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In England he's a been household name, and in Nashville and Los Angeles he's been one of the most in-demand session guitarists there is; but outside of professional music circles in America, he's one of those vaguely recognizable names, and occasionally misidentified with his similar-sounding contemporary, ex-Ten Years After guitarist Alvin Lee (with whom he did share a berth once, in Jerry Lee Lewis's band on the latter's London Sessions album) — but where Alvin was a hero of Woodstock and a flashy guitarist, in the manner of British blues extroverts Jimmy Page and Jeff Beck, Albert is much more likely to be found playing in the background, behind the Everly Brothers or alongside Eric Clapton.\n\nLee was born in Leominster, England, in 1943. His introduction to music came from his father, who played piano and accordion. His first instrument was the piano, which he took up at age seven — he was lucky enough to be more than five years into his keyboard study when rock & roll came along, and his first idol was Jerry Lee Lewis, which also marked his introduction to rockabilly music. Within a couple of years, however, Lee had switched to guitar, and also discovered the music of Buddy Holly & the Crickets. He started learning the guitar in earnest and studying their records very closely, and not long after graduated from an acoustic to an electric instrument, and was learning the lead guitar parts on records by Holly, Gene Vincent, Ricky Nelson, the Louvin Brothers, and the Everly Brothers — except that to him they were just as much records by Tommy Alsup, Jimmy Bryant, Cliff Gallup, James Burton, Chet Atkins, and Hank \"Sugarfoot\" Garland, among other guitarists. At 16, he turned professional and joined the stable of musicians working for manager Larry Parnes, playing behind Dickie Pride, among other stars on Parnes' roster. He later joined the backing band of R&B singer Bob Xavier, and later played behind Jackie Lynton, through whom he appeared on his first recording. Lee twice succeeded Jimmy Page as a lead guitarist, first in Mike Hurst's band and then in Neil Christian's backing group. And Lee, in turn, was succeeded in the latter band by Ritchie Blackmore when he jumped to Chris Farlowe's backing group the Thunderbirds. \n\nHe spent four years with the Thunderbirds, who became known in British musical circles as one of the best R&B bands in England, and all gained fame as Farlowe charted singles (including a number one hit) in 1966 and early 1967. He finally left Farlowe in 1968, feeling bored after four years, and over next two years passed through several bands playing behind various visiting American country stars, including George Hamilton IV, Skeeter Davis, and Bobby Bare. Lee passed through several groups, including Country Fever and Poet & the One Man Band, before finally reaching a semipermanent berth with Heads, Hands & Feet, a progressive country outfit who were sort of England's answer to the Flying Burrito Brothers or the Nitty Gritty Dirt Band. He first achieved public notice as a member of this group, which achieved some positive critical notice — and allowed Lee to expand his playing beyond the guitar — but saw little commercial success. They split up after two years, and Lee made his living as a session guitarist for the next couple of years, and was also able to latch on to a piece of new recording action going on in England. In 1970, Chess Records had scored an unexpected chart success with The London Howlin' Wolf Sessions, which had led to a spate of \"London Sessions\" albums by Muddy Waters and Chuck Berry, among others at Chess, and even a B.B. King album on ABC Records built along the same lines. He got in on Jerry Lee Lewis' London Sessions album, and that seemed to reopen Lee's relationship of the early '60s with American acts — except that this time one circle of his life seemed to close when he was chosen to replace Glen D. Hardin in the Crickets. He toured with them and also cut sides with them in Nashville for a Mercury Records release, Long Way From Lubbock. When the smoke cleared from his two years with the band, Lee had moved to Los Angeles, where he made contact with Phil Everly and Don Everly, who were working separately at the time. Lee joined Don's band and even got his Heads, Hands & Feet bandmates to work on his Sunset Towers LP.