Artist Information
Biography
Driven by fierce independence, unified by family, and fortified by the brotherhood of music, the Delgado Brothers deliver the musical goods; topical anthem-worthy songs complemented by call-to-action lyrics, and East L.A. Soul. For over 30 years the Delgado Brothers have been music makers, collaborators and ordinary citizens; raising children, grieving the loss of parents, marrying & divorcing. All of this life experience may explain their flare for illuminating everyman's joys, sorrows, triumphs and losses. The Brothers' music has long been embraced both locally and globally by a wide spectrum of people undivided by culture, age or socioeconomic status.
The Delgado Brothers have longtime been referred to as Los Angeles’ best kept secret. So just who are these quintessential musicians? The Delgado Brothers are eldest brother Bob Delgado on bass, middle brother Joey D on guitar and vocals, younger brother Steve on drums and vocals, and David “B” Kelley on Hammond B3. Each member of the band brings a unique style of musicianship to the Delgado Brothers brand. Indiana- bred David B. Kelley came West in search of “groove and diversity”. An incredibly gifted musician, David’s playing on his “Vintage 1972 Hammond B3” adds tone, texture and depth to the sound and songs.
To witness a Delgado Brothers live performance is to testify to the synergy, emotion, work ethic and true musicianship of the band.
Their latest, self-released 4th CD, Learn to Fly, is testament to the bands long evolution and scope of musical diversity. Raising a variety of real world concerns from the topical, ‘I Wanna Know (what the fighting's about)’, to the meaningful and brilliantly nuanced, ‘Man Without Plan’. Los Angeles is filled with a brotherhood of world class musicians, studio players and living legends. So when word got out that The Delgado Brothers were in studio recording their latest release, all the brothers needed to do was ask, and a who’s who of musicians responded. Evidence that by the lineup of players on Learn to Fly. Lee Thornburg led and arranged the all star horn section of Paulie Cerra & Arturo Velasco. Critically acclaimed Latin jazz players, The Banda Brothers syncopate and elevate with Ramon on timbales and drums and brother Tony on bass. Slide guitar great David “Hound-Dog” Melton and blues singing sensation Sherry Pruitt lend their soulful skills. Last but far from least, the Delgado Brothers are joined by The Legendary Chambers Brothers of classic hit songs ‘Time’ & ‘People Get Ready’ fame. Hardworking and heartfelt, each and every song represents a soaring musical vignette expressing dynamism of musicianship, humanity, & soul.When asked what propels and inspires the lyric writing, singer, drummer, brother Steve explains, “If you don’t think about the future, be it the environment, your family, your marriage or your job, later on down the road, you’re gonna be sorry. You’ve got to do the work”. Always original and intensely prepared, these journeyman musicians fully infuse all of their song crafting talent with a sense of urgency and an authentic emotional aspect that rings true with intelligence and depth.Tug on the Delgado Brothers musical roots and you’ll find big brother Bob’s bass-playing days tied into the East Los Angeles band, Thee Exotics circa 1960’s. Yet another brother, Eddie played with Thee Ambertones during the same period. Creating a perfect musical environment, for younger brothers Steve and Joey only to aspire to.
For years the Delgado Brothers band played venues, clubs and special events throughout Los Angeles and the San Gabriel Valley. In 1987 after being sighted at the in-famous “L.A. Street Scene”, they released their first album on the Hightone Records, with Dennis Walker and Bruce Bromberg, the same producers responsible for Robert Cray’s hit-making success.
After selling 25,000 units worldwide, disappointed, Hightone dropped The Delgado Brothers. “What that experience taught us is that we had to stay true to our artistic convictions and vision. In order to accomplish this we were forced to either wait for the right opportunity, or choose not to seek another record deal”, says guitar playing brother Joey D.
