Formed in 1968 in Los Angeles, California, by the brothers Patrick Vasquez (bass and vocals) and Lolly Vasquez (guitar and vocals), the name Redbone itself is a joking reference to a Cajun term for a mixed-race person, the band's members being of mixed blood ancestry. The band referenced Cajun and New Orleans culture many times in their lyrics and performing style. Pat and Lolly had previously performed and recorded under the stage surname Vegas, in part to downplay the Latin American association of their birth surname, Vasquez.
Redbone played primarily rock music with R&B, Cajun, Jazz, tribal, and Latin roots. Their first commercial success came with the single Maggie from their second album, Potlatch, in 1970, and two other hit singles followed - The Witch Queen of New Orleans (1971, #21 on the Billboard Hot 100) and "Come and Get Your Love" (1974, #5 on the Billboard Hot 100). "Come and Get Your Love", written by Lolly Vasquez stayed in the Billboard chart for 24 weeks, and was awarded a gold disc by the R.I.A.A. on 22 April 1974.
Lolly Vasquez was one of the first guitarists to make extensive use of the distinctive Leslie rotating speaker effect in his electric guitar amplification set-up. Vegas played improvised, jazz-influenced guitar. Drummer Peter DePoe (born 1943, Neah Bay, Washington) is credited with pioneering the "King Kong" style of drumming, which features sharply accented polyrhythms involving the bass and snare drums and is similar to funk styles of drumming. The band referred to DePoe's "King Kong Beat" in their lyrics to the song "Prehistoric Rhythm" on their debut album.
In 1973 Redbone released the politically oriented We Were All Wounded at Wounded Knee, recalling the massacre of Lakota Sioux Indians by the Seventh Cavalry in 1890. The song ends with the subtly altered sentence "We were all wounded 'by' Wounded Knee". The song reached the #1 chart position in Europe but did not chart in the U.S. where it was initially withheld from release and then banned by several radio stations. Original drummer Peter DePoe left to be replaced by Butch Rillera. Following this the band achieved much of their commercial success. Tony Bellamy (guitar, piano and vocals) was later forced to retire due to illness.
The band's current remaining membership is led by Pat Vegas alone (Lolly left in 1995, Tony Bellamy sometime after that), Raven Hernandez (guitar, vocals and songwriter) joined Redbone in 1996 to replace Lolly Vegas after he suffered a stroke that left him unable to tour with the band. Although Redbone has had some limited activity in recent years, their songwriting and touring output is slight compared with that of the early 1970s. A proposed reunion tour in 2003 did not occur.
Evidence suggests the existence of an "imposter band" illegally touring the United States and posing as Redbone under the name (or alias) "Denny Freeman". Freeman, who Pat Vegas confirmed to be unaffiliated with Redbone in an interview with the Montana Standard, most recently defrauded the county-fair board of the Butte Silver-Bow County Fair in Butte, Montana under pretenses of being a co-founding member of Redbone, yet he was never a band member.
Prior to forming Redbone, Pat and Lolly Vegas released an album in the mid 1960s entitled Pat & Lolly Vegas At The Haunted House (Mercury MG 21059/SR 61059). Of the twelve songs on the album, six are originals by the Vegas brothers. Pat and Lolly Vegas also released several 7" singles from 1961 to the mid 1960s. One of them is titled "Robot Walk" / "Don't You Remember" (Apogee Records A-101).
The first self titled album by Redbone was released as a double album in North America and as a single LP in Europe. Their third album, Message from A Drum, was released in Europe with another title (The Witch Queen of New Orleans) and a different cover than the one released in the U.S. and Canada.
One of the 1970s drummers, George Spannos, released his own hit album Passion in the Dark in 1983 under the name Danny Spanos, having a Top 40 hit single with Hot Cherie.