\n\nFrom there, Lee became a member of Joe Cocker's band, which, in turn, led to the offer of a contract in 1975 to do a solo album with A&M Records, which was Cocker's label at the time. A gig playing (and recording) with Emmylou Harris delayed the completion of his own record for a couple of years, until the end of 1978, though when Home, as it was titled, finally appeared, it was not only a guitar virtuoso showcase but included Harris on it as a guest performer. He was signed to Polydor as a solo artist, but by that time the session work and offers were coming in fast and furious, and Lee was seemingly everywhere, playing with everyone from Jackson Browne to Bo Diddley to Herbie Mann. His most visible gig, however, was playing with Eric Clapton, first on Just One Night and then on the tour that followed. And when the Everly Brothers reunited for a concert, a live album, and a concert video, Lee was there in the band. Lee's own solo career continued into the late '80s with Speechless (1987) and Gagged but Not Bound (1988), both issued by MCA and both critical successes. He was also later a member of Gerry Hogan's bluegrass group Hogan's Heroes, and toured and recorded with Bill Wyman's band, the Rhythm Kings. He has also played with Eddie Van Halen and Steve Morse in a supergroup called the Biff Baby All-Stars.\n\nIn his fifth decade as a professional musician, Lee was part of a rarefied fraternity as a virtuoso's virtuoso, respected on three continents and pretty much living out a professional life that most of his colleagues, when he started out, could only dream of. He continued to record in the 21st century, cutting the country/rockabilly album Heartbreak Hotel for Sugar Hill in 2003. That same year, Castle Records issued a Lee retrospective compilation, That's All Right, Mama. A second Sugar Hill release, Road Runner, appeared in 2006. ","isGroup":false,"bornOrFormed":"December 21, 1943","name":"Albert Lee","editorialArtwork":{}}},{"id":"3624937","type":"artists","href":"/v1/catalog/us/artists/3624937?l=en-US","attributes":{"artwork":{"width":3099,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music114/v4/a8/ac/1e/a8ac1e8f-2c21-750d-fb5f-65c1a84dd57c/pr_source.png/{w}x{h}bb.{f}","height":3099,"textColor3":"b2989b","textColor2":"b3bed0","textColor4":"959daa","textColor1":"d8b8bd","bgColor":"1c1714","hasP3":false},"hero":[{"content":[{"artwork":{"width":3099,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music114/v4/a8/ac/1e/a8ac1e8f-2c21-750d-fb5f-65c1a84dd57c/pr_source.png/{w}x{h}bb.{f}","height":3099,"textColor3":"b2989b","textColor2":"b3bed0","textColor4":"959daa","textColor1":"d8b8bd","bgColor":"1c1714","recommendedCropCodes":["va","vb","vc","vd","vf"],"hasP3":false}}]}],"url":"https://music.apple.com/us/artist/the-bacon-brothers/3624937","genreNames":["Rock"],"artistBio":"The Bacon Brothers earned considerable attention long before they ever released an album; singer/guitarist Kevin Bacon already enjoyed a successful career as one of the most prolific screen actors of his generation, with starring performances in films including Diner, Footloose, JFK, The River Wild, and Apollo 13. He originally formed the Bacon Brothers with his singer/guitarist brother Michael in 1994 to perform at a charity event in their hometown of Philadelphia, although the two siblings' collaborative musical history in fact dated back to their childhood; while Kevin later explored acting, Michael forged his own musical career fronting the 1970s folk-rock band Good News, subsequently recording a pair of solo albums. He then moved into composing for film and television, earning an Emmy Award for his score for the documentary The Kennedys. Following their 1994 formation, the Bacon Brothers (rounded out by bassist Paul Guzzone and drummer Marshal Rosenberg) took