By 1994’, disillusioned, the band stalled out and called it quits. But in 1996, credit goes to long-time Delgado Brother advocate, harp player, recording artist, producer and longtime friend, John “Juke” Logan for reuniting the band. In 1997, the brothers recorded and released their second album, Let’s Get Back, on Logan's own Mocombo Records. Considered their most blues-centered release by blues aficionados, this album was well reviewed and features a Delgado Brothers perennial signature song, ‘Church of El Monte’. “The great thing that happened with Let’s Get Back is that John Mayall (John Mayall’s Bluesbreakers) covered two of our songs, ‘If I Don’t Get Home’, and ‘Something About My Baby’, on his album ‘Along for the Ride’ in 2001,” My brother Bob and I also contributed bass and guitar parts to ‘If I Don’t Get Home’, making us honorary Bluesbreakers”, states Joey D.
Royalties from the publishing of these two songs financed the release of their third CD, ‘A Brothers Dream’; and the start up of the brothers own Bell Asher Records in 2003. It is milestone release for a band who has really come into their own by staying true to their musical visions and refusing to bow to corporate gentrification. From the shadows of their genre-defying brand to the forefront of musical Americana, The Delgado Brothers storytelling and musical focus is one fueled by passion, courage and a heartfelt love of humanity. Unrestricted by the business end of the music industry, The Delgado Brothers are free to write, sing and produce original content music branded only by the uniqueness of their musical integrity and independence.
Instrumentation
Bob Delgado - Electric Bass, Upright
Steve Delgado - Vocals, Drums, Percussion
Joey Delgado - Vocals, Guitar, Producer
David "B" Kelley - Piano, hammond organ
Discography
1987 "The Delgado Brothers" Hightone Records
1999 "Let's Get Back" Mocombo Records / Bell Asher Records
2003 "A Brothers Dream" Bell Asher Records
2009 "Learn to Fly" Bell Asher Records
2012 Delgado Brothers - "Atlas" in production.
Official Website
http://www.delgadobrothers.com
Links
Audio
Video
Press
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Delgado Brothers Latin-Blues Adds Flavor to Monrovia
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The Delgado Brothers have been playing music in Los Angeles for more than 30 years, they have ties t...The Delgado Brothers have been playing music in Los Angeles for more than 30 years, they have ties to early 1960s rock 'n' roll and they've created a following for their music, which is a melding of blues, cool rock and Latin beats.
But the band has largely flown under the radar of the commercial music scene and the public eye in L.A.
Recently, though, the band was publicly recognized for its many years of influence; the Delgado Brothers were commended by the city of Monrovia for serving the community through their music.
The Delgado Brothers headlined the recent Latino Heritage Festival at the Monrovia Historical Museum on Sept. 12, which prompted the city to acknowledge the band.
"The nature of their music and their enthusiasm enhanced the whole cultural experience," said City Clerk Alice Atkins. "The festival was an inaugural event, and they added to the success of it."
In return, the city felt moved to honor the band for its contribution, which Atkins said was above and beyond what other musicians would have provided.
"We performed for free at the event because we thought it was a worthy cause," said Joey Delgado, lead guitarist. "We were just trying to create music and a vibe for the festival."
And that is largely the principle upon which the band operates. The Delgado Brothers play shows, even for free sometimes, for the sheer pleasure it brings them and their audiences. While they haven't had huge commercial success--the brothers still have day jobs--Joey Delgado said he's proud that the band hasn't compromised its standards or given up artistic control to a record label.
The Delgado Brothers write, perform and produce all of their music under their own record label, Bell Asher Records. They sing about real-life experiences shared among the three brothers--Bob, Steve and Joey Delgado--on bass, drums and guitar respectively, and their two band mates--Dave Kelley, keyboard, and Victor Bisetti, percussion.
Many of these experiences were channeled into their fourth album, Learn to Fly, released in 2009, after recording and producing it for five years.
"It took longer than I would have liked," Joey Delgado said. "[But] nothing went on the record as a filler. Everything had to matter. … It had to feel right."
