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Booker T. & the M.G.'s

Booker T. & the M.G.'s were an American instrumental R&B/funk band that was influential in shaping the sound of Southern soul and Memphis soul. The original members of the group were Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson Jr. (drums). In the 1960s, as members of the Mar-Keys, the rotating slate of musicians that served as the house band of Stax Records, they played on hundreds of recordings by artists including Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla Thomas, Rufus Thomas, Johnnie Taylor and Albert King. They also released instrumental records under their own name, including the 1962 hit single "Green Onions". As originators of the unique Stax sound, the group was one of the most prolific, respected, and imitated of its era.

In 1965, Steinberg was replaced by Donald "Duck" Dunn, who played with the group until his death in 2012. Al Jackson Jr. was murdered in 1975, after which Dunn, Cropper and Jones reunited on numerous occasions using various drummers, including Willie Hall, Anton Fig, Steve Jordan and Steve Potts.

The band was inducted into the Rock and Roll Hall of Fame in 1992, the Musicians Hall of Fame and Museum in Nashville, Tennessee in 2008, the Memphis Music Hall of Fame in 2012, and the Blues Hall of Fame in 2019.

Having two white members (initially Cropper and Steinberg, later Cropper and Dunn) and two black members (Jones and Jackson Jr.), Booker T. & the M.G.'s was one of the first racially integrated rock groups, at a time when soul music and the Memphis music scene, in particular, were generally considered the preserve of black culture.

Early years: 1962–1964
Booker T. & the M.G.'s formed as the house band of Stax Records, providing backing music for numerous singers, including Wilson Pickett and Otis Redding. In summer 1962, 17-year-old keyboardist Booker T. Jones, 20-year-old guitarist Steve Cropper, and two seasoned players, bassist Lewie Steinberg and drummer Al Jackson Jr. (the latter making his debut with the company) were in the Memphis studio to back the former Sun Records star Billy Lee Riley. During downtime, the four started playing around with a bluesy organ riff. Jim Stewart, the president of Stax Records, was in the control booth. He liked what he heard, and he recorded it. Cropper remembered a riff that Jones had come up with weeks earlier, and before long they had a second track.

Stewart wanted to release the single with the first track, "Behave Yourself", as the A-side and the second track as the B-side. Cropper and radio disc jockeys thought otherwise; soon, Stax released Booker T. & the M.G.'s' "Green Onions" backed with "Behave Yourself". In an interview with BBC Radio 2's Johnnie Walker in 2008, Cropper recalled the song's immediate popularity after Reuben Washington, a disc jockey at Memphis radio station WLOK, played it four times in a row, prompting calls from listeners asking if it had been released.

The single went to number 1 on the US Billboard R&B chart and number 3 on the pop chart. It sold over one million copies and was certified a gold disc. It has been used in numerous movies and trailers, including a pivotal scene in the motion picture American Graffiti.

Later in 1962, the band released an all-instrumental album, Green Onions. Aside from the title track, a "sequel" ("Mo' Onions") and "Behave Yourself", the album consisted of instrumental covers of popular hits.

Booker T. & the M.G.'s continued to issue instrumental singles and albums throughout the 1960s. The group was a successful recording combo in its own right, but most of the work by the musicians in the band during this period was as the core of the de facto house band at Stax Records. Members of Booker T. & the M.G.'s (often, but not always, performing as a unit, and usually supported by a horn section) performed as the studio backing band for Otis Redding, Sam & Dave, Albert King, Johnnie Taylor, Eddie Floyd, the Staple Singers, Wilson Pickett, Delaney & Bonnie and many others in the 1960s.

They played on hundreds of records, including classics like "Walking the Dog", "Hold On, I'm Comin'" (on which the multi-instrumentalist Jones played tuba over Donald "Duck" Dunn's bass line), "Soul Man", "Who's Making Love", "I've Been Loving You Too Long (To Stop Now)", and "Try a Little Tenderness", among others. Along with their counterparts in Detroit, Motown's Funk Brothers, as a backing band to numerous hits, they are considered to have originated much of the sound of soul music—particularly, in the case of the M.G.'s, Southern soul—in which "the groove" is paramount.

In the mid-1960s, Jones was often away from Memphis while studying music full-time at Indiana University. Stax writer and producer Isaac Hayes usually stepped in when Jones was unavailable for session work, and on several sessions Jones and Hayes played together with one on organ, the other on piano. However, Hayes was never a regular member of the M.G.'s, and Jones played on all the records credited to Booker T. & the M.G.'s, with one exception: the 1965 hit "Boot-Leg", a studio jam with Hayes playing keyboards in Jones's place. According to Cropper, it had been recorded with the intention of releasing it under the name of the Mar-Keys (the name, which predated the creation of the MG's, had sometimes been used on singles by the Stax house band). However, as recordings credited to Booker T. & the M.G.'s were meeting with greater commercial success than those credited to the Mar-Keys, the decision was made to credit "Boot-Leg" to Booker T. & the M.G.'s, even though Jones did not participate in the recording.

Individual session credits notwithstanding, the Stax house band—Cropper, Jackson, Jones, and Steinberg, along with bassist Dunn (Cropper's bandmate in the Mar-Keys); keyboardist Isaac Hayes; and various horn players, most frequently Floyd Newman, Wayne Jackson and Andrew Love (the latter two later formed the Memphis Horns)—set a standard for soul music. Whereas the sign outside Detroit's pop-oriented Motown Records read "Hitsville U.S.A.", the marquee outside of the converted movie theater where Stax was based proclaimed "Soulsville U.S.A."

Later success: 1965–1969
Booker T. & the M.G.'s consistently issued singles from 1963 to 1965, but only a few made the charts, and none was as successful as "Green Onions". Their second album, Soul Dressing, was released in 1965. Whereas the Green Onions album contained mostly covers, every composition but one on Soul Dressing was an original. After contributing to that album, Steinberg left the group, and Dunn (who had played on previous Stax sessions) became the group's full-time bassist.

During a tour when the band was in Los Angeles playing in a Stax Revue, an informal jam session with three of the M.G.'s was recorded in Hollywood in 1965, initiated by DJ Magnificent Montague who played congas. The resulting track, "Hole in the Wall", was issued by Pure Soul Music in October 1965 credited to the Packers with writing shared by Montague, Cropper, Jackson and Jones. The track reached number 43 on Billboard, and made the Top 30 on Cash Box. All other songs released by the Packers had no involvement from Booker T. & the M.G.'s.

After a period of commercial decline, Booker T. & the M.G.'s finally returned to the Top 40 with the 1967 instrumental "Hip Hug-Her". It was the first single on which Jones played a Hammond B-3 organ, the instrument with which he is most closely associated (he used a Hammond M-3 on all of the earlier recordings, including "Green Onions"). The group also had a substantial hit with their cover of the Rascals' "Groovin'". Both tracks are included on their album Hip Hug-Her, released in the same year.

In the spring of 1967, they joined a group of Stax artists billed as the "Stax/Volt Revue" on a European tour, in which they performed in their own right and backed the other acts. In June of that year, they appeared at the Monterey Pop Festival, playing their own set and then backing Otis Redding, alongside performers like Jimi Hendrix, Janis Joplin, the Who, and Jefferson Airplane. They were invited to perform at the Woodstock Festival in 1969, but drummer Jackson was worried about the helicopter needed to deliver them to the site, and so they decided not to play.

The albums Doin' Our Thing and Soul Limbo were released in 1968. The track "Soul Limbo", featuring marimba by Terry Manning, was a hit (later used by the BBC as their theme for cricket coverage on both TV and, latterly, radio's Test Match Special), as was their version of "Hang 'Em High". In 1969, the band scored their second biggest hit with "Time Is Tight", from the soundtrack to the movie Up Tight!, scored by Jones, which reached No. 6 on the Billboard pop charts.

For the 1969 album Damifiknow!, the Mar-Keys name was revived. The members of the group were explicitly identified in the album credits as the sextet of Steve Cropper, Duck Dunn, Booker T. Jones, Al Jackson, and horn players Andrew Love and Wayne Jackson (no relation to Al). The album didn't receive much attention, and the core quartet soon returned to playing and performing as Booker T. & the M.G.'s.

Reinterpreting the Beatles' Abbey Road and gig with CCR
In 1969, Dunn and Jones, in particular, had become admirers of the Beatles, especially their work on Abbey Road. The appreciation was mutual, as the Beatles had been musically influenced by the M.G.'s. John Lennon was a Stax fan, who fondly called the group "Book a Table and the Maitre d's" (in 1974, Lennon facetiously credited himself and his studio band as "Dr. Winston and Booker Table and the Maitre d's" on his original R&B-inspired instrumental, "Beef Jerky"). Paul McCartney, like Dunn, played bass melodically, without straying from the rhythm or the groove. The Beatles had even floated the possibility of recording their 1966 album Revolver at Stax, but backed out when fans besieged the Memphis studio.

In 1970, Lennon's wish was granted, in a sense, when Booker T. and the M.G.'s recorded McLemore Avenue (named for the street where Stax Records was located), on which they performed instrumental cover versions of thirteen of the songs on Abbey Road, condensing twelve of them into three medleys. The album's front cover is a parody of the front cover of Abbey Road; the back cover, with the blurred image of a mini-skirted woman at the edge of the photo, also mirrors that of Abbey Road.

In 1970 Booker T. & the M.G.'s sat in with Creedence Clearwater Revival (CCR) for a jam, and they were the opening act for that band's January 31 performance at the Oakland Coliseum, which was recorded for the CCR album The Concert.

Jones's departure from Stax and Melting Pot
In 1971 Booker T. and the M.G.'s released what would be their last Stax single, "Melting Pot", and their last Stax album, also called Melting Pot. "Melting Pots repetitive groove-oriented drumming, loping bass line, and tight rhythm guitar made it an underground hit popular in New York City block parties. The song has often been sampled by rappers and techno DJs. The full-length album version of the track is over eight minutes long and contains a passage (not included on the single) featuring some particularly powerful flourishes from Jones's Hammond B-3. Melting Pot also includes the tuneful Native American–influenced track "Fuquawi", which was also released on a single, coupled with "Jamaica This Morning".

Before Melting Pot was recorded, Jones had already left Stax and moved to California, because he disliked the changes that had occurred under the label's new chairman Al Bell. Part of the album was recorded at The Record Plant in New York City, not the Stax Studio, because Jones did not want to record there and instead opted for a different sound, hence the change of studios and cities between MG's gigs. Like Jones, Cropper had also become unhappy with business affairs at Stax and soon left to open his own studio in Memphis. However, the rhythm section of Dunn and Jackson remained on at Stax and did session and production work. Jackson (who had been in Hi Records producer Willie Mitchell's band) played on and wrote many of Al Green's biggest hits.

Without Jones, the group (billed simply as the MG's) released a "final" single, "Jamaica This Morning", in October 1971. It failed to chart, and the group name was retired for the time being.

