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You can't beat Austin's top spot for blues. Known for showcasing top names and breaking out new talent, Antone's is a blues lover's dream. Big sounds from the stage almost every night of the week, it's no wonder why Antone's is a music landmark. Many in Austin know Antone's as where the late Stevie Ray Vaughan started and began to build his reputation. In fact, the history of Antone's is so interesting that we included it on this site.
When Clifford Antone, recipient of The National Blues Foundation's "Lifetime Achievement Award" for his contributions to the genre, decided to start a record label in 1987, his goal was to make legendary performances that had been recorded at Antone's Nightclub available to blues fans everywhere. In a very short time, Antone's Records has succeeded in building a reputation as one of the world's premier blues labels. Founded in 1975, the nightclub opened its doors with Zydeco king Clifton Chenier and then piano legend Sunnyland Slim, followed by such legendary figures as Jimmy Reed, B.B. King, Fats Domino, Big Walter Horton, Percy Mayfield, John Lee Hooker, and the late Muddy Waters. It also provided a woodshed for such burgeoning young talents as Stevie Ray Vaughan, Lou Ann Barton, Angela Strehli, and the Fabulous Thunderbirds, who for years served as the house band. Little wonder that Antone's, called "the nations best blues club" by USA Today has become world famous for deep jam sessions lasting well into the night. Said the late Stevie Ray Vaughan: "The best music I've ever heard was at Antone's and some of the best music I've ever played was there. I really don't know where I'd be today or what I'd be doing without Antone's." It wasn't unusual to find a young Stevie on stage with his idols Otis Rush or Albert King, or, later, with those who idolized him, such as members of U2, Bonnie Raitt, Dr. John and Charlie Sexton. He is deeply missed by all who call Antone's stage home. In its first year the label released albums by Austin blues singer Angela Strehli, ex-Roomful of Blues guitarist Ronnie Earl, an historic reunion of Memphis Slim and Matt "Guitar" Murphy, an anthology of the club's 10th Anniversary celebration and Eddie Taylor's final recording. Antone's next release (in 1988) was James Cotton Live At Antone's. for which the label received its first Grammy nomination. The following year, Antone's released Texas legend Doug Sahm's first US release in seven years, Juke Box Music (winner of the NAIRD award for best blues album). 1989 also saw releases from hometown heroes Omar & The Howlers and Miss Lou Ann Barton, whose Read My Lips was called "a living testimony to the roots of American popular music" by Rolling Stone. In 1990, Barton was joined by vocalists Marcia Ball and Angela Strehli for a rare collaborative effort entitled Dreams Come True. Dreams truly signaled the arrival of Antone's Records and has become the label's best-seller. 1990 also saw releases by Chicago legend Jimmy Rogers and a first-ever solo effort from Matt "Guitar" Murphy. Releases in 1991 included studio efforts from James Cotton and Snooky Pryor in addition to the debut album from Canadian guitarist Sue Foley. Pryor and Foley continue to record for the label and are favorites the club. The 90's have also heralded releases from Candye Kane, Steve James, Teddy Morgan, Toni Price, Doyle Bramhall, Miss Lavelle White, and Kim Wilson (the latter of Fabulous Thunderbirds fame). Antone's endeavors have been well received. Recognition has come to the Austin-based label from around the world, and Antone's artists have appeared at the Montreaux Jazz Festival, Madison Square Garden, on the David Letterman Show, the Texas Connection, Austin City Limits, and more. Antone's has been the subject of feature segments on Charles Kuralt, the BBC, and MTV News. Like the club it was named for, Antone's Records reflects Clifford Antone's high standards, attention to detail, and, most of all, respect for the blues. Clifford puts it best: "This is something I've wanted to do for a long time. We want to make quality records that we can be proud of. We want the blues to sound like the blues -- not slicked up. We want it to be as real and authentic as possible, to make records with the spirit and feel of a 50's Duke or Excello recording without sacrificing 90's technology." |
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