From the heart of Hamilton, Richard Newell would channel the blues from deep in the heart of the American south and become an international blues legend. Over the course of 4 decades, Newell's musicianship and encyclopedic knowledge of the blues was intense and inspiring. Born March 9, 1944 in Hamilton, the Steeltown ran through Newell's blood but it was the blues music he heard on late night AM radio from the US that filled his soul. Newell wasn't even a teenager when he got his first harmonica, but playing along with the radio and the 45's he'd hitchhike down to Buffalo to buy would all help shape his 'mouth of steel'. An instantly recognizable talent, it wasn't long before he was playing with a litany of bands in the 60s including The Barons, The Chessmen and The Mid Knights. But by 1968, Newell was recruited by Richard Bell and Kelly Jay to audition for the latest version of Ronnie Hawkins backing band. Blues harpist Sonny Boy Williamson II (Rice Miller) was a seminal influence on Hawkins, Levon Helm and anyone that experienced The King Biscuit Flour Hour radio broadcasts on KFFA AM back in the day. Immediately finding a kindred spirit, Hawkins was so astounded by how well Newell understood and played the blues that one audition later, Hawkins renamed Newell King Biscuit Boy in tribute. A legend was born. The Beatles and The Rolling Stones would name check King Biscuit Boy as one of their favourite players. You would hear his instantly recognizable harmonica playing on recordings by The Allman Brothers, Janis Joplin's Full Tilt Boogie Band, and Aretha Franklin. It wasn't long before the most recent version of The Hawks decided to go out on their own and call themselves Crowbar. By 1970, King Biscuit Boy featuring Crowbar released Official Music and Newell would follow it up with Good 'Uns in 1971, and the self titled King Biscuit Boy (often referred to as The Brown Derby Album) in 1974. Newell's magnificent harmonica and gritty vocals on these landmark recordings with tracks like 'Boom Boom, Out Go The Lights' still stand the test of time 3 decades later. 1980 saw his Mouth of Steel album released but it wasn't until 1988 that Richard Newell aka King Biscuit Boy followed up and then fans had to wait until 1996 for his Urban Blues Re:Newell album. Regardless of the infrequency, King Biscuit Boy recordings never lost that special magic that was King Biscuit Boy - the critics still loved him and the accolades and Juno nominations kept coming. During the 80s, Newell enlisted a local group of players to back him for performances but by the turn of the century, that band, Trickbag would be performing more often without Newell. In 2002, Newell got back into the studio with old friend, Sonny Del Rio to record for Del Rio's Hamilton Hometown Christmas benefit CD. Sadly, the poignant recording of Blue Christmas would be the last released in Newell's lifetime. Newell's last performance was with The Little Red Blues Gang featuring Tim Gibbons at the now defunct Mermaid's Lounge in Hess Village just before his passing on January 5, 2003. Two Hound Blues (included some lost KBB tracks and some music culled from those last sessions with old friends King Biscuit Boy and Sonny Del Rio) was released posthumously and showcases not only classic Richard Newell performances but also two old friends sharing some laughter and some of that music that inspired them for 4 decades. This year, Newell's record company included a 1988 unreleased King Biscuit Boy performance, 'Ain't Gonna Do It', on their 30 Years of Stony Plain compilation saying in the liner notes that 'Canada lost a wonderful musician and, in the real sense of the word, a gentle man.' Richard 'King Biscuit Boy' Newell still lives on in the hearts of many Hamiltonians and his music continues to influence new generations of fans around the world.