1970s reunions
In 1973, Dunn and Stax session guitarist Bobby Manuel recruited Hammond B-3 organist Carson Whitsett to be part of a band that was to back Stefan Anderson, a promising new Stax artist. Al Jackson was later brought in. The project did not ultimately yield any results, but the rehearsals were promising, prompting Jackson and Dunn to reform the M.G.'s. This version of the band featured Whitsett in place of Jones, so it was billed as simply "the MG's".

The 1973 album entitled The MG's, with Manuel and Whitsett replacing Cropper and Jones, was not commercially successful. Whitsett went on to back Bobby "Blue" Bland, Little Milton, and Kathy Mattea, and his songs were recorded by Johnnie Taylor, Solomon Burke, B. B. King, Etta James, Conway Twitty, and Lorrie Morgan. Manuel became a staple of the Memphis music scene, playing with everybody from Al Green to Albert King, and later founded HighStacks Records (the name being a tribute to both Stax and Hi Records).

After a promising meeting in late September 1975, Jones and Cropper (who were now living in Los Angeles) and Jackson and Dunn (still in Memphis), decided to give each other three months to finish up all of their individual projects. They would then devote three years to what would be renamed Booker T. Jones & the Memphis Group. Nine days later (October 1), Al Jackson, the man Cropper would remember as "the greatest drummer to ever walk the earth", was murdered in his home.

In 1975, Al Bell tasked Stax Producer/Musician Terry Manning (who had worked on several of the MGs albums) with a project which involved taking songs previously recorded by the classic Booker T. & the M.G.'s lineup of Jones/Cropper/Dunn/Jackson, but which had never been completed or released. Manning found and performed post production in the Stax studios on 12 songs, and the album was released in the UK and France in 1976 as Union Extended.

The remaining three members and drummer Willie Hall (a session musician who had played on many Stax hits, such as Isaac Hayes's "Theme from Shaft") regrouped under their old name, Booker T. & the M.G.'s, and recorded the album Universal Language for Asylum Records in 1977. The album did not meet with either commercial or critical success, and the band once again dissolved.

Over the next decade, Cropper, Dunn and Jones remained active, producing, writing, and playing with other artists. All three joined Levon Helm, formerly the drummer of the Band, as part of his RCO All-Stars in 1977. Also in that year, Cropper and Dunn became part of the Blues Brothers band, appearing on the number-one album Briefcase Full of Blues. Cropper, Dunn and Hall also appeared in the 1980 movie The Blues Brothers, starring Dan Aykroyd and John Belushi. Cropper, Dunn and Hall later reprised their roles in Blues Brothers 2000.

1980s to the present
In 1980 the hit feature film The Blues Brothers featured Cropper, Dunn and Hall as part of the primary band backing the Blues Brothers.

In 1986, former co-owner of Atlantic Records Jerry Wexler asked the group to be the house band for Atlantic Records' 40th anniversary celebration. The night before the gig, Jones came down with food poisoning, so Paul Shaffer stepped in at the last minute. The earlier rehearsals (with Jones, Cropper, Dunn, and drummer Anton Fig of Shaffer's "World's Most Dangerous Band", featured on Late Night with David Letterman) went so well that the group decided to play some dates together. Over the next few years, they played together occasionally, completing some gigs in the UK in 1990.

In 1992, after Booker T. & the M.G.'s were inducted into the Rock and Roll Hall of Fame, Bob Dylan asked Jones, Cropper, and Dunn to serve as the house band (with Fig and Jim Keltner on drums) for his "30th Anniversary Concert", commemorating his thirty years in the music business, at which they backed Dylan, Stevie Wonder, Johnny Cash, Eric Clapton, and George Harrison, among others.

At the concert, Neil Young asked the group to back him on his 1993 world tour, and Booker T. & the M.G.'s toured with Neil Young, backing him on his own compositions. The set list often included a cover of "(Sittin' On) The Dock of the Bay" (the original recording by Otis Redding had of course featured Booker T. & the M.G.'s).

In 1994, the group recorded its first album in 17 years, That's the Way It Should Be. Steve Jordan was the drummer on most tracks.

In 1995, when the Rock and Roll Hall of Fame opened its museum in Cleveland, Ohio, the M.G.'s served as the house band for the opening ceremonies, playing behind Aretha Franklin, Sam Moore, John Fogerty, and Al Green, as well as performing themselves.

Jones, Dunn, and Al Jackson's cousin, drummer Steve Potts, backed Neil Young on his 2002 album Are You Passionate?. Cropper, along with Isaac Hayes and Sam Moore, welcomed Stax president Jim Stewart into the Rock and Roll Hall of Fame in 2002. Cropper and Hayes were later inducted into the Songwriters Hall of Fame.

Booker T. & the M.G.'s, usually with Steve Potts on drums, still play select dates. They have been called the most influential stylists in modern American music. In early 2008 they backed singer Guy Sebastian on a sold-out tour of Australia.

In 2004, Rolling Stone ranked the group #93 on their list of the 100 Greatest Artists of All Time, and in 2007, the group received the Grammy Lifetime Achievement Award. Also in 2004, Eric Clapton featured Jones, Cropper and Dunn as the house band for the first "Crossroads Guitar Festival" a two-day event held at the Cotton Bowl in Dallas, featuring outstanding performers in various musical genres who play guitar as their primary instrument. A two-disc DVD of the show was released in the same year.

Jones, in collaboration with the band Drive-By Truckers, released the album Potato Hole, featuring Neil Young on guitar, in 2009. He released The Road from Memphis in 2011; the album won a Grammy Award.

On May 13, 2012, Dunn died following two concerts in Tokyo. Since his death, the band has, for the most part, gone their separate ways. Cropper is currently touring with the Blues Brothers, and Jones is performing as a solo artist as well as releasing new music under his name only.

Band name
For many years, Stax publicity releases stated that the initials in the band's name stood for "Memphis Group", not the MG sports car. However, this has proved not to be the case.

Musician and record producer Chips Moman, who worked at Stax Records when the band was formed, claimed that the band was named after his sports car, and only after he left the label did Stax's publicity department declare that "M.G." stood for "Memphis Group". Moman had played with Jones and Steinberg in an earlier Stax backing group called the Triumphs, which was also named after his car.

Jones, in a 2007 interview on National Public Radio's Fresh Air with Terry Gross, confirmed Moman's account of the origin of the group's name. Jones has re-confirmed this story on several occasions since, most recently as a guest on the Late Show with David Letterman on May 9, 2012.

Stax historian Rob Bowman has averred that the reason the label obscured the story of the meaning of the name M.G.'s (and concocted the "Memphis Group" explanation) was to avoid claims of trademark infringement from the manufacturers of the car. In a 2019 interview with The Guardian, Steve Cropper confirmed the motor car origin and "Memphis Group" explanation, but added 'we were being interviewed and someone asked: "What does MG actually stand for?" Duck Dunn said: "Musical geniuses!"'

Members

 * Booker T. Jones – organ, piano, keyboards, guitars (1962–1971, 1975–1977, 1986, 1992–2012)
 * Steve Cropper – guitars (1962–1971, 1975–1977, 1986, 1992–2012)
 * Al Jackson Jr. – drums (1962–1971, 1973–1975; his death)
 * Lewie Steinberg – bass (1962–1965; died 2016)
 * Donald "Duck" Dunn – bass (1965–1971, 1973–1977, 1986, 1992–2012; his death)
 * Bobby Manuel – guitars (1973–1975)
 * Carson Whitsett – organ, piano, keyboards (1973–1975; died 2007)
 * Willie Hall – drums (1975–1977)
 * Steve Jordan – drums (1994–1998)
 * Steve Potts – drums (1999–2012)

 * Additional personnel
 * Jim Keltner – drums (1992–1993; Bob Dylan show; Neil Young tour)
 * Anton Fig – drums (1986, 1998)

Other releases

 * 1967: Back to Back [live] with the Mar-Keys - US #98
 * 1968: The Best of Booker T. & the MG's (1962–1967 compilation, Atlantic SD-8202; CD reissue: Atlantic 81281 [1984] with 4 bonus tracks)
 * 1970: Greatest Hits (1968–1971 compilation, Stax STS-2033; CD reissue: Fantasy FCD-60-004 [1986] with 6 bonus tracks)
 * 1973: The MG's (released as the MG's but without Cropper and Jones)
 * 1976: Union Extended (12 unreleased tracks from the 1960s; released in the UK only on Stax/Pye STX.1045)
 * 1992: Funky Broadway: Stax Revue Live at the 5/4 Ballroom (a revue concert recorded 1965 in Los Angeles with the Mad Lads, the Astors, Carla Thomas, Rufus Thomas, the Mar-Keys and William Bell)
 * 1994: The Very Best of Booker T. & the MG's (1962–1971 compilation, Rhino R2-71738)
 * 1995: Play the 'Hip Hits'  [also released as Soul Men in 2003] (25 unreleased tracks from the 1960s, Stax/Ace CDSXD-065)
 * 1998: Time Is Tight (3-CD; anthology including greatest hits/best of album tracks/rare material/live recordings)
 * 2002: Stax Instrumentals (a further 25 unreleased tracks from the 1960s, Stax/Ace CDSXD-117) with the Mar-Keys
 * 2006: The Definitive Soul Collection (2-CD; 1962–1971 compilation, Rhino R2-77660)

Singles

 * Note: Through a period between late 1963 and early 1965, Billboard magazine did not publish an R&B singles chart.  R&B chart figures for this era are from Cashbox magazine.

title: Booker T. & the M.G.'s


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Lilian, Princess of Réthy

Princess Lilian of Belgium, Princess of Réthy (born Mary Lilian Henriette Lucie Josephine Ghislaine Baels; November 28, 1916 – June 7, 2002) was the second wife of King Leopold III of Belgium. Born in the United Kingdom and raised in Belgium, she became a volunteer as a car driver that transported wounded Belgian and French to the hospital in Bruges during World War II. Lilian married King Leopold III in 1941 and became consort of the Belgian monarch. The couple produced three children. She was also a stepmother to Leopold III's children from Queen Astrid and became the "first lady" of Belgium during the first nine years of her stepson King Baudouin's reign. Her charity work revolved around medicine and cardiology.

Early life and education
Mary Lilian Baels was born in Highbury, London, England, where her parents had fled during World War I. She was one of the nine children of Henri Baels from Ostend and his wife, Anne Marie de Visscher, a member of the Belgian nobility from Dentergem. Lilian was initially educated in English, but, upon her parents' return to Belgium, she attended the College of the Sacred Heart in Ostend, where she learned Dutch. Lilian continued her studies in French at the Institute of the Sacred Heart in Brussels. She was also fluent in German. Lilian completed her education by attending a convent school in London and attending finishing schools in France, Switzerland and Austria.