The album features a deliberate mix of groove-worthy melodies, prominent guitar solos, Latin-percussion back-beats and poignant lyrics, which historically have characterized the band's music.
It's impossible to categorize the Delgado Brothers in one genre of music. Joey Delgado said that among the five band members, there are hundreds of musicians across all genres that they admire and draw inspiration from. He added that while there is not much original thought in music nowadays, what makes the Delgado Brothers original is their interpretation of all of their musical influences.
One of Joey Delgado's all-time favorites is B.B. King. And King's influence is evident in their work.
Delgado explained that it's not only King's musical prowess that makes him admirable, it's also his graciousness that earns the brothers' respect. The Delgado Brothers opened for King during a New Year's Eve show in 1993 and had the opportunity to hang out with the legend. Delgado said he eventually had to excuse himself from King's tour bus because, after 20 minutes, King was in no hurry to end the conversation.
That interaction struck a chord with Joey. If King had the time to acknowledge lesser-known artists and spend time mentoring them, the Delgado Brothers should do the same for their fans. And that is what they aspire to do.
The Delgado Brothers are founded on the principle of a community of musicians learning from one another. They are not classically trained. Steve and Joey initially learned how to play guitar when they were 9 and 10 from their older brother, Bob, 10 years their senior, who was in a band in the 1960s east L.A. scene and would invite musicians to the Delgado family home for jam sessions.
The younger boys volunteered as errand runners in exchange for a music lesson at the end of the session.
It is the fostering of a creative environment that has made the Delgado Brothers successful in their own right. And that is largely what drives them into the future: staying true to their roots and family and continuing to pay it forward, hoping to inspire a new generation of musicians.
Alaena Hostetter
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Buddy Guy, Delgado Brothers top blues festival's Saturday performances
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LONG BEACH - The first day of this year's blues festival featured artists famous for contributions t...LONG BEACH - The first day of this year's blues festival featured artists famous for contributions to the blues with their voice, a piano, or a saxophone, but it was the guitarists who stole the show on Saturday.
The best performance of the day came from Buddy Guy, Chicago blues guitarist and member of the Rock and Roll Hall of Fame. His headlining set Saturday marked his ninth appearance at the festival in its 28-year history.
Guy's backup band - consisting of a drummer, bassist, keyboardist, and second guitarist - started the show with a musical vamp while Guy was introduced. He took the stage with his cream-colored Fender Stratocaster slung over a black-on-white polka-dot shirt and the band launched into their first song, a cover of Freddie King's "Going Down."
"I know it's hot, but you can holler louder than that," Guy said shortly
after the song began, immediately drawing the crowd into the show.
Ad-libs throughout the rest of his set, such as his changing a line of "Hoochie Coochie Man" to "And I'm here in Long Beach just to mess with you" kept the audience interested if their minds started to drift elsewhere.
It would have been difficult for anyone in the crowd not to be completely into Guy's performance, however, especially when he came down from the stage and walked about 100 feet into the crowd during "Drowning on Dry Land" about halfway through his set. He was immediately mobbed, but strolled past fans sitting in folding chairs or lying on blankets without missing any words. He didn't miss any notes, either, as he was soloing for nearly all of the more than five minutes he spent in the crowd with cameras flashing everywhere he turned.
The showmanship continued once Guy returned to the stage, as he proceeded to play a guitar solo with a drumstick in his right hand. Later on in the show he would play his guitar sideways, or swing it around his body mid-solo.
Guy ended his set with a medley of covers of songs made famous by other blues guitar greats, including John Lee Hooker's "Boom Boom," Cream-era Eric Clapton's "Strange Brew," B.B. King's "Sweet Sixteen" and T-Bone Walker's "Stormy Monday." After playing pieces of a few Guy originals, his set came to a close with the instrumental introduction to Jimi Hendrix's "Voodoo Child."