their country-folk sound on the road, garnering much media notice on the strength of the siblings' preexisting fame; they issued their debut LP, Forosoco, in late 1997. Getting There followed two years later; Can't Complain appeared in summer 2001.The Brothers released Live: The No Food Jokes Tour in 2003, a two-disc set that featured 19 performances, as well as an in-depth interview with Michael and Kevin. White Knuckles arrived in 2005 on the SpinART label, and it was followed by New Years Day in 2008. A compilation called Philadephia Road: The Best of the Bacon Brothers appeared in some territories in 2011. ~ Jason Ankeny","isGroup":true,"bornOrFormed":"1997","name":"The Bacon Brothers","editorialArtwork":{}}},{"id":"155578","type":"artists","href":"/v1/catalog/us/artists/155578?l=en-US","attributes":{"artwork":{"width":843,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features115/v4/25/e0/0b/25e00bc2-2635-8a39-37ac-a608c9911f92/pr_source.png/{w}x{h}bb.{f}","height":843,"textColor3":"323232","textColor2":"161616","textColor4":"414141","textColor1":"040404","bgColor":"ececec","hasP3":false},"hero":[{"content":[{"artwork":{"width":843,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features115/v4/25/e0/0b/25e00bc2-2635-8a39-37ac-a608c9911f92/pr_source.png/{w}x{h}bb.{f}","height":843,"textColor3":"323232","textColor2":"161616","textColor4":"414141","textColor1":"040404","bgColor":"ececec","hasP3":false}}]}],"origin":"Cairo, GA","url":"https://music.apple.com/us/artist/daryle-singletary/155578","genreNames":["Country"],"artistBio":"On songs like the rowdy honky-tonker “Too Much Fun,” Daryle Singletary’s old-school voice has driven his neo-traditionalist country sound since his 1995 self-titled debut.","isGroup":false,"bornOrFormed":"March 10, 1971","name":"Daryle Singletary","editorialArtwork":{}}},{"id":"210373","type":"artists","href":"/v1/catalog/us/artists/210373?l=en-US","attributes":{"artwork":{"width":1200,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features115/v4/7a/59/a2/7a59a2ba-e79b-b85c-42d3-606de757da85/mzl.qmysmunb.jpg/{w}x{h}bb.{f}","height":1200,"textColor3":"3b3b3b","textColor2":"202020","textColor4":"484848","textColor1":"101010","bgColor":"e9e9e9","hasP3":false},"hero":[{"content":[{"artwork":{"width":1200,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features115/v4/7a/59/a2/7a59a2ba-e79b-b85c-42d3-606de757da85/mzl.qmysmunb.jpg/{w}x{h}bb.{f}","height":1200,"textColor3":"3b3b3b","textColor2":"202020","textColor4":"484848","textColor1":"101010","bgColor":"e9e9e9","recommendedCropCodes":["va","vb"],"hasP3":false}}]}],"origin":"Atlanta, GA","url":"https://music.apple.com/us/artist/jerry-reed/210373","genreNames":["Country"],"artistBio":"Singer, songwriter, and guitarist Jerry Reed was 18 when he cut his first record, “If the Good Lord’s Willing and the Creek Don’t Rise,” which Johnny Cash covered in 1957.\n\n∙ In 1967, Reed made the Country charts with his song “Guitar Man” and then played on Elvis Presley’s version—which earned him his nickname, The Guitar Man.\n∙ Legendary guitarist Chet Atkins teamed with him on 1970’s Me and Jerry, the first of their three duets albums, two of them Grammy winners.\n∙ His 1971 single “When You’re Hot, You’re Hot” topped the Country chart, was a Top 10 Billboard Hot 100 hit, and won a Grammy Award for Best Country Vocal Performance, Male.\n∙ After kicking off his acting career with his friend Burt Reynolds in 1974’s W.W. and the Dixie Dancekings, he joined the star in all three Smokey and the Bandit films.\n∙ He notched his third and final No. 1 Country single with the 1982 novelty song, “She Got the Goldmine (I Got the Shaft),” and he got to No. 2 with the follow-up, “The Bird.”\n∙ In 2017, Reed was inducted into the Country Music Hall of Fame.","isGroup":false,"bornOrFormed":"March 20, 1937","name":"Jerry Reed","editorialArtwork":{}}},{"id":"79256045","type":"artists","href":"/v1/catalog/us/artists/79256045?l=en-US","attributes":{"artwork":{"width":1500,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music125/v4/e1/39/aa/e139aa52-cefd-7b77-2b9e-d9607a8b025b/pr_source.png/{w}x{h}bb.