In addition to academic work, Lilian participated extensively in sports, such as skiing, swimming, golfing, and hunting. Above all, however, she enjoyed, as did her father, literature and the arts. As a teenager, she was presented to King George V and Queen Mary of the United Kingdom at Buckingham Palace.

Friendship with the Belgian royal family
In 1933, Lilian Baels, as a student at the Institute of the Sacred Heart, saw her future husband King Leopold III of Belgium, then the Duke of Brabant, for the first time during a military review that was conducted by King Albert I at the location near to the school. When the students in her class were given the task of writing an essay on a topic of their choice, Lilian decided to write on the then-Prince Leopold. A few years later, when her father, then Governor of West Flanders, took his daughter to a public ceremony, she had the occasion to meet King Leopold, who presided at the event, for the second time.

In 1937, Lilian and her mother met the King, now a widower, again on another ceremonial occasion. Soon afterwards, King Leopold III contacted Governor Baels to invite him and his daughter to join him in a golfing party the next day. Lilian also saw the King in 1939 at a garden-party organised in honour of Queen Wilhelmina of the Netherlands, and later at the golf course at Laeken, where she was invited to lunch by King Leopold's mother, Queen Elisabeth of Belgium. A final golf party near the Belgian coast occurred in May 1940, shortly before the Nazi invasion of Belgium.

Beginnings of World War II in Belgium
Following the Nazi invasion of Belgium, Lilian's mother put herself at the service of the Red Cross during the Belgian and Allied military campaign against the invaders. Lilian helped her mother actively in her new role, transporting wounded Belgian and French to the hospital of St. John in Bruges by car and helped to evacuate the elderly from an asylum in Aalst, which was inside the combat zone. Meanwhile, her father, Governor Baels, attempted to alleviate the plight of his invaded province. On 18 May, Henri Baels went in search of the Minister of the Interior, thinking he had left for France, to obtain his signature for an important relief measure. On his journey, however, Governor Baels had a car accident and injured his legs. He was admitted to a hospital in Le Havre. As the military situation in Belgium headed towards disaster, his wife decided to bring her daughters to safety in France, and Lilian drove the family car on the trip. Governor Baels' wife and daughters met him again, by pure chance, in a hospital in Poitiers. Baels was subsequently accused of having abandoned his post as Governor without justification by fleeing to France. He succeeded, however, in obtaining an audience with the King following the capitulation of the Belgian army on 28 May 1940 and the King's own imprisonment by the Germans at Laeken Castle. Baels and his daughter Lilian, who drove him to the audience, explained the real circumstances of his departure from Belgium, and the Governor was thereby vindicated. Subsequently, Lilian and her father returned to France and occupied themselves with the care of Belgian refugees in the region of Anglet. After Belgium's liberation, Henri Baels was accused of collaborating with the Nazis during the war, while he lived in France.

Marriage and controversy
In 1941, at the invitation of Queen Elisabeth, Lilian visited Laeken Castle, where King Leopold III, now a prisoner of war, was held by the Germans under house arrest. This visit was followed by several others, with the result that Leopold III and Lilian fell in love. Leopold proposed marriage to Lilian in July 1941, but Lilian declined his offer because "Kings only marry princesses," she said. Queen Elisabeth, however, prevailed upon Lilian to accept the King's offer. Lilian agreed to marry the King, but declined the title of queen. Instead, the King gave Lilian the title Princess of Belgium, a.k.a. Princess of Réthy, with the style Royal Highness. It was agreed that descendants of the King's new marriage would be titled Prince/Princess of Belgium with the style Royal Highness but excluded from succession to the throne.

Leopold and Lilian initially planned to hold their official, civil marriage after the end of the war and the liberation of Belgium, but in the meantime, a secret religious marriage ceremony took place on 11 September 1941, in the chapel of Laeken Castle, in the presence of King Leopold's mother Queen Elisabeth, Lilian's father Henri Baels, Cardinal van Roey (who worked as the Archbishop of Mechelen and primate of Belgium) and one of the King's old friends. Lilian was wearing Queen Elisabeth's bridal veil during her wedding. This actually contravened Belgian law, which required that the religious wedding be preceded by the civil one. Although Lilian and Leopold had originally planned to postpone their civil marriage until the end of the war, Lilian was soon expecting her first child, necessitating a civil marriage, which took place on 6 December 1941. The civil marriage automatically made Lilian a Belgian princess. Lilian proved a devoted wife to the King and an affectionate and vivacious stepmother to his children by his first wife, Queen Astrid. Her stepchildren—Joséphine-Charlotte, Baudouin, and Albert II—adored her and they called her "Mother".

When the civil marriage of Leopold and Lilian was made public in a pastoral letter by Cardinal van Roey read throughout Belgian churches in December 1941, there was a mixed reaction in Belgium. Some showed sympathy for the new couple, sending flowers and messages of congratulations to the palace at Laeken. Others, however, argued that the marriage was incompatible with the King's status as a prisoner of war and his stated desire to share the hard fate of his conquered people and captive army, and was a betrayal of Queen Astrid's memory. They also branded Lilian as a social-climber. One of the leading Belgian newspapers rebuked King Leopold: "Sire, we thought you had your face turned towards us in mourning. Instead you had it hidden in the shoulder of a woman." Leopold and Lilian were also blamed for violating Belgian law by holding their religious marriage before their civil one. These criticisms would continue for many years, even after the war.

According to Lilian's account, the news of her secret marriage with King Leopold upset and worried her mother, who foresaw that it would provoke a political storm. Her mother quoted "My little one, you don't know what's in store for you. It will be appalling, they will all attack you, you will have a terribly hard life." Queen Astrid's parents, Prince Carl and Princess Ingeborg of Sweden, did not take the hard line against King Leopold's remarriage. Princess Ingeborg told a Belgian journalist that she couldn't understand all the animus in Belgium against the king's second marriage, that it was perfectly natural for a young man not to want to remain alone forever. She said she was happy about her son-in-law's new marriage, both for his own sake and for the sake of her grandchildren.

Deportation to Nazi Germany
In 1944, the Belgian royal family was deported to Nazi Germany, where they were strictly guarded by 70 members of the SS, under harsh conditions. The family suffered from a deficient diet and lived with the constant fear that they would be massacred by their jailers, as an act of revenge on the part of the Nazis, angered at their defeat (by now becoming increasingly certain) by the Allies, or that they would be caught in the cross-fire between Allied forces and their captors, who might try to make a desperate last stand at the site of the royal family's internment. The family's fears were not unfounded. At one point, a Nazi official tried to give them cyanide, pretending it was a mixture of vitamins to compensate for the captives' poor diet during their imprisonment. Lilian and Leopold, however, were rightly suspicious and did not take the pills or give them to their children. During their period of captivity in Germany, (and later Austria), Leopold and Lilian jointly homeschooled the royal children. The King taught scientific subjects; his wife, arts and literature. In 1945, the Belgian royal family was released by the American 106th Cavalry Regiment under the command of Lieutenant General Alexander Patch, who thereafter became a close friend of King Leopold and Princess Lilian until he died 2 months later.

"Royal Question" and the aftermath
Following his liberation, King Leopold was unable to return to Belgium (by now liberated as well) due to a political controversy that arose in Belgium surrounding his actions during World War II. He was accused of having betrayed the Allies by an allegedly premature surrender in 1940 and of collaborating with the Nazis during the occupation of Belgium. In 1946, a juridical commission was constituted in Brussels to investigate the King's conduct during the war and occupation. During this period, the king and his family lived in exile in Pregny-Chambésy, Switzerland, and the King's younger brother, Prince Charles, Count of Flanders, was made regent of the country. The commission of inquiry eventually exonerated Leopold of the charges and he was able, in 1950, to return to Belgium and resume his royal duties. Political agitation against the King continued, however, leading to civil disturbances in what became known as the Royal Question. As a result, in 1951, to avoid tearing the country apart and to save the embattled monarchy, King Leopold III abdicated in favour of his 21-year-old son, Prince Baudouin.

During the first nine years of her stepson's reign, Lilian acted as "first lady" of Belgium. At the same period, Lilian also became the senior lady of the household. King Leopold and Princess Lilian continued to live in the royal palace at Laeken until Baudouin's marriage to Doña Fabiola de Mora y Aragón in 1960.

Life in Argenteuil and charity work
In 1960, following the marriage of King Baudouin, Leopold and Lilian moved out of the royal palace to a government property, the estate of Argenteuil, Belgium. Lilian employed various designers to transform the dilapidated mansion on the property into a distinguished and elegant residence for the ex-King. Argenteuil became a cultural centre under the auspices of Leopold and Lilian, who cultivated the friendship of numerous prominent writers, scientists, mathematicians, and doctors. Leopold and Lilian also travelled extensively all over the world.

Following her son Prince Alexandre's heart surgery in Boston, Massachusetts in 1957, Princess Lilian became very interested in medicine, and, in particular, in cardiology, and founded a Cardiological Foundation in 1958 to promote new forms of treatment for cardiovascular diseases, which, through its work, has saved the lives of hundreds of people. Both before and after her husband's death in 1983, Lilian pursued her interests in intellectual and scientific spheres with energy and passion. Princess Lilian also personally financed a number of Belgian children who needed to go to the United States for operations. Princess Lilian and her husband appeared in public at a ceremony for the Brussels Exhibition of 1958. In 1961, Lilian inaugurated a new cardiac research laboratory at the Hospital Saint-Pierre in Brussels.

In 1962, Pan, a Belgian satirical journal, followed by two French tabloids, released a publication about the private life of Lilian. On December 31, Leopold submitted a complaint to the press. He wrote that "For more than twenty years, my wife has shared my joys and my sorrows: she has restored a home to me, she has helped me to raise the children Queen Astrid gave me, and she has consecrated herself to them with a devotion and a tenderness that have made them what they are today." He also concluded that "My wife and I wish for nothing more than to dwell in peace at Argenteuil, and devote ourselves to scientific, philanthropic and social activities in which we take a deep interest."

Her belongings from the chateau were put up at auction in Amsterdam.

Death
Princess Lilian died at the Domaine d'Argenteuil in Waterloo, Belgium. Before her death, she had expressed the desire to be buried at Argenteuil. Her wish was denied, however, and she was buried in the royal crypt of the Church of Our Lady, Laeken, Belgium, with King Leopold and his first wife, Queen Astrid. Queen Fabiola and Lilian's stepchildren attended the funeral, as did Lilian's son Alexandre and her daughter Marie-Esmeralda. Lilian's long-estranged daughter Marie-Christine did not attend.

Character and reputation
Lilian was known as a woman who was terribly strict and demanding towards herself, and, a result, as one who could be excessively severe with others as well. Due to the controversy surrounding King Leopold's wartime actions, and, in particular, his second marriage, Lilian was widely unpopular in Belgium. However, she also had a circle of close friends, who saw her as a woman of great beauty, charm, intelligence, elegance, strength of character, kindness, generosity, humor and culture. They admired her for the courage and dignity with which she faced a long series of personal attacks, both during the Royal Question and for decades afterwards. According to Queen Elisabeth's lady-in-waiting, Lilian was "a true princess in the full sense of the term."