Guy wasn't shy about sharing the spotlight with his other band members throughout his set. The first extended lead break, a jazzy, syncopated solo during "Going Down" at the start of his set, came from his keyboard player. His second guitarist also spent plenty of time soloing, both on his own and trading guitar licks or playing parts in unison with Guy.
One of the day's other highlights came earlier in the day, on the Juke Joint side stage. At the opposite end of Cal State Long Beach's athletic field, the Delgado Brothers played a high-energy 35-minute set while the main stage was being set up for Taj Mahal after Koko Taylor had finished performing.
In front of a backdrop designed to look like an old convenience store with a sign reading "Funks Grove Bar-B-Que -N- Beer," the band played rootsy guitar-driven blues backed by a three-man percussion section. The musicians on this side stage may not have been as well-known as the headlining acts, but this band showed that they are just as talented.
Joe Delgado, the band's guitarist, took several extended solos throughout the set, most of which were greeted with standing ovations from nearby fans. The stage and several rows of chairs were set up under a tent, and people were crowding the isles to stay in the shade.
The setup was almost enough to make the audience forget about the festival location, as the stage looked more like what would be found at a bar in a backwoods town. Toward the end of its set, one of the band members briefly spoke about Louisiana before playing a song with lyrics focusing on life in the state.
As it turned out, an introduction to the state wasn't necessary. With an audience withstanding 90-degree temperatures crowding around a small stage to hear a blues band, it was almost like they were already there.
The 28th annual Long Beach Blues Festival continues today with Irma Thomas and the Professionals; the Robert Cray Band; the Jimmy Reed Highway with Jimmie Vaughan; and Little Richard.
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Blues Bytes Pick Hit
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Delgado Brothers: A Brother’s Dream (Bell Asher 10724) - ‘Pick Hit’ of the month The Delgado Brot...Delgado Brothers: A Brother’s Dream (Bell Asher 10724) - ‘Pick Hit’ of the month
The Delgado Brothers are one of the most soulful bands I’ve ever heard. They’re hardly one of the most prolific bands in the biz, which explains why they’re not better known.
A Brother’s Dream marks only their third release, following the wonderful self-titled 1987 Hightone debut and its follow-up, Let’s Get Back, released a dozen years later on Mocombo. There are moments that remind of Robert Cray, Santana, and even a taste here and there of War and Los Lobos. This is not indicative of a proclivity to emulate other musicians, but rather points to the quality of songwriting and superb musicianship that the bros. bring to the studio. This is a band loaded with heart, emotion and chops, and one that stands shoulder to shoulder with any of their left coast contemporaries.
From the opening “Mama’s Crying,” with a musical motif that reminds of a cross between the Jeff Beck Group’s version of “Superstition” with “Voodoo Chile,” the brothers set the pace for a dozen tunes that by turn subtly rock and caress the soul. “Joy You Bring” (“...I didn’t know my soul could sing/thank you for the joy you bring...”) has a late-nite slow dance feel, while the cleverly titled “Lost In The Shuffle” is a slinky number that benefits from Juke Logan’s crisp tenor harp. The dance floor ready “Betty Sue Boogaloo” crosses a jazzy electric piano with a percussive back beat. This is not a band comfortable with a cliché.
“What’s It Gonna Be” is a tender, contemplative tear-coaxer. As a dad looking at my daughter’s future, I find it particularly poignant when brothers Joey and Steve harmonize on “...What’s it gonna be / Is it all about being free / put my mind at ease / stay until I let you leave...”
“Let’s Go” is a muscular piece that utilizes the sort of medium tempo, dramatic, guitar-fueled groove that works so well for Robert Cray.
The album is a success on a number of levels. The songwriting and performances are, of course, the gold, but the production – the coaxing of those gorgeous sounds, and their arrangement on disc -- the juxtaposition of different tempos into a brilliantly constructed song-quilt, makes this one of the finest collections to kiss these ears yet this year.
