, “Ain’t Done Yet,” and a set of live performances from the 1990s, “Taking the Blues Back Home.” He also released six solo albums.In addition to his wife, his survivors include their daughter, Eve Simmonds, and two children from a previous marriage, Tabatha and Justin Simmonds.Addressing his dedication to Savoy Brown in whatever form it took, Mr. Simmons told Music Aficionado: “A famous poet once said, ‘The deed can never be done without need.’ There’s something in me that’s gotta come out.”He added: “Throughout it all — the changes, the music, the 50 years — the one tie-in is my guitar playing. That’s what keeps it all going.” More