Blackfoot Sue | en

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 are a southern rock band from Jacksonville, Florida, United States. They were formed in 1972 and were contemporaries of Lynyrd Skynyrd, but with a harder rock sound. They had a number of hit albums in the 1970s and early 1980s before their popularity started to wane. They had broken up by 1985, though not before former Uriah Heep keyboardist/songwriter Ken Hensley had joined the group during their last couple of years together. Vocalist Rickey Medlocke revived the name in 1987 with a new backing group and released three additional albums (Rick Medlocke and Blackfoot, Medicine Man, and After The...

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...