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Deutsche Version:
Bandgeschichte
Die Initiatoren von Redbone waren die Brüder Lolly Vegas (bürgerlich Candido Albelando Vasquez, * 2. Oktober 1939 in Los Angeles, Kalifornien; † 4. März 2010 ebenda – Vocals, Gitarre) und Pat Vegas (bürgerlich Patrick Morales Vasquez, * 17. März 1941 (oder 1946) in Coalinga, Kalifornien – Vocals, Bass). Schon seit den frühen 1960er Jahren machten die beiden Brüder unter verschiedenen Band- und Projektnamen wie The Avantis oder The Sharks sowie ab 1964 unter ihrem Künstlernamen Vegas zusammen Plattenaufnahmen. So zum Beispiel 1966 die LP Pat & Lolly Vegas at the Haunted House, die neben selbstverfassten Titeln Coverversionen damals aktueller Hits von Wilson Pickett, James Brown oder den Rolling Stones enthält. Als Studiomusiker wirkten sie bei Aufnahmen von Elvis Presley und Sonny & Cher mit. Die beiden Brüder waren ebenfalls erfolgreiche Songschreiber. Der Titel Niki Hoeky (auch Niki Hokey geschrieben) wurde von mehreren bekannten Interpreten wie Bobbie Gentry, Aretha Franklin (Lady Soul, 1968) oder The Ventures (Swamp Rock, 1969) aufgenommen und war 1967 in der Version von P.J. Proby ein Top-40-Hit[5] in den US-Billboard-Charts.
Ende 1968 stellten sie mit Tony Bellamy (bürgerlich Robert Anthony Bellamy, * 12. September 1941 (oder 1940) in Orange City, Kalifornien – Gitarre, Vocals) und Pete "Last Walking Bear" DePoe (* 1943 im Makah-Reservat in Neah Bay, Washington – Schlagzeug) schließlich eine Band zusammen. In ironischer Anspielung auf ihre ethnische Herkunft wählten sie den Bandnamen Redbone. Im frankophonen Kulturkreis der Cajuns (Cajun Country, Louisiana) ist „Rehbon" ein abfälliger Ausdruck für einen Menschen gemischt-ethnischer Herkunft. „Redbone" ist davon die US-amerikanisierte Form. Schlagzeuger DePoe, der das Trommeln bei Zeremonien und Powwows gelernt hatte, gehört als einziger "echter" Indianer bei Redbone zum Indianervolk der Cheyenne[6][7]. Die anderen Bandmitglieder haben teils latein-amerikanische Wurzeln und verwandtschaftliche Verbindung verschiedenen Grades zu den Yaqui und Shoshone[8] und bezeichnen sich als Stadtindianer.
Beim CBS-Sublabel Epic Records unterzeichneten sie 1969 einen Schallplattenvertrag und ihr selbstbetiteltes Debüt-Doppelalbum erschien 1970 mit ausnahmslos selbstgeschriebenen Songs, darunter ihre eigene Version von Niki Hoeky sowie der auch als Single ausgekoppelte Titel Crazy Cajun Cakewalk Band. Auf dem Albumcover ist ein mit Federn beschmückter roter Knochen abgebildet. Am 26. August 1970 traten sie – in Europa noch weitgehend unbekannt – beim letzten und größten Isle of Wight Festival auf.
Die Musik von Redbone ist eine unikate Mischung aus Rock, Rhythm 'n' Blues, Funk, Jazz, Cajun-Musik, lateinamerikanischen Rhythmen und Elementen indianischer Stammesfolklore. Ihre überwiegend selbstgeschriebenen Lieder sind oft sprachlich wie thematisch von der Cajun-Kultur geprägt, erzählen von Stammesriten, nordamerikanischer Indianergeschichte und sozialer Ungerechtigkeit. Ihr Bandimage betonten sie konsequent mit authentischer Indianerbekleidung und entsprechender Bühnenausstattung.
Bereits Ende 1970 erschien die zweite LP Potlatch. Der Song Alcatraz behandelt die Besetzung der Insel Alcatraz durch indianische Aktivisten (Indians of All Tribes) seit dem 20. November 1969, die u.a. auch von der Rockband Creedence Clearwater Revival unterstützt wurde und am 11. Juni 1971 durch Räumung seitens der US-Regierung endete. Mit der ausgekoppelten Single Maggie erzielte die Gruppe Ende 1970/Anfang 1971 einen ersten Achtungserfolg in den amerikanischen Single-Hitparaden.[4] Anfang 1972 erreichte Maggie als Wiederveröffentlichung Platz 45 auch in der deutschen Hitliste.[2]
Aus der dritten LP Message from a Drum (1971) stammt der Titel The Witch Queen of New Orleans, in dem die Voodoo-Priesterin Marie Laveau besungen wird. Der Song entwickelte sich Ende 1971 zum weltweiten Hitparadenerfolg und erreichte Platz 2 im Vereinigten Königreich[3], Platz 13 in Deutschland[2], und in den Billboard Hot 100 Rang 21[4].