Fashion
Jacqueline Kennedy, First Lady of the United States as wife of John F. Kennedy, cited Princess Lilian as a fashion inspiration. Lilian's wardrobe and jewelry collection were auctioned by Sotheby's in 2003.

Philanthropy
Following Princess Lilian's death, a cardiological conference was organised and prominent doctors and surgeons such as DeBakey and many others rendered an homage to Lilian and her contributions to cardiology through Cardiological Foundation.

Children
Lilian had three children with King Leopold III:

 * Prince Alexandre Emmanuel Henri Albert Marie Léopold of Belgium (1942–2009). Married Léa Wolman in 1991 (the marriage became public knowledge in 1998).
 * Princess Marie-Christine Daphné Astrid Élisabeth Léopoldine of Belgium, born in Brussels on 6 February 1951. First marriage to Paul Drucker in 1981 (separated 1981, divorced 1985); second marriage to Jean-Paul Gourgues in 1989. Resides in Las Vegas.
 * Princess Marie-Esméralda Adelaide Lilian Anne Léopoldine of Belgium, born in Brussels on 30 September 1956. Married Sir Salvador Enrique Moncada in 1998. They have two children: Alexandra and Leopoldo. A journalist, she writes under the professional name of Esmeralda de Réthy.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Lilian, Princess of Réthy


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Industrial design

Industrial design is a process of design applied to physical products that are to be manufactured by mass production. It is the creative act of determining and defining a product's form and features, which takes place in advance of the manufacture or production of the product. Industrial manufacture consists of predetermined, standardized and repeated, often automated, acts of replication, while craft-based design is a process or approach in which the form of the product is determined personally by the product's creator largely concurrent with the act of its production.

All manufactured products are the result of a design process, but the nature of this process can vary. It can be conducted by an individual or a team, and such a team could include people with varied expertise (e.g. designers, engineers, business experts, etc.). It can emphasize intuitive creativity or calculated scientific decision-making, and often emphasizes a mix of both. It can be influenced by factors as varied as materials, production processes, business strategy, and prevailing social, commercial, or aesthetic attitudes. Industrial design, as an applied art, most often focuses on a combination of aesthetics and user-focused considerations, but also often provides solutions for problems of form, function, physical ergonomics, marketing, brand development, sustainability, and sales.

Precursors
For several millennia before the onset of industrialization, design, technical expertise, and manufacturing was often done by individual crafts people, who determined the form of a product at the point of its creation, according to their own manual skill, the requirements of their clients, experience accumulated through their own experimentation, and knowledge passed on to them through training or apprenticeship.

The division of labour that underlies the practice of industrial design did have precedents in the pre-industrial era. The growth of trade in the medieval period led to the emergence of large workshops in cities such as Florence, Venice, Nuremberg, and Bruges, where groups of more specialized craftsmen made objects with common forms through the repetitive duplication of models which defined by their shared training and technique. Competitive pressures in the early 16th century led to the emergence in Italy and Germany of pattern books: collections of engravings illustrating decorative forms and motifs which could be applied to a wide range of products, and whose creation took place in advance of their application. The use of drawing to specify how something was to be constructed later was first developed by architects and shipwrights during the Italian Renaissance.

In the 17th century, the growth of artistic patronage in centralized monarchical states such as France led to large government-operated manufacturing operations epitomized by the Gobelins Manufactory, opened in Paris in 1667 by Louis XIV. Here teams of hundreds of craftsmen, including specialist artists, decorators and engravers, produced sumptuously decorated products ranging from tapestries and furniture to metalwork and coaches, all under the creative supervision of the King's leading artist Charles Le Brun. This pattern of large-scale royal patronage was repeated in the court porcelain factories of the early 18th century, such as the Meissen porcelain workshops established in 1709 by the Grand Duke of Saxony, where patterns from a range of sources, including court goldsmiths, sculptors, and engravers, were used as models for the vessels and figurines for which it became famous. As long as reproduction remained craft-based, however, the form and artistic quality of the product remained in the hands of the individual craftsman, and tended to decline as the scale of production increased.

Birth of industrial design
The emergence of industrial design is specifically linked to the growth of industrialization and mechanization that began with the industrial revolution in Great Britain in the mid 18th century. The rise of industrial manufacture changed the way objects were made, urbanization changed patterns of consumption, the growth of empires broadened tastes and diversified markets, and the emergence of a wider middle class created demand for fashionable styles from a much larger and more heterogeneous population.

The first use of the term "industrial design" is often attributed to the industrial designer Joseph Claude Sinel in 1919 (although he himself denied this in interviews), but the discipline predates 1919 by at least a decade. Christopher Dresser is considered among the first independent industrial designers. Industrial design's origins lie in the industrialization of consumer products. For instance, the Deutscher Werkbund, founded in 1907 and a precursor to the Bauhaus, was a state-sponsored effort to integrate traditional crafts and industrial mass-production techniques, to put Germany on a competitive footing with Great Britain and the United States.

The earliest published use of the term may have been in The Art-Union, 15 September 1840.

"Dyce's Report to the Board of Trade, on Foreign Schools of Design for Manufactures. Mr. Dyce's official visit to France, Prussia, and Bavaria, for the purpose of examining the state of schools of design in those countries, will be fresh in the recollection of our readers. His report on this subject was ordered to be printed some few months since, on the motion of Mr. Hume; and it is the sum and substance of this Report that we are now about to lay before our own especial portion of the reading public.

The school of St. Peter, at Lyons, was founded about 1750, for the instruction of draftsmen employed in preparing patterns for the silk manufacture. It has been much more successful than the Paris school; and having been disorganized by the revolution, was restored by Napoleon and differently constituted, being then erected into an Academy of Fine Art: to which the study of design for silk manufacture was merely attached as a subordinate branch.

It appears that all the students who entered the school commence as if they were intended for artists in the higher sense of the word and are not expected to decide as to whether they will devote themselves to the Fine Arts or to Industrial Design, until they have completed their exercises in drawing and painting of the figure from the antique and from the living model. It is for this reason, and from the fact that artists for industrial purposes are both well-paid and highly considered (as being well-instructed men), that so many individuals in France engage themselves in both pursuits."

The Practical Draughtsman's Book of Industrial Design by Jacques-Eugène Armengaud was printed in 1853. The subtitle of the (translated) work explains, that it wants to offer a "complete course of mechanical, engineering, and architectural drawing." The study of those types of technical drawing, according to Armengaud, belongs to the field of industrial design. This work paved the way for a big expansion in the field of drawing education in France, the United Kingdom, and the United States.

Robert Lepper helped to establish one of the USA's first industrial design degree programs in 1934 at Carnegie Institute of Technology.

Education
Product design and industrial design overlap in the fields of user interface design, information design, and interaction design. Various schools of industrial design specialize in one of these aspects, ranging from pure art colleges and design schools (product styling), to mixed programs of engineering and design, to related disciplines such as exhibit design and interior design, to schools that almost completely subordinated aesthetic design to concerns of usage and ergonomics, the so-called functionalist school. Except for certain functional areas of overlap between industrial design and engineering design, the former is considered an applied art while the latter is an applied science. Educational programs in the U.S. for engineering require accreditation by the Accreditation Board for Engineering and Technology (ABET) in contrast to programs for industrial design which are accredited by the National Association of Schools of Art and Design (NASAD). Of course, engineering education requires heavy training in mathematics and physical sciences, which is not typically required in industrial design education.

Institutions
Most industrial designers complete a design or related program at a vocational school or university. Relevant programs include graphic design, interior design, industrial design, architectural technology, and drafting. Diplomas and degrees in industrial design are offered at vocational schools and universities worldwide. Diplomas and degrees take two to four years of study. The study results in a Bachelor of Industrial Design (B.I.D.), Bachelor of Science (B.Sc) or Bachelor of Fine Arts (B.F.A.). Afterwards, the bachelor programme can be extended to postgraduate degrees such as Master of Design, Master of Fine Arts and others to a Master of Arts or Master of Science.

Definition
Industrial design studies function and form—and the connection between product, user, and environment. Generally, industrial design professionals work in small scale design, rather than overall design of complex systems such as buildings or ships. Industrial designers don't usually design motors, electrical circuits, or gearing that make machines move, but they may affect technical aspects through usability design and form relationships. Usually, they work with other professionals such as engineers who focus on the mechanical and other functional aspects of the product, assuring functionality and manufacturability, and with marketers to identify and fulfill customer needs and expectations.

Design, itself, is often difficult to describe to non-designers because the meaning accepted by the design community is not made of words. Instead, the definition is created as a result of acquiring a critical framework for the analysis and creation of artifacts. One of the many accepted (but intentionally unspecific) definitions of design originates from Carnegie Mellon's School of Design: "Everyone designs who devises courses of action aimed at changing existing situations into preferred ones." This applies to new artifacts, whose existing state is undefined, and previously created artifacts, whose state stands to be improved.

Industrial design can overlap significantly with engineering design, and in different countries the boundaries of the two concepts can vary, but in general engineering focuses principally on functionality or utility of products, whereas industrial design focuses principally on aesthetic and user-interface aspects of products. In many jurisdictions this distinction is effectively defined by credentials and/or licensure required to engage in the practice of engineering. "Industrial design" as such does not overlap much with the engineering sub-discipline of industrial engineering, except for the latter's sub-specialty of ergonomics.

At the 29th General Assembly in Gwangju, South Korea, 2015, the Professional Practise Committee unveiled a renewed definition of industrial design as follows: "Industrial Design is a strategic problem-solving process that drives innovation, builds business success and leads to a better quality of life through innovative products, systems, services and experiences." An extended version of this definition is as follows: "Industrial Design is a strategic problem-solving process that drives innovation, builds business success and leads to a better quality of life through innovative products, systems, services and experiences. Industrial Design bridges the gap between what is and what's possible. It is a trans-disciplinary profession that harnesses creativity to resolve problems and co-create solutions with the intent of making a product, system, service, experience or a business, better. At its heart, Industrial Design provides a more optimistic way of looking at the future by reframing problems as opportunities. It links innovation, technology, research, business and customers to provide new value and competitive advantage across economic, social and environmental spheres. Industrial Designers place the human in the centre of the process. They acquire a deep understanding of user needs through empathy and apply a pragmatic, user centric problem solving process to design products, systems, services and experiences. They are strategic stakeholders in the innovation process and are uniquely positioned to bridge varied professional disciplines and business interests. They value the economic, social and environmental impact of their work and their contribution towards co-creating a better quality of life. "

Design process
Although the process of design may be considered 'creative,' many analytical processes also take place. In fact, many industrial designers often use various design methodologies in their creative process. Some of the processes that are commonly used are user research, sketching, comparative product research, model making, prototyping and testing. These processes are best defined by the industrial designers and/or other team members. Industrial designers often utilize 3D software, computer-aided industrial design and CAD programs to move from concept to production. They may also build a prototype or scaled down sketch models through a 3D printing process or using other materials such as paper, balsa wood, various foams, or clay for modeling. They may then use industrial CT scanning to test for interior defects and generate a CAD model. From this the manufacturing process may be modified to improve the product.

