Bio:
Rust belt blues shouter and guitar slinger Larry McCray was born in 1960 in Magnolia, Ark., about 12 miles from the Louisiana line. He spent his early years on a farm as the second youngest of nine siblings. After trying his hand at saxophone in school, his older (and only) sister, Clara, introduced Larry to the guitar and the transformative music of the three Kings of the blues (B.B., Freddie and Albert).
By the late ’80s, Larry had attracted the attention of Virgin Records executive John Wooler, who had recently started a subsidiary label, Point Blank Records, featuring blues, soul and Americana artists. He signed Larry McCray as his first artist. Larry’s debut album, Ambition—aptly named as it fused elements of blues, rock, and soul to create a contemporary blues sound—was recorded in a friend’s Detroit basement studio and released in 1990 to critical acclaim.
Throughout the 1990s, Larry continued to help define blues rock by collaborating with artists such as labelmate and fellow guitarist, Albert Collins, and releasing the much more slickly produced Delta Hurricane in 1993 (produced by British blues maven Mike Vernon), Meet Me at the Lake in 1996 and Born to Play the Blues in 1998.
Over the past three decades of nonstop touring and recording, Larry has played and shared the stage with such blues greats as BB King, Buddy Guy, Albert King, John Mayall, Johnny Winter, Robert Cray, Keb Mo, Jimmie Vaughan, Kenny Wayne Shepherd and Joe Bonamassa, as well as rock legends the Allman Brothers, Phil Lesh, Jonny Lang, Joe Walsh, Levon Helm, Chris Robinson, Dickey Betts, and countless others.
In 2021, Blues Without You, Larry’s latest, a 12-track release was recorded on famed blues rock guitarist Bonamassa’s Keeping the Blues Alive nonprofit label with producer Josh Smith, a partnership that has also spawned a video (for the upcoming single, “Arkansas”) and a documentary.
“Larry’s still a relatively young man, with a lot to say, and the world needs to know who he is. It’s the perfect time to have a rebirth of his music,” Bonamassa says. “He knows he’s a badass, he just needs to be reassured and reassure himself that he can stand up there with the greats".
Contact Information
Management/Booking:
Management:
WhiteLeaf Artist Management [email protected]
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).