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Club Foot

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Club Foot was a large live-music venue in Austin, Texas , in the early 1980s. Located downtown at the corner of 4th and Brazos Streets, it had a reputation as a punk rock venue for its support of local and touring punk bands, but it also booked a wide variety of other types of music.

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18-530: Club Foot was located in a two-story warehouse that was partially underground, on 4th St. between Brazos St. and Congress Avenue, just east of the Greyhound Bus Station. The club featured a large picture window overlooking the bus staging area, and a bar made from a Lincoln Continental that was cut in half. Today, the Frost Bank building exists on the site of both buildings. The structure had previously been

36-452: Is a profit-oriented business that receives income from advertisements. The newspaper endorses electoral candidates and its reporters check official sources. This article related to Austin, Texas is a stub . You can help Misplaced Pages by expanding it . Junior Wells Junior Wells (born Amos Wells Blakemore Jr. ; December 9, 1934 – January 15, 1998) was an American singer, harmonica player, and recording artist. He

54-453: Is best known for his signature song " Messin' with the Kid " and his 1965 album Hoodoo Man Blues , described by the critic Bill Dahl as "one of the truly classic blues albums of the 1960s". Wells himself categorized his music as rhythm and blues . Wells performed and recorded with various notable blues musicians, including Muddy Waters , Earl Hooker , and Buddy Guy . He remained a fixture on

72-502: The Aces , consisting of the brothers Dave and Louis Myers on guitars and the drummer Fred Below , with whom he developed a modern amplified harmonica style influenced by Little Walter . In 1952, he made his first recordings when he replaced Little Walter in Muddy Waters's band and played on one of Waters's sessions for Chess Records in 1952. His first recordings as a bandleader were made in

90-589: The Billboard R&;B chart , the first of his two singles to enter the chart. Wells's album Hoodoo Man Blues , released in 1965 by Delmark Records , featured Buddy Guy on guitar. The two worked with the Rolling Stones on several occasions in the 1970s. Wells's album South Side Blues Jam was released in 1971, followed by On Tap in 1975. His 1996 release Come On in This House includes performances by

108-644: The Chronicle covers local and state news as well as the Austin food, film, theater, art and music communities. The paper also has a number of annual features, including the "Best of Austin" Awards and "Best of Austin: Restaurants" Awards, cut-out masks for Halloween , and the April Fools' edition. The Chronicle produces the annual Austin Chronicle Hot Sauce Festival , normally held in early September. It

126-522: The South by Southwest Festival, although the festival operates as a separate company. The paper initially was published bi-weekly, and later weekly. Its precursor in style and format was the Austin Sun , a bi-weekly that had ceased operations in 1978, after four years of publication. The first issue of the Chronicle was distributed on September 4, 1981. With a progressive point of view and irreverent voice,

144-688: The News , Savoy Brown , Bow Wow Wow , The Plimsouls , Garland Jeffreys , Mighty Diamonds , Marianne Faithfull and T-Bone Burnett . Hosted by Wendy O. Williams and Eric Johnson, Plasmatics , Metallica , Juluka Austin Chronicle The Austin Chronicle is an alternative weekly newspaper published every Thursday in Austin, Texas , United States. The paper is distributed through free news-stands, often at local eateries or coffee houses frequented by its targeted demographic. In 2001,

162-940: The Secret Six, Joe Ely , Echo & the Bunnymen , Sir Douglas Quintet , Sam and Dave , John Kay and Steppenwolf , Billy Idol , The Fabulous Thunderbirds , Junior Walker , Joe King Carrasco and the Crowns , Charlie Musselwhite , UK Subs , Anti-Nowhere League , Orchestral Manoeuvres in the Dark , Big Youth , Rare Earth, The Ventures , The Lift, The Standing Waves, Patterns, Gun Club , Roky Erickson , Pete Shelley , The Nighthawks, Grace Jones , David Johansen , The Neville Brothers , Wall of Voodoo , The English Beat , Bobby "Blue" Bland , Sparks , Maria Muldaur , The Fleshtones , Rank and File, Romeo Void, The Take, The Strays, Edgar Winter , Flipper , Buddy Guy and Junior Wells , Huey Lewis and