Product characteristics specified by industrial designers may include the overall form of the object, the location of details with respect to one another, colors, texture, form, and aspects concerning the use of the product. Additionally, they may specify aspects concerning the production process, choice of materials and the way the product is presented to the consumer at the point of sale. The inclusion of industrial designers in a product development process may lead to added value by improving usability, lowering production costs, and developing more appealing products.

Industrial design may also focus on technical concepts, products, and processes. In addition to aesthetics, usability, and ergonomics, it can also encompass engineering, usefulness, market placement, and other concerns—such as psychology, desire, and the emotional attachment of the user. These values and accompanying aspects that form the basis of industrial design can vary—between different schools of thought, and among practicing designers.

Industrial design rights
Industrial design rights are intellectual property rights that make exclusive the visual design of objects that are not purely utilitarian. A design patent would also be considered under this category. An industrial design consists of the creation of a shape, configuration or composition of pattern or color, or combination of pattern and color in three-dimensional form containing aesthetic value. An industrial design can be a two- or three-dimensional pattern used to produce a product, industrial commodity or handicraft. Under the Hague Agreement Concerning the International Deposit of Industrial Designs, a WIPO-administered treaty, a procedure for an international registration exists. An applicant can file for a single international deposit with WIPO or with the national office in a country party to the treaty. The design will then be protected in as many member countries of the treaty as desired.

In 2022, about 1.1 million industrial design applications were filed worldwide. This represents a decrease of 3% on 2021, marking a first drop in filings since 2014.

Hague top applicants
The Hague System for the International Registration of Industrial Designs provides an international mechanism that secures protection of up to 100 designs in multiple countries or regions, through a single international application. International design applications are filed directly through WIPO. The domestic legal framework of each designated contracting party governs the design protection provided by the resulting international registrations. The Hague System does not require the applicant to file a national or regional design application.

Examples of industrial design

A number of industrial designers have made such a significant impact on culture and daily life that their work is documented by historians of social science. Alvar Aalto, renowned as an architect, also designed a significant number of household items, such as chairs, stools, lamps, a tea-cart, and vases. Raymond Loewy was a prolific American designer who is responsible for the Royal Dutch Shell corporate logo, the original BP logo (in use until 2000), the PRR S1 steam locomotive, the Studebaker Starlight (including the later bulletnose), as well as Schick electric razors, Electrolux refrigerators, short-wave radios, Le Creuset French ovens, and a complete line of modern furniture, among many other items.

Richard Teague, who spent most of his career with the American Motors Corporation, originated the concept of using interchangeable body panels so as to create a wide array of different vehicles using the same stampings. He was responsible for such unique automotive designs as the Pacer, Gremlin, Matador coupe, Jeep Cherokee, and the complete interior of the Eagle Premier.

Milwaukee's Brooks Stevens was best known for his Milwaukee Road Skytop Lounge car and Oscar Mayer Wienermobile designs, among others.

Viktor Schreckengost designed bicycles manufactured by Murray bicycles for Murray and Sears, Roebuck and Company. With engineer Ray Spiller, he designed the first truck with a cab-over-engine configuration, a design in use to this day. Schreckengost also founded The Cleveland Institute of Art's school of industrial design.

Oskar Barnack was a German optical engineer, precision mechanic, industrial designer, and the father of 35mm photography. He developed the Leica, which became the hallmark for photography for 50 years, and remains a high-water mark for mechanical and optical design.

Charles and Ray Eames were most famous for their pioneering furniture designs, such as the Eames Lounge Chair Wood and Eames Lounge Chair. Other influential designers included Henry Dreyfuss, Eliot Noyes, John Vassos, and Russel Wright.

Dieter Rams is a German industrial designer closely associated with the consumer products company Braun and the Functionalist school of industrial design.

German industrial designer Luigi Colani, who designed cars for automobile manufacturers including Fiat, Alfa Romeo, Lancia, Volkswagen, and BMW, was also known to the general public for his unconventional approach to industrial design. He had expanded in numerous areas ranging from mundane household items, instruments and furniture to trucks, uniforms and entire rooms. A grand piano created by Colani, the Pegasus, is manufactured and sold by the Schimmel piano company.

Many of Apple's recent products were designed by Sir Jonathan Ive.

title: Industrial design


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Sam & Dave

Sam & Dave were an American soul and R&B duo who performed together from 1961 until 1981. The tenor (higher) voice was Sam Moore (born 1935) and the baritone/tenor (lower) voice was Dave Prater (1937–1988).

Nicknamed "Double Dynamite", "The Sultans of Sweat", and "The Dynamic Duo" for their gritty, gospel-infused performances, Sam & Dave are considered one of the greatest live acts of the 1960s. Many subsequent musicians have named them as an influence, including Bruce Springsteen, Al Green, Tom Petty, Phil Collins, Michael Jackson, Steve Van Zandt, Elvis Costello, The Jam, Teddy Pendergrass, Billy Joel, and Steve Winwood. The Blues Brothers, who helped create a resurgence of popularity for soul, R&B, and blues in the 1980s, were influenced by Sam & Dave – their biggest hit was a cover of "Soul Man", and their act and stage show contained many homages to the duo.

According to the Rock & Roll Hall of Fame, Sam & Dave were the most successful soul duo and brought the sounds of the black gospel church to pop music with their call-and-response records. Recorded primarily at Stax Records in Memphis, Tennessee, from 1965 through 1968, these included "Soul Man", "Hold On, I'm Comin'", "You Don't Know Like I Know", "I Thank You", "When Something Is Wrong with My Baby", "Wrap It Up", and many other Southern Soul classics. Except for Aretha Franklin, no soul act during Sam & Dave's Stax years (1965–1968) had more consistent R&B chart success, including 10 consecutive top-20 singles and three consecutive top-10 LPs. Their crossover charts appeal (13 straight appearances and two top-10 singles) helped to pave the way for the acceptance of soul music by white pop audiences, and their song "Soul Man" was one of the first songs by a black group to top the pop charts using the word "soul", helping define the genre. "Soul Man" was a number-one Pop Hit (Cashbox: November 11, 1967) and has been recognized as one of the most influential songs of the past 50 years by the Grammy Hall of Fame, the Rock & Roll Hall of Fame, Rolling Stone magazine, and RIAA Songs of the Century. "Soul Man" was featured as the soundtrack and title for a 1986 film and also a 1997–1998 television series, and Soul Men was a 2008 feature film.

Sam & Dave are inductees in the Rock and Roll Hall of Fame, the Vocal Group Hall of Fame, the Memphis Music Hall of Fame, and the Rhythm & Blues Music Hall of Fame. They won a Grammy Award for "Soul Man" and they received the Grammy Lifetime Achievement Award in 2019. Rolling Stone ranked Sam & Dave No. 14 on its list of the 20 Greatest Duos of All Time.

Early years
Sam Moore and Dave Prater's early musical backgrounds involved listening to and singing gospel music in their homes and churches, and in Dave's case, also singing gospel in the choir in his church. Dave later sang with his older brother JT Prater in the gospel group The Sensational Hummingbirds, who recorded "Lord Teach Me" in the 1950s. Sam recorded "Nitey-Nite"/"Caveman Rock" in 1954 with the doo-wop group The Majestics, and later sang with the gospel groups The Gales and The Mellonaires. Moore and Prater listed Jackie Wilson and Sam Cooke as influences on their styles, and Moore was also influenced by Little Willie John, whom he and Dave opened for often in the early 1960s.

Sam & Dave met working the gospel music circuit, and later in small clubs in Miami during amateur nights in 1961 according to Dave. They sang together one night at the King of Hearts club, and started working together immediately thereafter, developing a live act featuring gospel-inspired call-and-response. Soul singer and record producer Steve Alaimo discovered them while performing during the same show with them at the King of Hearts nightclub in Miami and signed them to Marlin Records.

After two singles in early 1962 were released on the local Marlin label owned by Miami's Henry Stone, Stone helped sign them to Roulette Records in New York City. They released six 45s from 1962 to 1964 (two were re-releases of Marlin recordings) with Roulette, and one single on Stone and Alaimo's Alston Label. A few of the singles received regional airplay, but did not achieve national chart success. The songs, some of which were produced by Steve Alaimo and some of which were produced by Henry Glover, were similar in many ways to R&B recordings by Sam Cooke, Jackie Wilson and Little Willie John. Prater was the lead vocalist on most of these singles, with Moore singing harmony and alternate verses.

In summer 1964, Stone introduced the duo to Atlantic Records' Jerry Wexler, who signed them to Atlantic. Wexler asked Memphis, Tennessee-based Stax Records, which Atlantic distributed nationally, to work with Sam & Dave. Wexler wanted the Southern roots and gospel style of their live performances, so the pair were loaned to Stax to record, although they remained Atlantic Records artists. According to Wexler's autobiography Rhythms & Blues, "Their live act was filled with animation, harmony and seeming goodwill. I put Sam in the sweet tradition of Sam Cooke or Solomon Burke, while Dave had an ominous Four Tops' Levi Stubbs-sounding voice, the preacher promising hellfire."

Arrival at Stax and early Stax singles
When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters including the MGs' guitarist Steve Cropper, who wrote or co-wrote four of their first eight recordings. The duo then moved to relative newcomer writers and producers Isaac Hayes and David Porter. Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles). According to Moore and Prater, they also greatly influenced the duo's singing style, and shifted their recording style from the style of their Roulette records to a more live, more energetic gospel, call-and-response feel and beat driven soul style the group is known for today.

Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, The Mar-Keys, were world-class musicians who co-wrote (often without credit) and contributed to recordings—the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song.

While the first two Stax singles failed to chart, the third, the Hayes/Porter composition (with similarities, including the title, to a gospel standard) "You Don't Know Like I Know" hit No. 7 R&B in 1966. This was the first of 10 consecutivetop-20 R&B chart hits over three years, and 14 R&B chart appearances during their career.

"Hold On, I'm Comin single and Hold On, I'm Comin' LP
"Hold On, I'm Comin' (R&B#1/Pop#21), released in March 1966, was an enormous R&B hit for Sam & Dave, and also their first single to break into the top-40 pop charts. The song was named the No. 1 song of the year for 1966 by the Billboard R&B charts, and spent 20 weeks on the R&B charts in 1966, peaking at No. 1 in June. In 1988, Rolling Stone named it one of the best 100 songs of the past 25 years. "Hold On, I'm Comin received a belated RIAA gold record for one million sales in 1995, 29 years after its release. "Hold On, I'm Comin has since been recorded by dozens of other artists.

