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William Bell

Born in Memphis, Tennessee on July 16, 1939, singer/composer William Bell would become one of the principal architects of that city’s unmistakable Southern soul sound. Bell began his career in the late 50’s as a member of the vocal group the Del Rios, and soon signed on with the Stax label as a writer. In 1961, he released the classic, heartwrenching soul ballad “You Don’t Miss Your Water” as his solo debut; it became one of Stax;s first big hits. Throughout a career that has spanned nearly a half century, Bell’s songs have been recorded by artists from Otis Redding to Billy Idol.

The Bobbettes

The pre-teen ensemble the Harlem Queens first began singing together in the glee club of New York City’s PS 109 in 1955. By 1957, they’d changed their name to the Bobbettes and become the first female vocal group to earn a top ten R&B hit with the bouncy, upbeat song “Mr. Lee,” on the Atlantic label. Their last charting single was the novelty answer song “I Don’t Like It Like That,” written in response to New Orleanian Chris Kenner’s hit “I Like It Like That.”

The Bo-Keys

Led by bassist and composer Scott Bomar, the Bo-Keys – formed in the early 2000’s – are a hard-hitting soul-jazz ensemble that bring Memphis’ classic, fiery 60’s soul sound to life. Though the group is less than a decade old, their pedigree is wholly authentic. Among the bo-Keys’ members are legendary guitarist Skip Pitts, famous for the punishing wah-wah guitar on Isaac Hayes’ “Shaft”; keyboardist Archie “Hubie” Turner, a member of the famous Hi Rhythm Section which backed artists like Al Green and Ann Peebles; and trumpeter/vocalist Ben Cauley is a founding member of the Bar-Kays… and the only member of the band to survive the plane crash that took Otis Redding’s life. The veterans play with some of Memphis’ finest young talents, proving beyond doubt that soul crosses generations.

Harvey Scales

Hard-hitting soul and funk man Harvey Scales penned the nasty soul classic “Disco Lady,” which went platinum for singer Johnnie Taylor in 1976. The Milwaukee-based singer, producer and composer was signed to Chess Records in the late 60’s with his group Harvey Scales and the Seven Sounds. Scales also cut records in the 60’s and 70’s for Stax, Chess’ Cadet imprint, and Casablanca Records. His later, disco-soul recordings, are collectors’ favorites.

Joe Clay

New Orleans rockabilly wild man Joe Clay, born C.J. Cheramie, has crossed paths with Elvis Presley more than once – literally and figuratively. Clay sat in on drums with Elvis’ band for a New Orleans gig when regular drummer DJ Fontana was unavailable. Before Elvis filmed his infamous from-the-waist-up performance on the Ed Sullivan Show, Clay recorded his own – but the New Orleanian’s hip-shaking antics were considered too hot for TV and never aired. Clay, who still puts on a frantically energetic show, recorded several scorching rockabilly numbers for RCA’s subsidiary Vik in the 50’s, and spent the 60’s playing a regular gig on Bourbon Street in a band that included Freddy Fender, Joe Barry and Mac Rebennack. Clay retired in the later part of the decade, and was rediscovered by rabid British fans in the 80’s, driving a school bus.

The Collins Kids

Siblings Larry and Lorrie Collins may have looked like sweet-faced teens when they blew onto the country music scene at ages 11 and 13, respectively – but their sound was anything but precious. The Collins Kids unleashed their sound on the world for the first time in 1954, when they won a talent contest on the California-based syndicated radio and TV show Town Hall Party. Their twangy, white-hot rockabilly act, anchored by Larry and his mentor Joe Maphis’ dueling double-necked guitars tore up the Southern circuit throughout the 50’s, before either Collins was old enough to buy a beer. The group signed with Columbia in 1955.

Deke Dickerson & the Ecco-Fonics

Hailing from the wilds of Missouri, guitar wizard Deke Dickerson is that ultra-rare example of a true blue rock 'n' roller who has not only mastered every important element of the genre, but made a huge contribution to the music's evolving tradition by keeping it simple and doing it right. As a teenager, Dickerson helped to pave the way for the surf craze of the '90s with his seminal frat-rock band the Untamed Youth. Deke later struck musical black gold again with the Ecco-Fonics. The double neck Mosrite guitar that is his trademark dispenses licks worthy of Dick Dale and Link Wray as well as Joe Maphis and Jimmy Bryant. The band boasts mastery of every important sub-genre of rock 'n' roll from New Orleans R&B to Western swing. The Ecco-Fonics are an indispensable weapon in the Ponderosa Stomp arsenal and one of the show’s hardest-working regular backing bands.

Carl Mann

The youngest million selling star in Sam Phillips’ Sun-helmed stratosphere of genius, few rock ‘n’ roll singers matched the relaxed vocal style of Carl Mann. Not so much the anarchy-fuelled rockabilly that was Phillips’ regular calling card, Mann’s lilting approach was completely original, drawing listeners in rather than simply knocking them down. Raised in the backwoods of rural Huntingdon, Tennessee, by 1952 guitar-picking Carl, who later picked up the piano as well, had his own radio spot on Jackson’s WDXI station. He soon picked up the piano and formed his first band, whose radio popularity led to an audition with Jimmy Martin’s now-legendary Jaxon label. His first Sun single, “Mona Lisa,” made it to Billboard’s top twenty.