{f}","height":1500,"textColor3":"352d22","textColor2":"1f1c1c","textColor4":"453c33","textColor1":"0b0906","bgColor":"dbbc90","hasP3":false},"hero":[{"content":[{"artwork":{"width":1500,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music125/v4/e1/39/aa/e139aa52-cefd-7b77-2b9e-d9607a8b025b/pr_source.png/{w}x{h}bb.{f}","height":1500,"textColor3":"352d22","textColor2":"1f1c1c","textColor4":"453c33","textColor1":"0b0906","bgColor":"dbbc90","recommendedCropCodes":["va","vb","vf"],"hasP3":false}}]}],"origin":"Tulsa, OK","url":"https://music.apple.com/us/artist/jon-wolfe/79256045","genreNames":["Country"],"artistBio":"Since his mid-2000s debut, Jon Wolfe has stayed rooted to traditional country while incorporating 21st-century production. He puts his booming voice to work on songs like 2016’s driving “Boots on a Dance Floor.”","isGroup":false,"name":"Jon Wolfe","editorialArtwork":{}}},{"id":"81312551","type":"artists","href":"/v1/catalog/us/artists/81312551?l=en-US","attributes":{"artwork":{"width":2400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features125/v4/6c/7e/cc/6c7ecc97-d120-1187-20c9-d21d84e5d222/mzl.bkhradsp.jpg/{w}x{h}bb.{f}","height":2400,"textColor3":"b6b6b6","textColor2":"cacaca","textColor4":"a3a3a3","textColor1":"e2e2e2","bgColor":"070707","hasP3":false},"hero":[{"content":[{"artwork":{"width":2400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features125/v4/6c/7e/cc/6c7ecc97-d120-1187-20c9-d21d84e5d222/mzl.bkhradsp.jpg/{w}x{h}bb.{f}","height":2400,"textColor3":"b6b6b6","textColor2":"cacaca","textColor4":"a3a3a3","textColor1":"e2e2e2","bgColor":"070707","recommendedCropCodes":["va","vb","vc"],"hasP3":false}}]}],"origin":"Douglas, Isle of Man","url":"https://music.apple.com/us/artist/barry-gibb/81312551","genreNames":["Pop"],"artistBio":"One third of the trio of brothers who made up the chart-topping group the Bee Gees, Barry Gibb flourished both as a member of the band and as a solo songwriter and performer. His flowing mane and otherworldly falsetto vocals were his calling cards, but his craft as a songwriter and the depth of his vocal abilities truly made him an icon. \n\nBorn on the Isle of Man in 1946, Barry and his brothers, the twins Maurice and Robin, began playing music at an early age. After moving to Manchester, they formed the skiffle band the Rattlesnakes in 1953, then, when the family moved to Australia in the late '50s, they became the Bee Gees. Their early rock & roll sound caught the ear of Festival Records and the band was signed to a recording contract. With Barry writing all the songs, the band released numerous singles and albums, and eventually scored a big hit with the song \"Spicks and Specks\" in late 1966. By then, the brothers had decided to return to England and had scored a record deal with Polydor thanks to the efforts of Robert Stigwood, an employee at North End Music Stores (NEMS) who, in shades of Brian Epstein, became the band's manager. Their first single recorded in the U.K., \"New York Mining Disaster 1941\" was the result of a new songwriting partnership among the brothers. It was an instant hit and the Bee Gees were on their way to stardom, both in the U.K. and in America, releasing a steady stream of hit singles and albums. Meanwhile, Barry wrote songs for other artists, including the Marbles, Samantha Sang, and P.P. Arnold. \n\nThe Bee Gees' tempestuous personal relationships led to their 1969 breakup, and when the bandmembers stopped working together, Barry turned to thoughts of a solo career. He began recording an album, which was supposed to be called The Kid's No Good, but only got as far as releasing one single, \"I'll Kiss Your Memory,\" in 1970, before returning to work with his brothers. They picked up where they left off, scoring a couple of hits with the songs \"Lonely Day\" and How Do You Mend a Broken Heart?,\" before their career began a slow decline. It was revived by their splashy disco singles and 1977's Saturday Night Fever album, which made the brothers Gibb, and especially Barry since his falsetto vocals took the