"Hold On, I'm Comin was also the first recording on which Moore took lead on the first verse and Prater was given the response role and second verse at Hayes and Porter's suggestion. The duo used this format (singing dual leads) on most of their songs. The song was created when Hayes called to Porter, who was in the bathroom. Porter supposedly said "Hold on, man. I'm comin'," and Hayes and Porter wrote the song within 10 minutes. "Hold On, I'm Comin', when released, received objections from radio stations over the suggestive title. This resulted in a name change by Stewart and quick re-recording and re-release, and nearly all the original U.S. copies of the single bear the title "Hold On, I'm A-Comin'".

The LP Hold On, I'm Comin' (4/66) reached No. 1 for 19 weeks on the R&B album charts in 1966. After Sam & Dave's chart success, Roulette quickly released the album Sam & Dave in 1966 as well, a collection of the A & B sides of their six Roulette 45s, which did not chart.

When Something is Wrong, Double Dynamite LP and singles
Sam & Dave's next huge R&B hit was "When Something is Wrong With My Baby", their only ballad single, which was released in January 1967. Stax author Rob Bowman called this "One of the most sublime records in soul music's history," and The Mar-Keys trumpet player Wayne Jackson called it the greatest song he has ever heard. This was the only Sam & Dave hit where Dave sang the first verse solo; their other hits started with Sam & Dave together or Sam singing the first verse. "When Something is Wrong With My Baby" has since become an often recorded and performed duet for male and female singers performing together.

The duo also charted in late 1966 with the top 10 R&B hits "Said I Wasn't Gonna Tell Nobody", and "You Got Me Hummin". These three singles, along with other tracks, were compiled on Double Dynamite (12/66), Sam & Dave's second LP on Stax. The LP peaked at No. 7 R&B and #118 Pop.

"Soul Man" single and Soul Men LP
Sam & Dave's biggest hit and best-remembered song, "Soul Man" (R&B #1/Pop #2), was released in August 1967. It was the number No. 1 song in the US according to Cashbox magazine Pop charts in November 1967. Sam & Dave won the Grammy Award in 1967 for "Best Performance – Rhythm & Blues Group" for "Soul Man", their first gold record. "Soul Man" was voted into the Grammy Hall of Fame in 1999. The song helped name the emerging music genre as "Soul Music". According to co-writer Isaac Hayes, the title was inspired by news reports of soul pride that emerged after the 1967 race riots, where stories that painting the word "soul" on your door was a message for looters to bypass your house. Hayes-Porter extrapolated that to "I'm a soul brother, I'm a soul man.". It has been recognized as one of the best or most influential songs of 50 years by the Grammy Hall of Fame, The Rock & Roll Hall of Fame, Rolling Stone, and R.I.A.A. Songs of the Century. "Soul Man" was used as the soundtrack and title for a 1986 film, a 2008 film Soul Men, a 1997–1998 television series. In 2019, "Soul Man" was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".

The Soul Men LP (October 1967) was Sam & Dave's third Stax LP (R&B #5/Pop #68). Musicologist Rob Bowman called Soul Men "One of the greatest soul music albums of all time." "Don't Knock It" from the LP was released as a single in France, but other songs were not released as U.S. singles due to the long run by "Soul Man" on the Pop charts (15 weeks), by which time "I Thank You/Wrap It Up" was ready for release. "May I Baby", the B-side of "Soul Man", is also regarded as a classic song on the LP by Whitburn's "Top Pop Singles" guide, and was a popular live song performed frequently by Sam & Dave.

"I Thank You" single and I Thank You LP
In 1968, Sam & Dave again charted with the gospel-inspired "I Thank You/Wrap It Up" (R&B #4/Pop #9). Critics commented that the B-side "Wrap It Up" could have been a separate successful single, which it later became for The Fabulous Thunderbirds. Because the duo were so busy touring, Hayes & Porter traveled to Europe to record the vocal track on "Wrap It Up" in order to release the single. Due to the end of the distribution agreement between Stax and Atlantic Records in May 1968, "I Thank You" was Sam & Dave's final single on Stax. Although they continued to work at Stax with Hayes/Porter, as of May 1968, the duo's work was released on Atlantic Records. "I Thank You" sold over one million copies, earning it gold record status.

Sam & Dave's first 1968 single for Atlantic was "You Don't Know What You Mean to Me", written by Eddie Floyd and Steve Cropper (R&B #19/Pop #48). Sam & Dave said it was their favorite of their songs. Sam & Dave also released "Can't You Find Another Way (of Doing It)" (#20 R&B/#54 Pop), but it was not included in the I Thank You LP. Their final single of 1968, "Everybody Got to Believe in Somebody", charted in the lower levels of the pop charts and ended Sam & Dave's streak at 10 straight R&B top 20 singles.

Though on Atlantic, the I Thank You LP (10/68) included 1968 singles initially on both Stax and Atlantic. The LP peaked at No. 38 on the R&B charts, and was the only LP of their Stax recordings not to chart on the Pop LP charts.

Sam & Dave's live performances
Sam & Dave's live act earned them the nickname "Double Dynamite". Phil Walden, Otis Redding's manager, said "I think Sam & Dave will probably stand the test of time as being the best live act that there ever was. Those guys were absolutely unbelievable. Every night they were awesome." An article from Time in October 1968 reads: "Of all the R&B cats, nobody steams up a place like Sam & Dave ... weaving and dancing (while singing!), they gyrate through enough acrobatics to wear out more than 100 costumes per year." Jerri Hershey described in Nowhere to Run: They carried red suits, white suits, three piece lime green suits, all with matching patent boots and coordinated silk hankies woefully inadequate to absorb a soul man's nightly outpourings. Both Sam & Dave talk a lot about sweat. To Dave, its proof that he's worked for his pay. For Sam its essential, almost mystical. He says he cannot work without it. "Unless my body reaches a certain temperature, starts to liquefy, I just don't feel right without it." Wayne Jackson said Sam & Dave left puddles of sweat onstage by the end of a performance.

In March 1967, Sam & Dave were co-headliners for the Stax/Volt Revue in Europe, which included Booker T & the MGs, The Mar-Keys, Eddie Floyd, Carla Thomas, Arthur Conley and headliner Otis Redding. It was the duo's first trip to Europe. Although Redding headlined the tour, many agreed Sam & Dave stole the show on many nights. According to Redding's and Sam & Dave's manager Phil Walden, Redding refused to be booked on the same bill with Sam & Dave again, not wanting to have to follow their explosive act. A live version of "Soothe Me" from Sam & Dave's Double Dynamite LP was recorded in Paris during the 1967 tour. Released as a single in mid-1967, it continued Sam & Dave's string of top 20 U.S. R&B hits and was their first in the UK Top 40.

After the tour, Sam & Dave worked as headliners in the U.S. and in Europe during Fall 1967, Fall 1968 and January 1970, and in Japan in 1969 and 1970. They averaged 280 shows per year from 1967 through 1969 and in 1967, they only took ten days off. Other high points included headlining the Montreal World's Fair in 1967, performing at the tribute to Martin Luther King, Jr. at Madison Square Garden in June 1968, being the first black soul act to headline the Fillmore East in December 1968, and headlining the Texas International Pop Festival for two nights in August 1969. Sam & Dave also performed on U.S. and European television, including two appearances on The Ed Sullivan Show in 1969, appearing on The Tonight Show and American Bandstand in 1967, and performing on The Mike Douglas Show in 1969 and 1970. Moore frequently recalls the performances on The Ed Sullivan Show as a career highlight.

Best of LP, Stax-recorded singles (1969)
The year 1969 started well, with the Atlantic release of The Best of Sam & Dave LP in January. It contained all of their Stax A sides except "A Place Nobody Can Find" and several B-sides, and peaked at No. 24 on the R&B LP charts and No. 89 on the Billboard LP charts. Their first single of the year, "Soul Sister, Brown Sugar", returned Sam & Dave to the R&B top 20, and was a No. 15 hit in the UK. The follow-up "Born Again", reached the lower levels of the charts, and was the last single Sam & Dave recorded at Stax.

Atlantic produced records, first break-up, and reunion (1969–1972)
Jerry Wexler with co-producer Tom Dowd tried producing Sam & Dave in New York, with Atlantic songwriters and musicians. It took eight months to issue "Ooh, Ooh, Ooh", the first Atlantic single in August 1969. It was not a very good record, by Sam's own admission, and it represented the first time in four years that a Sam & Dave single failed to chart.

Two more singles followed in 1970, "Baby, Baby, Don't Stop Now", and "One Part Love, Two Parts Pain". The first was a leftover Hayes-Porter recording from Stax; the second was produced by Wexler and Dowd in New York, and was written by Stax executive Al Bell and Allen Jones. Both failed to chart. According to Wexler, "We just made some shit-ass records with them. I never really got into their sensibilities as a producer." Wexler then sent the duo south to Muscle Shoals and Miami to work with producers Brad Shapiro and Dave Crawford for their next single "Knock It Out The Park", which also failed to chart.

Sam & Dave split in June 1970, according to Moore, as a result of his dissatisfaction with the duo and his desire to pursue a career solo. According to Prater, they broke up because "[Moore] decided to do what he wanted to do on his own." Moore performed with his own revue in 1970. He recorded three solo singles (none of which charted) for Atlantic over the next year and was preparing an album produced by King Curtis, which was shelved after Curtis was stabbed to death in 1971. Prater recorded a single for Alston. Neither was commercially successful as a solo act, and they reunited in August 1971.

In October 1971, their last Atlantic single, "Don't Pull Your Love", was a cover of a hit by Hamilton, Joe Frank & Reynolds. This Shapiro/Crawford production was a minor hit (R&B #36/Pop #102), but not a substantial enough commercial success to keep the duo signed to the label. Sam & Dave recorded four final songs for Atlantic in August, 1972, none of which was released by the label. Their contract with Atlantic expired shortly thereafter.

Later years (1972–1981)
Despite inability to attract a major label after Atlantic, there was still demand for public performances, especially in Europe. They toured Turkey in Spring, 1972 and England in Spring, 1973. Sam & Dave also continued to be visible in the U.S., performing on TV shows including The Midnight Special and The Mike Douglas Show. According to Sam, most U.S. shows in the 1970s were small clubs, oldies shows, and whatever they could get. He attributed their poor bookings during this period to rumors of drug use and bad blood between the duo.

Sam & Dave returned to the studio in 1974 and 1975, recording an album of new songs titled Back at Cha for United Artists. The album – their first album of new material in 7 years – was produced by Steve Cropper, and featured the MGs and The Memphis Horns and had a minor R&B single, "A Little Bit of Good" (R&B #89). Songwriters included Cropper, Allen Toussaint, and Jimmy Cliff. Although the LP received positive reviews, it failed to chart. In a side project, they provided vocals on "Come On, Come Over" for Jaco Pastorius for his debut album on Epic in 1976.