The Dixie Cups

Originally made up of the two Hawkins sisters and their cousin, the Dixie Cups were discovered at a talent show in New Orleans by the infamous local producer Joe Jones. The trio’s first hit was the iconic Jeff Barry/Ellie Greenwich-penned piece of Brill Building confectionary “Chapel of Love,” on Red Bird Records, which knocked the Beatles off the top of the charts in 1964. Their other signature song, “Iko Iko,” which drew from Mardi Gras Indian chants, was produced and arranged by the legendary Wardell Quezergue and recorded with found-object percussion; in the studio, the girls and Quezergue tapped ashtrays, drinking glasses and other items to create the unique sound.

Jean Knight

New Orleanss soul singer Jean Knight’s only hit was a big one – the sassy, funky put-down “Mr. Big Stuff,” arranged and produced by Wardell Quezergue. Though the Stax label passed on it at first listen, they luckily reconsidered and released it in 1971, and it went on to spend five weeks in the number-one spot on the R&B charts. In the early 80’s, Knight scored two more minor hits, “You Got The Papers (I Got The Man)” and the zydeco-flavored Rockin’ Sidney cover “My Toot Toot,” produced by Isaac Bolden, but failed to replicate her earlier success.

Tammy Lynn

Teenaged vocalist Tammy Lynn made her music-business debut as a member of Harold Battiste’s visionary A.F.O. (“All For One”) label collective, one of the earliest African-American-owned record labels in the U.S., which also comprised its own publishing company, At Last. Lynn, a versatile singer with a powerhouse voice, made her first recordings for A.F.O. in 1963, which included the fire-and-brimstone voodoo rocker “Mojo Hannah.” After A.F.O. disbanded, Lynn went on to be a much-in-demand backing vocalist, appearing on landmark recordings such as Dr. John’s “Gris Gris” and the Rolling Stones’ “Exile On Main Street.”

Zigaboo Modeliste

The man who reinvented the New Orleans beat, as part of the seminal New Orleans funk outfit the Meters, Joseph “Zigaboo” Modeliste channeled decades of unimpeachable New Orleans rhythms – as invented by predecessors like Smokey Johnson and James Black – and definitively planted his own flag in the sound. Hailed as possibly the most innovative drummer of the contemporary funk era, Modeliste’s innovations have influenced three decades of funk, as well as been heavily sampled by hip-hop artists. Modeliste has performed with artists from Keith Richards to Robert Palmer, and currently works solo and with the Meter Men, three-quarters of the original Meters.

Dorothy Moore

Soulful vocalist Dorothy Moore started out in the mid-60’s as a member of the Poppies, a female vocal group started at her Jackson, Mississippi high school. Moore went on to become one of the last shining stars recording deep soul into the late 70’s, when disco and funk were slowly taking over the R&B charts. Her church-trained voice made its mark with soul ballads like “Misty Blue” and a cover of Willie Nelson’s “Funny How Time Slips Away” for the Malaco label, which both broke into the R&B top ten in 1976.

Tony Owens

Tony Owens, New Orleans’ lost soul king, is a true underground hero who lived in the shadows of the big names during soul music's golden age. Despite the fact that he wasn't a prolific recording artist, having less than a dozen 45s issued in a period of twenty-four years, Owens was a big attraction in his native city of New Orleans and built up a small but loyal following overseas, particularly in Europe and Japan. Owens is highly respected by soul connoisseurs who rightly consider him to be one of the great unknowns. Tony’s rich, expressive voice is full of passion and emotion – elements that make particularly his first single, 1966’s “I Got Soul,” and his one top-forty hit, 1970’s “Confessin’ a Feelin’,” shining examples of pure, mellow soul gold.

Robert Parker

Sax man and singer Robert Parker was a part of the explosion of R&B talent that emerged from New Orleans shortly after the Second World War, which included legends like Fats Domino and Dave Bartholomew. It was performers like Parker that seduced national labels like Deluxe and Imperial to descend on New Orleans in the late 40’s to record the burgeoning wellspring of musical genius. Parker played behind New Orleans greats including Professor Longhair, Ernie K-Doe, Irma Thomas, Earl King and dozens of others, and recorded for local labels like Ace and Ron. In 1966, he released “Barefootin’,” produced by Wardell Quezergue, which hit number two on the R&B charts.

Mac Rebennack

Before he was known as the winking hoodoo piano man Dr. John, Mac Rebennack was a teenaged hipster and Jesuit High School student, hanging out at Cosimo Matassa’s studio playing crazed rock n’roll guitar – like the classic, sinister “Storm Warning,” released by Matassa’s own Rex label - at all-night parties. As a teen guitarist, Mac hung with a shifting gang of delinquent adolescent rockers like Earl Stanley, Leonard James and Paul Staehle, playing under various band names on New Orleans classics like horror host Morgus’ theme song and Ronnie Barron’s “Bad Neighborhood.” Mac also worked as an A&R man, producer and arranger for the Ric, Ron and Ace labels.

Wardell Quezergue

Known as the “Creole Beethoven,” Wardell Quezergue’s arrangements became a hallmark of New Orleans music in the 1960’s. Quezergue’s work, famously done with a tuning fork instead of a piano, was marked by attention to rhythm and percussion, influenced by Mardi Gras Indian and parade beats. Quezergue worked earlier with Dave Bartholomew’s band as an arranger, and with his own groups the Sultans and the Dukes of Rhythm. He produced three number-one national hits, Jean Knight’s “Mr. Big Stuff,” the Dixie Cups’ “Chapel of Love” and King Floyd’s “Groove Me,” for which he never received royalties. Quezergue collaborated with artists like Earl King, Willie Tee and Robert Parker, and created the Mardi Gras Indian rhythms on Professor Longhair’s “Big Chief.” In 1964, Quezergue, along with Clinton Scott, started his own label Nola Records.