lead on almost every song, worldwide superstars. They even attempted to launch a film career in the ill-fated Sgt. Pepper's Lonely Hearts Club Band in 1978. \n\nAs the Bee Gees struggled to keep on top of the charts, Barry turned to writing songs and producing for other artists. One of his biggest solo compositions was the theme song to the movie version of Grease, sung by Frankie Valli in 1978. Around this time he formed a production team with songwriter Albhy Galuten and engineer Karl Richardson, and the trio worked on his kid brother Andy's solo albums and, notably, Barbra Streisand's 1980 Guilty album. The brothers Gibb still worked together as a songwriting team too, penning Dionne Warwick's \"Heartbreaker\" and \"Islands in the Stream\" for Kenny Rogers and Dolly Parton, while making their own records, like the 1983 soundtrack to the Saturday Night Fever sequel Staying Alive. \n\nThat same year Gibb signed a solo deal with Arista Records, and in 1984 he released his first solo record, Now Voyager. Gibb co-produced the album with Richardson, all three brothers wrote songs, and it featured a duet with Olivia Newton-John on the song \"Face to Face.\" He began recording songs for another solo album, provisionally titled Moonlight Madness, in 1985, but never finished the project. (Some of the finished songs did turn up on the soundtrack to the movie Hawks and the 1990 Tales from the Brothers Gibb box set.) Instead of pursuing a solo career, Gibb returned to the Bee Gees, who began recording a new album in 1987, but were derailed by the tragic death of Andy Gibb. It was a particularly devastating blow to Barry, who was devoted to his youngest brother. \n\nThe brothers Gibb did continue on, though, releasing two albums in the '90s, High Civilization and Size Isn't Everything, and getting inducted into the Rock & Roll Hall of Fame in 1997. Barry continued to work on his own, writing songs for Tina Turner and Cliff Richard and, in 2002, recording a song with his friend Michael Jackson. Another tragedy struck the Gibb family in early 2003 when Maurice passed away. His death meant the Bee Gees were again put on the back burner and Gibb returned to solo work. He wrote songs for Cliff Richard, appeared on his son Steve's 2004 solo single \"Living in the Rain,\" and teamed again with old cohort Barbra Streisand on her 2005 album, Guilty Pleasures, which featured Barry on the cover and duetting on many of the songs. \n\nIn 2006, the same year that Rhino launched a series of reissues covering the Bee Gees' early U.K. albums, Gibb released a series of demo collections to iTunes. Two of the songs from 2004, \"Doctor Mann\" and \"Underworld,\" were released as singles. He also bought Johnny Cash's former home in Tennessee and began working on an album of country songs. It was never completed, though one song, \"Drown on the River,\" was released as a single in 2007 and appeared on the soundtrack of the film Deal. The years that followed passed without much activity. An appearance on a Gorillaz album was rumored, but Gibb reportedly backed out due to hearing problems. Heartbreak struck yet again for the Gibbs when Robin died in May of 2012 after a battle with cancer.\n\nBarry Gibb reappeared later in 2012, performing at the Grand Ole Opry near the end of the year with Ricky Skaggs. He provided backing vocals on Skaggs' 2012 album, Music to My Ears. He then launched a tour of Australia and the U.K. in 2013, performing with his son Steve and Maurice's daughter Samantha in the backing band. The tour stretched to a few North American dates in 2014, and he also appeared on a Paul McCartney tribute album (The Art of McCartney) performing a version of \"When I'm Sixty Four.\" Meanwhile, he started working on his third solo album, writing songs with two of his kids, Steve and Ashley, and recording them at the same Miami studios where the Bee Gees had recorded their mid-'70s hits. Titled In the Now, the album was co-produced by Gibb and John Merchant, and released by Columbia Records in October of 2016. 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