Blackfoot Sue | pl

J. Blackfoot (born John Colbert, 20 November 1946 – 30 November 2011) was a singer from Greenville, Mississippi, USA who had a hit single called "Taxi", released on the Allegiance record label. It entered the UK Singles Chart on 17 March 1984. It remained in the charts for 4 weeks, reaching position 48. It also hit number 90 on the U.S. pop chart and number 4 on the U.S. soul/R&B chart. John Colbert acquired the nickname of J. Blackfoot when he was a child in Memphis, because he used to walk in bare feet on the sidewalk. In 1965, while...

Blackfoot - amerykański zespół Southern rockowy założony w 1970 roku w Jacksonville na Florydzie przez gitarzystę Ricka Medlocke'a, znanego także z Lynyrd Skynyrd i basistę Grega T. Walkera. W początkowym okresie istnienia, zespół grał Southern rock, lecz wraz z wydanym w 1983 roku albumem "Siogo", zmienili styl na Hard rock, zaś na wydanym rok później "Vertical Smiles", można usłyszeć wpływy Rocka progresywnego. Na wydanym w 1987 roku albumie "Rick Medlocke And Blackfoot", przeszli kolejną metamorfozę, tym razem za styl obrali sobie Pop-Rock i AOR. W 1990 roku, wydali album "Medicine Man", będący powrotem do Hard Rocka. Na wydanym w 1994...

J.D. Blackfoot is not the Indian of the group. He was born in Cleveland in 1944, spent much of the '60s learning to play the guitar and, as far as heavy-psych record collectors are concerned, struck gold with his first solo record, "The Ultimate Prophecy", in 1970. It wasn't until a few years later, when he claims to have had a vision of the Battle of Little Big Horn and began writing about Native American stories and causes, that his stage name seemed truly appropriate. Aside from his own string of albums, Blackfoot also established Sisapa Records, home to Marshall...

Camp Blackfoot were a rock band that existed in Oxford from 1996 - 2001, masterminded by Benjamin Hervé and Alex Ward (both also of improv. group The XIII Ghosts). To simply label it as 'experimental' is to severely understate the utterly ruthless, squalid, and apocalyptic subversion that this band represented. Frequent features of their music was a puritanical avoidance of any semblance of palatable 'melody', warhead-inducing riffs distinguished by erratic, irregular time-signature/scale changes and contorted structures, other-worldly, haunted-house esque screetching keyboards, atonal free-improv interludes, extends rays of holocaustal noise, and raw vocals that sound somewhere between a banshee being sodomised...