Aus familiären Gründen spielte Pete DePoe auf dem vierten Album Already Here (1972) nur auf den fünf Titeln von Seite 1 Schlagzeug.[9] Auf Seite 2 sprang für ihn Arturo Perez ein, der für kurze Zeit auch bei Liveauftritten mitspielte.[10] Die Singleauskopplung Fais Do war in den Niederlanden ein kleiner Hitparadenerfolg.
Der Non-Albumtrack We Were All Wounded at Wounded Knee (1973) thematisiert das Massaker bei Wounded Knee (South Dakota) im Jahre 1890 durch das 7. US-Kavallerieregiment an Angehörigen des Minneconjou-Indianerstammes (Lakota/Sioux). Die Single stand 5 Wochen lang auf Platz 1 in der Hitparade der Niederlanden[11] und in Deutschland kam er bis auf Rang 21[2]. In den USA wurde das Lied nicht veröffentlicht und von vielen Radiosendern boykottiert.
Während den Aufnahmen zur fünften Studio-LP Wovoka 1973 verließ Schlagzeuger DePoe die Band endgültig und wurde durch Butch Rillera (* 8. November 1945) ersetzt. Der aus diesem Album ausgekoppelte, in lateinamerikanischem Tanzrhythmus eingespielte und etwas gefälligere Song Come and Get Your Love war 1974 mit Platz 5 die kommerziell erfolgreichste Single von Redbone in den USA und verkaufte sich über eine Million Mal.[4]
Rillera hatte die Gruppe nach dem 1974er Album Beaded Dreams Through Turquise Eyes schon wieder verlassen und der Platz am Schlagzeug wurde fortan öfter neu besetzt. Hinzu kam Keyboarder und Perkussionist Aloisio Aguiar. Nach der 1977er LP Cycles wurde es jedoch zunehmend stiller um Redbone. 1995 verließ Lolly Vegas aus gesundheitlichen Gründen die Gruppe. Wenig später trennten sich auch die verbliebenen Ur-Mitglieder Pat Vegas und Tony Bellamy. Pat Vegas tourte später gelegentlich mit einer neu zusammengestellten Gruppe unter dem Namen Redbone, zu der ab 2003 Mark Guerrero gehörte.
Alben
Redbone - 1970
Potlatch - 1970
Message from a Drum - 1971 (auch als The Witch Queen of New Orleans veröffentlicht, 1972)
Already Here - 1972
Wovoka - 1973
Beaded Dreams Through Turquise Eyes - 1974
Come and Get Your Redbone - 1975
The Best of Redbone - 1976
Cycles - 1977
Redbone Live - 1994 (Aufnahmen 1977)
Great Songs (Come and Get Your Love) - 1995
Golden Classics - 1996
To the Bone - 1998
Redbone and Wet Willie: Take Two - 2002
The Essential Redbone - 2003
One World - 2005
Singles
Crazy Cajun Cakewalk Band - 1970
Maggie - 1970, 1971 und 1972
Light as a Feather - 1971
The Witch Queen of New Orleans - 1971
Message from a Drum - 1972
Fais Do - 1972
When You Got Trouble - 1972
Niji Trance - 1972
Poison Ivy - 1973
We Were All Wounded at Wounded Knee - 1973
Wovoka - 1973
Come and Get Your Love - 1974
One More Time - 1974
Suzi Girl - 1975
Clouds In My Sunshine
Redbone Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There's a cloud in my sunshine
Rain on my parade
My jeans go a hole in it
And my happy's got a sad
Hey, hey, hey...
Hey, hey, hey...
Clouds in my sunshine
Christmas spirit
In your mind, body and soul
Time we can always buy
Tomorrow for a day
Hey, hey, hey...
Clouds in my sunshine
Hey, hey, hey...
Clouds in my sunshine
Next year's resolution
We'll change our reservation
Wise men hold the key
That can open any door
Hey, hey, hey...
Clouds in my sunshine
Hey, hey, hey...
Clouds in my sunshine
Hey, hey, hey...
Clouds in my sunshine
Hey, hey, hey...