180-555: The Skunks , B. B. King , Carl Perkins , King Sunny Adé , Stevie Ray Vaughan , X , Burning Spear , Stray Cats , Dr. John , Big Boys , John Lee Hooker , Leon Russell , Ian Hunter , Joe Cocker , Iggy Pop , John Hiatt , Stanley Turrentine , Albert King , The Blasters , NRBQ , Richard Hell , Little Steven & the Disciples of Soul, Mitch Ryder , John Cale , Delbert McClinton , The Go-Go's , The Romantics , Jesse Sublett &

198-736: The blues scene throughout his career and also crossed over to rock audiences while touring with the Rolling Stones . Not long before Wells died, the blues historian Gerard Herzhaft called him "one of the rare active survivors of the 'golden age of the blues ' ". Wells may have been born in Memphis, Tennessee , and raised in West Memphis, Arkansas (some sources report that he was born in West Memphis). Initially taught by his cousin Junior Parker and by Sonny Boy Williamson II , Wells learned to play

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216-482: The first Austin Chronicle Readers Poll Music Awards, an annual show that has become the kickoff event for the South by Southwest Music Conference ( SXSW ) each year. The headliner for the opening night at Club Foot was The Stranglers . Among those playing there during the approximately three years it was open were Uranium Savages , U2 , Willie Nelson , R.E.M. , James Brown , Sam and Dave,

234-414: The following year for States Records . In the late 1950s and early 1960s, he recorded singles for Chief Records and its subsidiary, Profile Records, including " Messin' with the Kid ", "Come on in This House", and " It Hurts Me Too ", which would remain in his repertoire throughout his career. His 1960 Profile single "Little by Little" (written by Chief owner and producer Mel London ) reached number 23 on

252-400: The harmonica skillfully by the age of seven. Wells told the following story, printed on the cover of his album Hoodoo Man Blues : I went to this pawnshop downtown and the man had a harmonica priced at $ 2.00. I got a job on a soda truck... played hookey from school ... worked all week and on Saturday the man gave me a dollar and a half. A dollar and a half! For a whole week of work. I went to

270-412: The home of at least two other nightclubs. In 1977 it was a club called Boondock's, which featured live bands. Subsequent to that, it was a club called Crazy Bob's. The club was purchased in 1979 by David Ladd an entrepreneur involved in the real estate development business and motion pictures. It was converted into a Gay Disco called "Rushes" which opened March 17, 1979. The Grand opening several weeks later

288-545: The newspaper reported a weekly readership of 545,500. It is part of the Association of Alternative Newsmedia and it emulates the typical publications of the 1960s counterculture movement. The Chronicle was co-founded in 1981 by Nick Barbaro and Louis Black , with assistance from others who largely met through the graduate film studies program at the University of Texas at Austin . Barbaro and Black are also co-founders of

306-640: The pawnshop and the man said the price was two dollars. I told him I had to have that harp. He walked away from the counter – left the harp there. So I laid my dollar-and-a-half on the counter and picked up the harp. When my trial came up, the judge asked me why I did it. I told him I had to have that harp. The judge asked me to play it and when I did he gave the man the 50 cents and hollered 'Case dismissed!' He moved to Chicago in 1948 with his mother, after her divorce, and began sitting in with local musicians at house parties and taverns. Wild and rebellious but needing an outlet for his talents, he began performing with

324-458: Was packed with people from all over the country to see Grace Jones perform. It was huge success but as the Disco scene began to fade it became a showcase club for local bands and evolved into a punk rock venue. Club Foot published a calendar called "Footprints" that included detailed descriptions of upcoming concerts under the slogan "all the news that's foot to print." In 1983, Club Foot was the site of

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