In 1976–77, Sam & Dave recorded songs in the UK with producer John Abbey. Two singles were released on Abbey's Contempo label in the UK and Germany, with limited success. Ironically, given the duo's disputes, one of the last singles by Sam & Dave was a cover of The Beatles "We Can Work It Out". Sam & Dave also briefly retired in 1977, with Dave working at a Pontiac dealership in New Jersey and Sam working at an Austin, Texas, law firm as a process server.

In 1978, Sam & Dave re-recorded old hits for the LP Sweet & Funky Gold (Gusto), and re-recorded songs and other soul hits during this period in Nashville for an album for K-Tel Records, The Original Soul Man. In Summer, 1978, they toured Germany for two weeks.

In 1979, Sam & Dave enjoyed a significant resurgence of interest as a result of Dan Aykroyd's and John Belushi's sketch characters The Blues Brothers, and the comic actors' 1979 top-40 cover of "Soul Man". Moore stated they were offered an opportunity to perform onstage with Belushi and Aykroyd on SNL but turned it down when Belushi said Sam & Dave had to perform the intro, then the Blues Brothers would take over. According to an April 1988 interview with Aykroyd in the Chicago Sun-Times, Aykroyd saw Sam & Dave as a teenager at the Montreal Expo in 1967 and said they were one of his biggest influences for creating The Blues Brothers. Aykroyd convinced director John Landis to include the Jake and Elwood Blues characters listening to "Hold On, I'm Comin and "Soothe Me" while riding in the Bluesmobile in the 1980 film The Blues Brothers as a tribute to Sam & Dave.

Also in 1979, Sam & Dave opened shows for The Clash on their U.S. tour, including at the Palladium in New York City. In 1980, the duo performed in Paul Simon's film One Trick Pony and, finally, on Saturday Night Live. In 1980, they also were featured in a U.S. tour opening for the 1950s revival band Sha Na Na.

In 1981, they re-recorded many hits along with Sam Cooke and Otis Redding covers for LPs titled Soul Study Vol. 1 and Soul Study Vol. 2 (Odyssey). The pair last performed on New Year's Eve, 1981, at the Old Waldorf in San Francisco. According to Moore, when they walked off stage it was the last time they spoke to each other.

Dave Prater and Sam Daniels (1982–1988)
In 1982, Prater started touring under the "Sam & Dave" name or as "The New Sam & Dave Revue" with Sam Daniels, who performed with Dave from October 1982 until Dave's death in 1988. Moore attempted to block Prater from using the group's name, but was largely unsuccessful. The Daniels & Prater incarnation played 100 shows per year over the next seven years, including in Europe, Japan and Canada.

In 1983, Sam & Dave called on J.C. "Billy" Davis to put together a band to back them at a concert at Pine Knob, in Clarkston, Michigan where they were opening for James Brown.

In 1985, Prater and Sam Daniels released a newly sung medley of Sam & Dave hits recorded in The Netherlands, which peaked at No. 92 on the R&B chart and was credited to "Sam & Dave". Sam Moore got the record company to recall the single for using the "Sam & Dave" name without permission, and the record was re-labelled and re-issued by "The New Sam & Dave Revue".

Prater last performed with Sam Daniels on April 3, 1988, at a Stax Reunion at the Atlanta Civic Center, which also featured Isaac Hayes, Eddie Floyd, and Rufus and Carla Thomas. Six days later, on April 9, 1988, Prater died in a car crash in Sycamore, Georgia while driving to his mother's house.

Sam Moore solo career (1982–present)
Moore has continued to perform and record as a solo artist, and has also performed in numerous duets with other popular artists.

Conflict between Moore and Prater
Sam & Dave were known for having a very tumultuous partnership during most of their 21 years together. According to Moore, they did not speak to each other offstage for almost 13 years. During the 1970s, they broke up many times, and typically would show up separately for shows, require separate dressing rooms, not look at each other onstage, and communicate through intermediaries. They also had performances in the 1970s where only one of them would show up, leading to the eventual departure of Moore, and the continuation of the name "Sam & Dave" by Prater pairing with vocalist Sam Daniels. Moore describes personal issues with Prater, drug use, touring fatigue, and a desire to do his own act with new material as contributing to their break-up and replacement of Dave. Prater attributed their rift and break-ups to Moore's frustrations in wanting to do his own act and diversify from repeatedly performing the Sam & Dave song catalog (which Prater has said that Moore didn't like very much).

Covers by other artists/use in pop culture
Sam & Dave songs have been recorded by other artists, including 29 covers of "Hold On, I'm Comin'". Others who charted with Sam & Dave songs include ZZ Top – "I Thank You", The Fabulous Thunderbirds – "Wrap It Up", James & Bobby Purify – "I Take What I Want", Linda Ronstadt (featuring Aaron Neville) – "When Something Is Wrong with My Baby", Chuck Jackson & Maxine Brown – "Hold On, I'm Comin'", Elvis Costello – "I Can't Stand Up for Falling Down", and Lydia Pense & Cold Blood – "I Take What I Want". A diverse group of other successful artists also recorded Sam & Dave covers, including: Aretha Franklin, Peter Frampton, The Temptations, Bonnie Raitt, Jackie Wilson, Eurythmics, Rory Gallagher, Tom Jones, The Band, Martha Reeves & the Vandellas, Michael Bolton, Patti LaBelle & Travis Tritt, Bryan Ferry, Marilyn McCoo & Billy Davis Jr., The Hollies, Paul Butterfield, Taj Mahal (musician), Guy Sebastian, and Eric Clapton & B.B. King.

In 2003, the Stax Museum of American Soul Music opened in Memphis, and Sam & Dave are in the film made for the museum, titled Soulsville, and they have a permanent wall-and-video display.

Barack Obama used "Hold On, I'm Comin as a theme song on the campaign trail until Sam Moore requested that he stop using it. Eleven months later, Sam Moore performed "Soul Man" with Sting and Elvis Costello at one of Obama's inaugural parties. A parody of "Soul Man" created by Moore, "I'm a Dole Man", was used in the 1996 Bob Dole presidential campaign until the copyright owners objected and requested the campaign stop using it. Sam & Dave released the rare single "Hold On, Edwin's Coming" in 1982 to support Louisiana Governor Edwin Edwards' third run for governor. Another parody, "I'm a Suns Fan", was recorded by Moore and used for the Phoenix Suns basketball games.

Sam & Dave songs have been used frequently in movie and TV soundtracks and commercials, including "Hold On, I'm Comin on the soundtrack of the 2007 hit film American Gangster. "Hold On, I'm Comin and "Soothe Me" played on the radio and 8 track player (album titled: "The Best of Sam & Dave") in the Bluesmobile during the 1980 hit movie The Blues Brothers. "A Place Nobody Can Find" was used in the background of a scene in HBO's series The Wire. Jay Leno used "Hold On, I'm Comin" while driving his AC Cobra on his 2009 Super Bowl commercial to announce his show's move to a new time. "Wrap It Up" was used as a transition to commercial break for The O'Reilly Factor. "Soul Man" was used as the title and title track in the 1986 movie featuring C. Thomas Howell, and also the 1997–1998 television series featuring Dan Aykroyd. The movie Tapeheads, released in 1988 and starring John Cusack and Tim Robbins, featured Sam Moore and Junior Walker as a fictitious, legendary soul duo called The Swanky Modes.

The movie Soul Men, released in November 2008, was a comedy featuring Bernie Mac and Samuel L. Jackson as two feuding soul singers called "The Real Deal". In February 2009, Moore filed suit against the film production company (The Weinstein Company) and the producers for infringing on the marks "Soul Man" and "Soul Men", claiming the movie is based on the careers of Sam & Dave, and damaged both Moore's reputation and career. The suit was dismissed on summary judgment in May 2012.

Discography

 * 1966: Hold On, I'm Comin' (Stax) (POP #45, R&B #1)
 * 1966: Double Dynamite (Stax) (POP #118, R&B #7)
 * 1967: Soul Men (Stax) (POP #62, R&B #5)
 * 1968: I Thank You (Atlantic) (R&B #38)
 * 1975: Back at Cha (United Artists)

title: Sam & Dave


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Duane Eddy

Duane Eddy (April 26, 1938 – April 30, 2024) was an American rock and roll guitarist. In the late 1950s and early 1960s, he had a string of hit records produced by Lee Hazlewood which were noted for their characteristically "twangy" guitar sound, including "Rebel-'Rouser", "Peter Gunn", and "Because They're Young". He had sold 12 million records by 1963. His guitar style influenced the Ventures, the Shadows, the Beatles (especially their lead guitarist George Harrison), Bruce Springsteen, Steve Earle, and Marty Stuart.

Eddy was inducted into the Rock and Roll Hall of Fame in 1994 and the Musicians Hall of Fame and Museum in 2008.

Early life
Eddy was born in Corning, New York, on April 26, 1938. His parents were Alfred (or Lloyd) and Alberta (née Granger) Eddy. Eddy's father drove a bread truck and later became the manager of a grocery store. He began playing the guitar at the age of five after hearing the cowboy singer Gene Autry. In 1951, his family moved to Tucson, and then to Coolidge, Arizona. He formed a duo, Jimmy and Duane, with his friend Jimmy Delbridge, who later recorded as Jimmy Dell. Eddy left school at sixteen and played in local bars.

1950s-60s: Career rise and peak
In 1957, Eddy had a weekly showcase on radio station KCKY and then a slot on a weekly hit parade television show in Phoenix, where he met met Arizona-based disc jockey, songwriter and music publisher Lee Hazlewood. Hazlewood produced the duo's single, "Soda Fountain Girl", recorded and released in 1955 in Phoenix, Arizona. They performed and appeared on radio stations in Phoenix and joined Buddy Long's Western Melody Boys, playing country music in and around the city.

Eddy was not happy with his singing voice, and he devised a technique of playing lead lines on his guitar's bass strings to produce a low, reverberant "twangy" sound instead. At the age of 19, he had acquired a 1957 Chet Atkins model Gretsch 6120 guitar from Ziggie's Music in Phoenix, and in November 1957, he recorded an instrumental piece, "Movin' n' Groovin'", which he co-wrote with Hazlewood. His backing band included saxophonist Steve Douglas, pianist Larry Knechtel, and bassist Al Casey. As the Phoenix studio had no echo chamber, Hazlewood bought a 2,000-gallon (7570-litre) water storage tank to use as an echo chamber to accentuate the "twangy" guitar sound. In 1958, Eddy signed a recording contract with Lester Sill and Hazlewood to record in Phoenix at the Audio Recorders studio. Sill and Hazlewood leased the tapes of all their singles and albums to the Philadelphia-based Jamie Records.