Clouds in my sunshine
Hey, hey, hey...
Clouds in my sunshine
Hey, hey, hey...
Clouds in my sunshine
Redbone's song "Clouds In My Sunshine" brings together Native American chants, folk-like sensibilities, and a general feeling of disconnection to convey feelings of loss and uncertainty that are familiar to many. The opening line of the song, "There's a cloud in my sunshine," speaks to a sense of interference or obstruction in one's life that is otherwise bright and hopeful. This metaphor extends to the subsequent lines, which touch on rain on a parade, a hole in one's jeans, and the sense of happiness giving way to sadness.
As the song progresses, the lyrics shift to a different theme: that of buying time and attempting to remain positive in the face of adversity. There is a mention of "Christmas spirit" and the idea that time can be purchased, although there is also a suggestion that "Tomorrow" is far from guaranteed. The resolution mentioned in the final verse could be interpreted as a call to action, a plea to try and change the course of one's life in the face of challenges.
Throughout the song, the repetition of the lines "Hey, hey, hey... Clouds in my sunshine" maintains a sense of both melancholy and hope, suggesting that even in difficult times there can be a glimmer of light. The combination of the Native American chant with the simple yet profound lyrics creates a sense of universality to the song – while the specifics may be unique to the individual, the feelings of uncertainty and longing are common to all.
Line by Line Meaning
There's a cloud in my sunshine
Something is interfering with my happiness and causing me to feel troubled or sad.
Rain on my parade
Something is spoiling or ruining my plans.
My jeans got a hole in it
Something unfortunate or unexpected happened to me.
And my happy's got a sad
Although I was happy before, I am now experiencing sadness or some other negative emotion.
Christmas spirit
A feeling of joy, generosity, and kindness that is associated with the holiday season.
In your mind, body, and soul
This feeling is not just a superficial or fleeting emotion but something that is deeply felt in every aspect of your being.
Time we can always buy
No matter how busy or stressed we may feel, we can always find a way to make time for the things that matter to us.
Tomorrow for a day
We should not take our time for granted or assume that we will always have the ability to do what we want in the future.
Next year's resolution
A commitment to change some aspect of our behavior or circumstances in the coming year.
We'll change our reservation
We will alter our plans or expectations in order to make room for the changes we want to make.
Wise men hold the key
People who are experienced or knowledgeable can often provide valuable insights or solutions to our problems.
That can open any door
Their advice or guidance can help us to overcome obstacles and achieve our goals.
Contributed by Reagan K. Suggest a correction in the comments below.
lgallo351
Love Native American master musicians Redbone! These rockers should be in the Rock and Roll Hall of Fame!
Paula Eller
@Pamela W actually they are Mexican yaqui and apache
Angael Tartar Rose
@Pamela W REDBONE means mixed dna Native Americans still of heritage.
Barbara Munoz
@Mike Roberts They ARE NOT LATIN..THEYARE JUST SUM 100% SUM MIXED..BUT ALL HAVE THE BLOOD IN THEM.JUST AS MOST PEOPLE ARE MIXED FROM GENES 100S YR BACK..SUM FEEL BEING INDIAN IS LATINO..NO NOT THE SAME..THEY DONT SPK SPANISH IN A TRIBE
Chocolate Milk
@Mike Roberts arent they Indian/latino?
Pamela W
They are biracial they are Spanish which is white their last names are Spanish names 100% Native American Indian men do not need to shave their faces because they grow no facial hair they do not grow mustaches or beard when you see a person who says they're Native American and they have a mustache or beard they're not 100% Native American another issue is Native Americans never have wavy hair as you could see these band members have mustaches are they look like they shaved they have wavy hair Native Americans do not have wavy hair their hair is always completely straight if they are hundred percent Native American so they're calling this band Native American but it's actually biracial it's actually Caucasian Spanish and Native American as I am myself but just to State the facts
soundsalive
These guys where the sound of my childhood. Sad that nobody makes music like this anymore. The energy it produces, the way it makes you want to dance is all timeless stuff...it just grooves and bounces!
Valentin Heredia
🤣🤣 gaaaaaaaaaaaaaaaaaayyyyyyyyyyyyyyyy
J Schouten
Redbone we were going out of our minds on your music!!!!
J Schouten
Tony