“Picture of You” has a quality of gentle strength, with delicate acoustic guitars, percussion and superb vocal interplay. Then comes the chunka-funk of “Do You See Me” that reminds of the great 70s jam band Stuff. “Jennie” is another sweet acoustic number that points to the split personality of the band.
“In Step” is flat out '70s soul, and “Leave Me Alone” has a bit of that SRV loopy guitar groove.
The closing “Talk To My Friend” is more soul with Steve Delgado’s riveting vocals buoyed by Joey Delgado’s guitar and Michael Thompson’s emotive piano.
The sum is extraordinary, which speaks as well to the whole of this wholly enjoyable collection. Journeymen players all, this brotherly band is the epitome of a well meshed unit. My only complaint is that I lived in Southern California for a decade and never saw the brothers play live.
--- Mark E. Gallo -
RockZilla World
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East LA's Delgado Brothers first released their brand of soul/R&B/blues to the public with their sel...East LA's Delgado Brothers first released their brand of soul/R&B/blues to the public with their self-titled debut in 1987. Produced on Hightone Records by legendary blues producer Bruce Bromberg, the Delgados made a small splash and then disappeared for over ten years. They reunited and returned in 1999 with the appropriately titled Let's Get Back on the Mocombo label, an album which, again, made some minor noise in Americana circles. It helped that the Delgados toured heavily in support of the release. They built a base of "in the know" fans who swapped mp3s and band sightings over the WWW.
A Brother's Dream is the Delgado Brothers third CD, for their third label, Bell Asher Records. Their cool soul/R&B groove is in place, often riding atop a blues backdrop. Los Lobos is the obvious comparison to make; however, the Delgados play absolutely no conjunto, and show little of "The Wolves'" experimental spirit. Which is not to say the Delgados are lightweights; it's just that Los Lobos is the best band in the world. Comparing anyone to them is unfair.
What the Delgado Brothers is is a damn good soul/blues/Americana band, with a Latin tinge to the singing and percussion. They plow the same soul-to-blues ground as Robert Cray, though Cray leans more to the blues side of the ledger. The Delgado Brother line-up consists of Steve Delgado on vocals and drums, Joey Delgado on vocals and guitars, Bob Delgado on backing vocals and bass, Ray Solis on congas and organ, and Dave Kelly on piano. Steve Delgado writes most of the lyrics and Joey Delgado writes most of the music. Steve and Joey take turns on lead vocals, with Steve taking lead on the lion's share. His voice is a bit like Los Lobos' Cesar Rojas, only with less growl. He has a cool, major-to minor-key, note-bending style that is reminiscent of Boz Scaggs. "Joy You Bring," a seething soul ballad, could have easily fit on Boz' first (and only) album for Atlantic Records.
The Delgado Brothers can plow in fields of blue, however, as is evident on the slow blues "Lost In the Shuffle." Steve Delgado sings in his best blues-crooner, Bobby "Blue" Bland voice. John "Juke" Logan guests with some fine, Little Walter-toned harmonica. Another guest picker, Dave "Hound Dog" Melton, plays some choice slide guitar.
"Betty Sue Boogaloo" is a hip soul/blues shuffle wherein Joey Delgado on guitar trades licks with Dave Kelly on electric piano. It's cuts like these where the Delgados sound the most like Los Lobos. Los Lobos might have thrown in more ugly/interesting guitar distortion, but the groove is the same. That the Delgados take what appears, on the surface, to be a formula shuffle and shape it into a compelling hipshaker is testament to their musicianship.
The Brothers Delgado go singer-songwriter/Americana on "Picture of You," sung by Joey Delgado. Joey's voice is not unlike his brother Steve's, but is more laid-back and folkie. The lyric of the song tells how love makes one look deeper: "I saw a picture of you today/I saw it in your eyes/All the words that you didn't say/I saw it in your eyes."