"Movin' n' Groovin'" reached number 72 on the Billboard Hot 100 in early 1958. The opening riff, borrowed from Chuck Berry's "Brown Eyed Handsome Man", was in turn copied a few years later by the Beach Boys on "Surfin' U.S.A." The follow-up, "Rebel-Rouser", featured a saxophone overdubbed by Los Angeles session musician Gil Bernal, and yells and handclaps by doo-wop group the Rivingtons. This became Eddy's breakthrough hit, reaching number 6 on the Billboard Hot 100 chart. It sold over one million copies, earning him his first gold disc.

Eddy had a succession of hit records over the next few years. His band members, including saxophonists Steve Douglas and Jim Horn, and keyboard player Larry Knechtel, were later members of Phil Spector's Wrecking Crew. According to writer Richie Unterberger, "The singles, of which 'Peter Gunn', 'Cannonball', 'Shazam', and 'Forty Miles of Bad Road' were probably the best, also did their part to help keep the raunchy spirit of rock and roll alive during a time in which it was in danger of being watered down."

On January 9, 1958, Eddy's debut album, Have 'Twangy' Guitar Will Travel, was released. It reached number five on the album chart and remained there for 82 weeks. Duane Eddy and the Rebels appeared six times on The Dick Clark Show between 1958 and 1960. On Eddy's fourth album, Songs of Our Heritage (1960), each track featured him playing acoustic guitar or banjo. His biggest hit came with the theme of the movie Because They're Young in 1960, which featured a string arrangement. It reached a chart peak of number four in America and number two in the UK in September 1960, and became his second million-selling disc. Eddy's records were consistently more successful in the UK than they were in his native United States, and in 1960, readers of the UK's NME voted him World's Number One Musical Personality, ousting Elvis Presley.

In 1960, Eddy signed a contract directly with Jamie Records, bypassing Sill and Hazlewood, which caused a temporary rift between Eddy and Hazlewood. The result was that for the duration of his contract with Jamie, Eddy produced his own singles and albums.

In the 1960s, Eddy launched an acting career, appearing in such films as Because They're Young, A Thunder of Drums, The Wild Westerners, Kona Coast, and The Savage Seven. In 1961, he signed a three-year contract with Paul Anka's production company, Camy, whose recordings were issued by RCA Victor. In the early days of recording in the RCA Victor studios, he renewed contact with Lee Hazlewood, who became involved in a number of his RCA Victor singles and albums. Eddy's 1962 single release, "(Dance With The) Guitar Man", co-written with Hazlewood, sold a million copies and earned his third gold disc. Also in 1962, Eddy recorded "The Ballad of Paladin", the instrumental theme song to the western television series Have Gun – Will Travel, in which Eddy also acted in two episodes. Eddy had sold 12 million records by 1963. In 1965, he released an album of instrumental versions of Bob Dylan songs.

1970s-80s: Solo decline, focus on production, and comeback
In the 1970s, Eddy produced songs for Phil Everly and Waylon Jennings. In 1972, he worked as lead guitarist, alongside rhythm guitarist Al Gorgoni, on BJ Thomas's "Rock and Roll Lullaby". In 1975 a collaboration with hit songwriter Tony Macaulay and former founding member of The Seekers, Keith Potger, led to another UK top 10 record, "Play Me Like You Play Your Guitar", featuring a female vocal group. Eddy performed on the BBC television show "Top of the Pops" while promoting the single. A recording of "You Are My Sunshine", featuring Willie Nelson, Waylon Jennings, and Eddy's third wife Deed, appeared in the country charts in 1977.

In 1982, Eddy's "Rebel Walk" was heard in the musical comedy Grease 2 as background music at the bowling alley. It was not part of the original soundtrack, but was mentioned in the film's credits.

In 1986, Eddy collaborated with Art of Noise on a new recording of his 1960 version of Henry Mancini's "Peter Gunn". It was a top 10 hit around the world, ranking number one on Rolling Stone's dance chart for six weeks that summer. "Peter Gunn" won the Grammy for Best Rock Instrumental of 1986. It also gave Eddy the distinction of being the only instrumentalist to have had top 10 hit singles in four different decades in the UK.

The following year, the album Duane Eddy was released on Capitol. Several of the tracks were produced by Paul McCartney, Jeff Lynne, Ry Cooder and Art of Noise. Guest musicians included John Fogerty, George Harrison, Paul McCartney, Ry Cooder, James Burton, David Lindley, Phil Pickett, Steve Cropper, and original Rebels Larry Knechtel and Jim Horn. The album included a cover of Paul McCartney's 1979 instrumental, "Rockestra Theme".

1990s-2024: Later career
In 1992, Eddy recorded a duet with Hank Marvin for Marvin's album Into the Light, a cover version of The Chantays' 1963 hit "Pipeline". Eddy's "Rebel Rouser" was featured in 1992 in the film Forrest Gump. Oliver Stone's Natural Born Killers used "The Trembler", a track written by Eddy and Ravi Shankar. In 1994, Eddy teamed up with Carl Perkins and The Mavericks to contribute "Matchbox" to the AIDS benefit album Red Hot + Country, produced by the Red Hot Organization. Eddy was the lead guitarist on Foreigner's 1995 hit "Until the End of Time", which reached the top 10 on the Billboard Adult Contemporary chart. In 1996, Eddy played guitar on Hans Zimmer's soundtrack for the film Broken Arrow.

In October 2010, Eddy returned to the UK for a sold-out Royal Festival Hall concert in London. This success prompted an album, Road Trip, for Mad Monkey/EMI, produced by Richard Hawley in Sheffield, England. The album was released on June 20, 2011, and Mojo placed it at number 37 on its list of "Top 50 albums of 2011." Eddy performed at the Glastonbury Festival on June 26, 2011.

In 2016, Eddy participated in an extensive interview with the Country Music Hall of Fame and Museum as part of their "Nashville Cats" series.

For an 80th-birthday tour in 2018, Eddy returned to the UK in concerts with Liverpudlian singer-songwriter Robert Vincent, performing on October 23 at the London Palladium, and October 30 at Bridgewater Hall in Manchester.

In 2024, Eddy was one of 66 musicians credited for collaborating with Mark Knopfler on a re-recording of Knopfler's “Going Home (Theme From Local Hero)". Jointly credited as "Mark Knopfler's Guitar Heroes", the single was released as a charity single to benefit two charities, Teenage Cancer Trust and Teen Cancer America. It debuted and peaked at #1 on Billboard's Rock Digital Song Sales in March, which was his only #1 on any Billboard chart; in the UK, the collaborative single reached the top 20 on the main singles chart.

Private life and death
Eddy's first wife was Carol Puckett; they were married and divorced prior to 1961. In 1961, Eddy married singer Miriam Johnson, with whom he recorded a gospel album. They had a daughter, Jennifer. Duane and Miriam divorced in 1968. She adopted the stage name Jessi Colter, became a popular country singer, and later married fellow country star Waylon Jennings.

Eddy later married Deed Abbate, with who he collaborated with on a cover of "You Are My Sunshine" in 1977. In addition to his daughter with Miriam Johnson/Jessi Colter, Eddy had three children with second wife Deed Abbate-Eddy.

Eddy died of cancer in Franklin, Tennessee, on April 30, 2024, four days after his 86th birthday. Eddy was survived by his second wife Deed and his children (four, according to an obituary by Billboard, or three, according to an obituary by The Guardian). The Guardian also reported that Eddy was also survived by five grandchildren and nine great-grandchildren.

Eddy was the last surviving musician to have charted in the top 10 of the first-ever issue of the Billboard Hot 100 chart in 1958.

Honors
In 1987, Eddy won his first and only Grammy award for Best Rock Instrumental Performance for his re-recording of "Peter Gunn" with Art of Noise. In 1996, he received a second Grammy nomination, this time for Best Country Instrumental Performance, for his contribution as a "featured artist" on Doc Watson's "Thunder Road/Sugarfoot Rag".

In 1994, Eddy was inducted into the Rock and Roll Hall of Fame, and he was inducted into the Musicians Hall of Fame and Museum in 2008. In 1997, Eddy was inducted into Guitar Center's "Rockwalk", an honor similar to the Hollywood Walk of Fame bestowed exclusively to legendary rock and pop musicians.

In 2000, at the Ryman Auditorium in Nashville, Tennessee, the title "Titan of Twang" was bestowed upon Eddy by mayor Bill Purcell.

In 2004, Eddy was presented with the Guitar Player Magazine "Legend Award". He was the second recipient of the award, the first having been presented to Les Paul.

Legacy
Among those who have acknowledged Eddy's influence are George Harrison, Dave Davies, Hank Marvin,  the Ventures, John Entwistle, Bruce Springsteen, John Fogerty, Adrian Belew, Bill Nelson, Mark Knopfler, Steve Earle, Marty Stuart, and Ben Vaughn. Eddy's playing inspired some of the lead guitar playing on Springsteen's 1975 hit "Born to Run".

In the 1990s, Eddy's songs appeared in the soundtracks of popular films including Forrest Gump, Natural Born Killers, Broken Arrow, Milk Money, and Scream 2.

Signature guitars
Eddy's favored guitar was a 1957 Chet Atkins Gretsch 6120 guitar that he bought at Ziggie's Music in Phoenix, Arizona in 1957. He traded in an early 1950s gold top Gibson Les Paul Standard guitar for it, plus monthly payments of $17. On 1959's The "Twangs" the "Thang" LP he also used a Danelectro six-string bass guitar.

Eddy became the first rock and roll guitarist to have a signature guitar when, in 1961, the Guild Guitar Company introduced the Duane Eddy signature models DE-400 and the deluxe DE-500. A limited edition of the DE-500 model was reissued briefly in 1983 to mark Eddy's 25th anniversary in the recording industry. In 1997, 40 years after he bought his Gretsch Chet Atkins 6120, Gretsch started production of the Duane Eddy Signature Model, the Gretsch 6120-DE. In 2004, the Gibson Custom Art and Historic Division introduced the new Duane Eddy Signature Gibson guitar. A new Gretsch G6120DE Duane Eddy Signature model was released in spring 2011 and in 2018 Gretsch released the G6120TB-DE Duane Eddy 6-string bass model.

Awards

 * Number One World Musical Personality in the NME Poll (UK: 1960)
 * Grammy Winner – Best Rock Instrumental – "Peter Gunn" (1986)
 * Grammy Nomination – Best Country Instrumental – (Doc Watson album) (1992)
 * Rock and Roll Hall of Fame Member (1994)
 * Rockwalk Induction (1997)
 * Presented with "Chetty" award by Chet Atkins (2000)
 * Guitar Player Magazine Legend Award (2004)
 * Musicians Hall of Fame Member (2008)
 * Mojo Icon Award (UK: 2010)

Film appearances

 * Because They're Young (1960)
 * A Thunder of Drums (1961)
 * The Wild Westerners (1962)
 * The Savage Seven (1968)
 * Kona Coast (1968)

title: Duane Eddy