An evening with the Robert Cray BandRobert Cray Band The “All Amped Up” Tour Blues icon. Soul man. Rock and roller. Robert Cray is all these things–and more. The Georgia-born, Washington-raised musician first picked up a guitar after seeing The Beatles on TV then,having......More
An evening with the Robert Cray BandRobert Cray Band The “All Amped Up” Tour Blues icon. Soul man. Rock and roller. Robert Cray is all these things–and more. The Georgia-born, Washington-raised musician first picked up a guitar after seeing The Beatles on TV then,having witnessed Jimi Hendrix perform in Seattle, determined thathis destiny would also follow asimilar path. And so he has: across the past half century Robert Cray’s developed into one of American music’s most singular artists. “I guess you’d have to say that we were lucky,” reflects Cray on his life in music, “because, growingup in the 1960s, the different music played on the radio really opened us up. I mean, we even hadAlbert Collins play our high School graduation party. “From forming a teenage garage band, through to striding the stage alongside several of the world’sgreatest guitarists, Robert Cray’s story is one of struggle and commitment. Struggle andcommitment that led to Cray enjoying phenomenal success–selling millions of albums andcountless concert tickets, winning five Grammy Awards, being inducted into theBlues Hall of Fame,recipient of the Americana Music Lifetime Achievement Award,designing two signature model Fender guitars–yet for Robert what’s alwaysmattered most is themusic. Every note he playscounts, every song he sings is delivered as if it is his last: integrity and intensity are what has guidedCray’s musical career. He has never cheapened his output or delivered a substandard performance.Indeed, his commitment to making music of the highest standard has won Cray both a loyalaudience and the respect of many of popular music’s most legendary figures. Think about it:Robert Cray has shared stage and/or studio with the likes ofJohn Lee Hooker,Muddy Waters, B.B. King, Buddy Guy, Chuck Berry, Albert Collins, The Rolling Stones, EricClapton, Tina Turner, Stevie Ray Vaughan, the Memphis Horns and Hi Rhythm Section. Cray’sstinging guitar playing and soulful voice, hisskills as a band leader and performer, mark him askeeper of the flame for American roots music, an artist who never fails to deliver. “We were so lucky just be able to see them,” says Cray of trading guitar licks on stage with legends of blues, rock and soul, “let alone share the stage with them-what an experience! “Cray’s rise to the top was, like his music, a slow burn, he first building a following in small towns across the Pacific Northwest. Even before Cray had a record deal he enjoyed local hero status–somuch so in 1978 he was cast (as a musician) in Animal House, the blockbuster comedy that made John Belushi famous. 1978 was also the year Cray recorded his debut album,Who’s Been Talkin’,although Tomato Records’ internal problems held upTalkin’srelease until 1980. And then, just asTalkin’was winning great reviews, Tomato collapsed into bankruptcy. Got the blues? Young Robertcertainly could have claimed he had them. But Cray isn’t given to complaining, instead hepersevered, committed then, as he is now, to taking his music to the people. After Tomato,Cray and his band–today consisting of Richard Cousins (bass guitar–there sincehigh school days), Dover Weinberg (keyboards) andLes Falconer(drums)–used the momentumthe album gave them to play further afield. By now Cray was buddies with a young guitarist fromTexas: Stevie Ray Vaughan. “We played in 1979 at the San Francisco Blues Festival,” recalls Cray, “and I watched Stevie’sshow and he’s just smoking. Afterwards Richard and I went up and chatted with him and we just hitit off. Stevie was great-if we were in Austin he’d always comeand join us on stage. ”Signing to Hightone, Cray’s 1983 albumBad Influenceestablished him internationally: he wasinvited to play Carnegie Hall, toured Europe, later finding Eric Clapton recordingBad Influence’s title track. 1985 saw Cray’sFalse Accusationsalbum increase his standing as the foremost singer ofblues noir songs, while that year’sShowdown!-a sizzling collaboration with guitarists’ AlbertCollins and Johnny Copeland-won Robert huge acclaim from blues musicians and fans:the newguy’s the real deal!Signing to Mercury Records, Cray’s 1986 albumStrong Persuaderensured hebecamethe first blues/soul musician to breakthrough in the MTV era. Strong Persuaderwon Cray rave reviews from pop and rock critics, topped charts worldwide, sawCray grace the cover of Rolling Stone magazine and winning the Grammy for Best Contemporary Blues Recording in 1988. Strong Persuader, with its songs of infidelity, guilt and unease, while notin any sense conventional Top 40 music, proved so strong an album it broke through barriers, sold millions of copies and would prove extremely influential (2026 being the 40thanniversary.) Cray’sbreakthrough allowed both young and older blues and soul musicians to gain wide attention andradio play: John Lee Hooker’s career resurrection came soon after withThe Healer, and Robertplays on that seminal album. “It was great to be able to travel around the world,” says Cray ofStrong Persuader’ssuccess. “ It afforded us a lot of great opportunities that we were lucky to experience.” Cray’s being modest here: suddenly he found himself the hottest guitarist working–Tina Turnerinvited Robert to support her huge European tour (every night, after playing with his band, Craywould join Tina on stage to play A Change Is Gonna Come), then Keith Richards called, requesting Cray join the band backing Chuck Berry for Taylor Hackford’s celebratory feature length documentary Hail Hail Rock ‘N’ Roll. Here Cray not only got to play with the mercurial Berry (+Linda Ronstadt and Etta James, amongstmany notable artists), he also formed a friendship with Steve Jordan, then drummer for the project and Richards’ solo band. Now internationally famous, Cray found himself in intense demand: he toured withTheStones andplayed withB.B King,Buddy Guyand Eric Clapton.Headlining innoted musicfestivals–theseincluded Glastonbury in the UK and Crossroads Guitar Festival in the US-and kept developing hissound over a selection of strong albums across the 1990s.Cray’s songwriting has addressed ageing,love, loneliness, domestic turmoil and US politics. As an artist Robert Cray’s aged like fine wine–his voice has developed a greater range andexpressiveness, this he’s put to use on masterful interpretations of such Southern soul standards as IForgot To Be Your Lover (William Bell), Your Good Thing Is About To End (Mable John) andNobody’s Fault But Mine (Otis Redding). At the same time, Cray’s guitar playing now possesses an additional depth, a growl that can hint at a caress then signal emotional upheaval. His recent run of albums–2014’sIn My Soul, 2017’sRobert Cray & Hi Rhythm and 2020’s masterful That’s What I Heard(all produced by Steve Jordan: now the Stones’ drummer)–areamongst the very finest he’s made. Every song here is deeply felt, whether an agonised song of loss,an angry protest number, or a dance tune that gets audiences pumping (My Baby Likes To Boogaloois great funky fun). Across five decades Robert Cray has created a richly inclusive American music, revitalising bothblues and soul while rocking hard with the very best. To achieve 50 years in the music industry andstill be as fresh and committed as when starting out is anachievement few can boast of but Craycan: he has released 19 studio albums, every one replete with his extremely distinctive songs, wonfive Grammy Awards and continues to make music that sounds like no one but Robert Cray. “Allthese years we have been fortunate to do what we love doing, playing the music we love playing,”says Cray with a smile. “I couldn’t ask for anything more. This performance will take place on the Reehl Stage(3rd Floor) This space is handicap accessible Doors open at 6:30/Show Time is 7:30
Johnson Hall Opera House, 280 Water Street, Gardiner, ME, 04345, United States