Another soul-to-folk ballad, "Jennie," is the story of a hard-luck, poverty-stricken girl. It isn't a hopeless situation, however, as the poignant chorus reveals: "Jennie, don't cry through the night/The pain that you feel will turn out alright/Jennie, hold on to your dreams/They're not as far as they seem." Steve Delgado sings the plaintive lead, while guest vocalist Teresa James provides some sweet, high harmony.
The last cut I'll talk about is the first cut on the CD, "Mama's Crying," a cooking, Latin-beat blues, with Ray Solis shining on congas, abetted by guest percussionist Vic Bisetti on timbales. Joey Delgado's lead guitar lines are fat, deep, and nasty. Lines that Stevie Ray Vaughn would claim. One could say this is the Delgados in their Santana mode. Dave Kelley is especially tight and right on organ. This is a mature, chops-heavy band at work.
So, as the state of Delgado Brother affairs stands right now, they've just released a fine album of soul, blues, and Americana called A Brother's Dream and are poised for noise. Their reputation as a killer live band, combined with solid product like this, places the finger squarely on the "launch" button. -
Real Blues Magazine
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This is, to my knowledge, the third Delgado Brothers album and given the outstanding brilliance of t...This is, to my knowledge, the third Delgado Brothers album and given the outstanding brilliance of their last release, Let's Get Back (on Mocombo Records) they certainly have established a reputation for world class musical genius. But, even more, The Delgado are one of the very few roots-rock-influenced bands who have profound concepts to go with the musical abilities they possess. Too many virtuosos have command of their instruments but very little to say that’s meaningful and in today’s scary, violence-promoting environment we desperately needs acts such as The Delgado’s to bring some sanity to the airwaves.
Few acts could deliver messages of hope, love and brotherhood as melodically as this El Monte-raised class. And while one couldn’t label “A Brother’s Dream a stereotypical blues album, the pervasive truth and honesty combined with full-of-feeling performances from all involved, tie The Delgado’s securely to blues, soul, gospel and all authentic American music.
While tempted to label The Delgado’s a poor man's Los Lobos, simply to convey to the reader what kind of music to expect, one must be outspoken regarding where The Delgado’s should be. No need to get into the Sad state of affairs in North American record industry priorities (as anti-talent and anti-music as its ever been from Rob Zombie to brain-dead Gangsta Rap) and one always clings to the prayer and hope of Good triumphing over Evil.
We can only hope that The Delgado’s exceptional talents and knack for magical and memorable music finally wins out and propels them to the exposure and fame they truly deserve. While no longer with John Juke Logan’s Mocombo label, John makes his appearance on tenor harmonica on one tune (Lost In The Shuffle) and Victor Bisetti of Los Lobos (a close family friend) is featured on several tracks, The Delgado’s are truly unique in many ways. Three brothers, Steve, Joey and Bob Delgado form the nucleus of the band with Dave Kelley on keyboards and Ray Solis on percussion rounding out the unit. A 1960s/70s El Monte upbringing in a totally blue-collar Chicano environment (in a household of eleven children) gave The Delgado’s perspective in a variety of angles and areas.
One thing that comes through loud and clear is the message that love and family are far more valuable and meaningful than any bag of goods Big Brother or The Devil will try and sell you. They’ve experienced first hand what money, drug and violence addiction promotion does to communities and people. Yet, you won’t find outrage or anger in The Delgado’s music.
They keep it simple with simple messages of love, affection and spreading joy mixed with special songs to real people in their lives (Talk to My Friend, In Step, Jennie and Picture of You). From what I hear The Delgado’s have a rabid following in California and upon first listen one is easily swept up by a sound that is so rare in these times. Memories of old Ry Cooder, Santana, Jackson Browne and Los Lobos albums, all classics, are evoked yet this is in no way derivative. The Delgado Brothers are steeped in four decades (at least) of truly beautiful and meaningful music so it’s appropriate to call them the torch-bearers of today’s music scene.
