Bobby Radcliff profile picture

Bobby Radcliff

Natural Ball

About Me

When BOBBY RADCLIFF’s first album on the revered Black Top label hit record stores all over the world, critics declared him the next in a long line of guitar heroes. Jazz-lovers awarded him a coveted five-star review in downbeat, New York rockers took him to heart for his edgy energy, and blues fans everywhere knew their favorite music was alive and well.
Long before all that, it was the time he spent in the sixties with “Magic Sam” Maghett that bound him forever to the raucous mixture of deep blues and flashy funk that defined the sound of Chicago’s West Side. After running away from a suburban childhood in Chevy Chase, Maryland, at the tender age of seventeen Bobby sought out the guitar master who had changed his life on record. With the help of Bob Koester, Bruce Iglauer, and Jim O’Neal (the blues trinity at Chicago’s legendary Record Mart), he found his idol in Cook County Hospital recovering from a minor stroke. Although he was a little shocked that anyone would come so far simply to meet him, Sam took Bobby under his wing and introduced him to the Chicago blues scene at the peak of the blues renaissance.
“Seeing Sam perform was like watching Elvis. He had that total kind of style and magnetism… beyond musical genre and beyond race,” Radcliff remembers. “He showed me the way to sing in a clear concise way, with a crisp and clean sound on the guitar. And then there’s the freedom of working in a trio, but also the risks. Don’t forget, these were the days of Cream and Hendrix, with tons of distortion alternating with lavish studio production. I wanted something different!”
By the release of “Dresses Too Short” in 1989, Bobby was already a twenty-year veteran of the club circuits in Washington, DC and New York City. He had shared the stage with the likes of Otis Rush, Roy Buchanan, James Cotton, Danny Gatton, Lowell Fulsom, and Dr.John.
In the nineties, three more brilliant albums followed on Black Top Records: “Universal Blues” (1991), “There’s A Cold Grave In Your Way” (1994), and “Live At The Rynborn” (1997). With the label based in New Orleans, Bobby also had the further pleasure of touring with more of his idols, label-mates like Snooks Eaglin, Earl King, and George Porter, Jr.
Unhappily, Black Top founder Nauman Scott passed on in 2002, and the label never really recovered. As the rest of the record industry was racked with corporate consolidations, format-wars, and the hi-tech upheaval of the Internet, many artists have found themselves out in the cold. Bobby Radcliff made a choice: make your own records your own way on your own label, with no one to please but the fans.
It’s out of this philosophy that Rollo Records was born, to provide a home for musicians too uncompromising, too challenging, and too kick-ass to either pigeon-hole or ignore. Combining vintage techniques and current technologies, we put the artists in the driver’s seat and hit “the highway to your soul.” “Natural Ball” is our first offering and one to make any label proud.
Snooks Eaglin: “...electrifying... like he’s plugged into an electric socket!”
downbeat: “...like the jolt of a bungee jump off the 59th Street Bridge.”
Brandywine Valley Weekly: “...intense, explosive, frantic, tortured and always soulful. In an industry full of copy-cats, he’s the real deal in Blues.”
Robert Gordon in Option magazine: “Able to change sound with a single bound, this super-guitarist stands out from the pack.”
Ted Drozdowski in Pulse! magazine: “KILLER is a tidy description... full-throttle badass!”
Mike Joyce in The Washington Post: “...one of the most volatile and distinctive blues guitarists working today. Actually, “blues” may be too confining a label to describe Radcliff’s music.”
Andy Glass in The Musicians Exchange: “His fingers are someday going to spontaneously burst into flames during a solo. If you don’t agree that Bobby Radcliff is one of the greatest guitarists walking the earth today, then you’re stupid. So there.”
Bill Holland for The Washington Post: “Radcliff comes on stage and wipes everyone out.”
John Hammond, Jr.: “It doesn’t get any hotter than that!”

My Interests

Music:

Member Since: 4/22/2007
Band Website: bobbyradcliff.com
Band Members: Basically Bobby performs as a trio with bass and drums, with various appearances adding friends on harp. Sidemen include Les Toth, Chris Mattheos, Keith Hurrell, Steve Guyger, Bruce Ewan, Big Boy Little, and many, many others. He can also be seen playing solo once a month in Greenwich Village.
Influences: Magic Sam, Earl King, Earl Hooker, Charlie Christian, Dick Dale, Jimmy Nolen, Albert Collins, Buddy Guy, Albert King, Ennio Morricone, The Ventures, Johann Sebastian Bach, Jody Williams, Leo Nocentelli, Irving Banister, Lowell Fulsom, Snooks Eaglin...
Listen for yourself and put the pieces together!
Sounds Like: Geoffrey Himes in The Washington Post: “Radcliff is usually pigeonholed as a blues artist, but he owes just as much to the 60s soul and funk of James Brown and P-Funk as he does to the Chicago blues of Magic Sam and Buddy Guy. Because he plays with a trio, Radcliff has to handle both the lead and the rhythm duties himself, and he marries the slashing lead lines of Guy with the choppy syncopation of Brown’s Jimmy Nolen.”

Peter Pullman in The Wire: “I’m hearing rockabilly and his soloing is unabashedly Cowboy. Radcliff plays the whole instrument. His nimble fingerings and bent chords are uplifting as he moves swiftly through an improvisation; he’s absorbed all these influences, yet remained in the blues tradition.”

Dan Daley in Musician magazine: “He mines a range of blues influences from his first hero, Magic Sam, through B.B.King, Buddy Guy, and Lightniní Hopkins. But the tense, articulate chicken-pickin’ of Don Rich (Buck Owens’ longtime sideman) and the rounded tones of Scotty Moore are present also, as well as the strains of late-60s soul.”

Kevin Roe in Sound Views: "...churning out chunky, Venturesque minor chords while simultaneously spinning off manic, white-hot bursts of barely controlled single-note blues and surf licks.”

Steve Hoffman for WDCU-FM Washington, DC: “His music is drenched in the primal emotions of pain and anger, not only because of his screaming guitar but equally because of the naturally gloomy timber of his voice, which enables him to wrench feeling out of lyrics without resorting to the contortions that pass for singing among too many of his peers.”

Charles Shaar Murray in “Blues on CD”: “...the combination of manic guitar and distinctive cawing voice with encyclopedic lickology and sledgehammer delivery...”

Steve Walbridge in Blues Revue: “...unmercifully aggressive fretwork and, just as impressively, his quivering vocal delivery... leaves you feeling musically mugged...”

downbeat: “The firebrand’s Fender shudders, dithers, and fulminates in a rough, deep-seated ecstasy too seldom encountered in this age of superficial, smoke and verbiage blues.”

David Okamoto in The St.Petersburg Times: “His colorful tenor packs a soulful wallop, while his electric guitar solos snarl and squeal with robust intensity that rarely sacrifices substance for flash.”

Boston Phoenix: “...perhaps the angriest blues guitarist in the East. The New Yorker’s ax phrasing is tightly constricted, even paranoid. At times his crammed, busy notes and screamingly nervous tone are nearly frightening.”

Kevin Roe in Sound Views: “...the greatest blues guitarist to ever come out of New York City.”

Jamie Dell Apa for The Baltimore Blues Society: “...one of the greatest guitar players alive.”

Record Label: Rollo Records
Type of Label: Indie