Mamas Crying is an intense tune featuring Joey Delgado’s outstanding guitar work on top of a layer percussion and swirling Hammond organ. A great opening cut. Lost in the Shuffle is a dreamy rolling blues featuring slinky slide from guest Dave Melton and John Logan’s always superfine harp. Betty Sue Boogaloo is a rollicking little ditty that'll grab your toes and tush. What’s It Gonna Be ranks as one of the most beautiful songs you’ll ever hear. Moving. Do You See Me? has a serious message tied to good-time shuffle.
Leave Me Alone will undoubtedly score on radio (blues) playlists thanks to its raw delivery and biting bare wires guitar from Joey D. And, last but not least I must state that Steve Delgado has an excellent voice and delivery and with a singer of this caliber to carry the load this band scores perfect score and highest ranking once again. The Delgado’s might just be the best rock band in the world today. They’re easily the best Unknown one and if you value real talent and excellent music you’ll be completely in love with this album. 6 big bottles for a disc that is destined to be a classic. (Beware – don’t confuse The Delgado Brothers with the UK-based Delgado’s. The Brothers are pure shinola...). A Grigg - Real Blues Magazine June 2003 -
Buddy Guy, Delgado Brothers top blues festival's Saturday performances
[+ Show ]
LONG BEACH - The first day of this year's blues festival featured artists famous for contributions t...LONG BEACH - The first day of this year's blues festival featured artists famous for contributions to the blues with their voice, a piano, or a saxophone, but it was the guitarists who stole the show on Saturday.
The best performance of the day came from Buddy Guy, Chicago blues guitarist and member of the Rock and Roll Hall of Fame. His headlining set Saturday marked his ninth appearance at the festival in its 28-year history.
One of the day's other highlights came earlier in the day, on the Juke Joint side stage. At the opposite end of Cal State Long Beach's athletic field, the Delgado Brothers played a high-energy 35-minute set while the main stage was being set up for Taj Mahal after Koko Taylor had finished performing.
In front of a backdrop designed to look like an old convenience store with a sign reading "Funks Grove Bar-B-Que -N- Beer," the band played rootsy guitar-driven blues backed by a three-man percussion section. The musicians on this side stage may not have been as well-known as the headlining acts, but this band showed that they are just as talented.
Joe Delgado, the band's guitarist, took several extended solos throughout the set, most of which were greeted with standing ovations from nearby fans. The stage and several rows of chairs were set up under a tent, and people were crowding the isles to stay in the shade.
The setup was almost enough to make the audience forget about the festival location, as the stage looked more like what would be found at a bar in a backwoods town. Toward the end of its set, one of the band members briefly spoke about Louisiana before playing a song with lyrics focusing on life in the state.
As it turned out, an introduction to the state wasn't necessary. With an audience withstanding 90-degree temperatures crowding around a small stage to hear a blues band, it was almost like they were already there.
The 28th annual Long Beach Blues Festival continues today with Irma Thomas and the Professionals; the Robert Cray Band; the Jimmy Reed Highway with Jimmie Vaughan; and Little Richard.
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Koko Taylor and Delgado Brothers Live at the Long Beach Blues Festival
[+ Show ]
http://medianewsgroup.a.mms.mavenapps.net/mms/rt/1/site/medianewsgroup-lang-longbeach-pub01-live/cur...http://medianewsgroup.a.mms.mavenapps.net/mms/rt/1/site/medianewsgroup-lang-longbeach-pub01-live/current/launch.html?maven_playerId=allpresstelegramvideos&maven_referralObject=38861244-eca4-467e-b510-65350fbc3d49
Setlist
1 - Learn To Fly
2 - I Wanna Know
3 - In Time
4 - Man Without A Plan
5 - Be The One
6 � Melissa
7 - If The World
8 � Lafayette
9 - Our Love is Complete
10 - All I Have
11 - All About The Love
12 - Oh Brother
And Many others!

