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2017. június 30., péntek

30-06-2017 20:08 # 51 blues songs from the BLUES circle 1981-1989 3h 43m


30-06-2017 20:08 # 51 blues songs from the BLUES circle 1981-1989 3h 43m # Muddy Waters, Little Mack Simmons, Jimmy Johnson, BB King, John Fahey, Los Lobos, Willie Mabon, Johnny Winter, Stevie Ray Vaughan & Double Trouble, James Cotton, Fenton Robinson, Hubert Sumlin, John Mayall's Bluesbreakers, Buddy Guy, Otis Rush, The Robert Cray Band, Joanna Connor, Tinsley Ellis





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from 1981-1989



The giant of postwar blues, who eloquently defined Chicago's swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar. / Muddy Waters was the single most important artist to emerge in post-war American blues. A peerless singer, a gifted songwriter, an able guitarist, and leader of one of the strongest bands in the genre (which became a proving ground for a number of musicians who would become legends in their own right), Waters absorbed the influences of rural blues from the Deep South and moved them uptown, injecting his music with a fierce, electric energy and helping pioneer the Chicago Blues style that would come to dominate the music through the 1950s, ‘60s, and '70s. The depth of Waters' influence on rock as well as blues is almost incalculable, and remarkably, he made some of his strongest and most vital recordings in the last five years of his life.
Sad, Sad Day (Muddy Waters) 5:25
I'm a King Bee (Slim Harpo / J. Moore) 3:50
Mean Old Frisco Blues (Arthur "Big Boy" Crudup / Traditional) 3:46
Deep Down in Florida #2 (Muddy Waters) 4:09
from King Bee 1981
This 1981 recording found Waters being produced by rocker Johnny Winter, who had brought Muddy back to form on the Hard Again album. Winter was smart enough to surround the great one with musicians who knew his music intimately -- regular band members like Calvin Jones, Willie "Big Eyes" Smith, Luther "Guitar Jr." Johnson, and Bob Margolin dot the lineup -- and Johnny keeps his own excesses in check on a nice brace of tunes. While most of the tunes here are recuts of older Chess material, Muddy's versions of Slim Harpo's title track and his own "Champagne & Reefer" are worth checking out. Not the place to start a Muddy Waters collection, but a good one to add to the collection after you've absorbed the classics on Chess.


 ‘Little’ Mack Simmons was one of the stalwarts of the Chicago club scene; he taught himself harmonica as a youngster and in the early 50s occasionally worked with bluesmen on the St. Louis, Missouri, club circuit, before settling in Chicago in 1954.
Little Mack Simmons
You've Got To Help Me 4:36
I'm A Streaker Baby 3:55
Skin Tight 3:24
from The PM/Simmons Collection 1971-1982


Chicago guitarist Jimmy Johnson didn't release his first full domestic album until he was 50 years old. He's determinedly made up for lost time ever since, establishing himself as one of the Windy City's premier blues artists with a twisting, unpredictable guitar style and a soaring, soul-dripping vocal delivery that stand out from the pack.
Jimmy Johnson
Country Preacher (Jimmy Johnson / Joe Zawinul) 4:47
Talking 'Bout Chicago (Jimmy Johnson) 4:50
I Can't Survive (Jimmy Johnson) 3:51
from North // South 1982
Finally reissued on CD in 1999, nearly 20 years after its initial release, Jimmy Johnson's North/South is worth the wait for fans of electric Chicago blues with soul and rock influences. Probably named in tribute to the Paul Butterfield Blues Band's epic East-West album (Butterfield's guitarist Michael Bloomfield had died just prior to the album's recording), North/South is third-generation Chicago blues...

Highly influential guitarist with a precise yet effortless sounding soft-fingered style, as well as the longest career in blues. / Universally hailed as the king of the blues, the legendary B.B. King was without a doubt the single most important electric guitarist of the last half of the 20th century. His bent notes and staccato picking style influenced legions of contemporary bluesmen, while his gritty and confident voice -- capable of wringing every nuance from any lyric -- provided a worthy match for his passionate playing. Between 1951 and 1985, King notched an impressive 74 entries on Billboard's R&B charts, and he was one of the few full-fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand). After his hit-making days, he partnered with such musicians as Eric Clapton and U2 and managed his own acclaimed solo career, all the while maintaining his immediately recognizable style on the electric guitar.
B.B. King
Inflation Blues (Allegretto Alexander / Louis Jordan / Tommy Southern) 4:14
Sell My Monkey (Riley King) 3:03
Teardrops from My Eyes (Rudy Toombs) 5:02
I Can't Let You Go (Riley King) 3:50
from Blues 'N' Jazz 1983
The seemingly endless career of blues singer and guitarist B.B. King is documented in great detail, a discography rich enough in both bulls-eyes and misfires to keep the proprietor of any shooting range content for an equal length of time, whatever that turns out to be. Some of these records stand out in terms of industry success, this status hopefully grooving in lockstep with artistic achievement. The 1983 Blues 'N' Jazz wound up winning a Grammy for the best blues recording of the year. Without basically disagreeing with that particular status, many music critics nonetheless pointed out that King's recordings from between two and three decades earlier were better. It is both understandable and expected that critics want to establish themselves as hipper than the Grammy awards. While it is a nice change for something old to be considered better than something new, this particular argument leads nowhere -- despite being true. Of course, rhythm & blues and rock & roll records sounded better in the '50s and '60s. A long list of things that were likewise much better back then could be easily drummed up, perhaps with a blues backbeat: blue jeans, American cars, sodas, hot dogs, action films, Hawaiian shirts. It goes on and on. Appreciation of the here and now is, as opposed to nostalgia, something of a life lesson. The subject is discussed between parents and children more frequently then it comes up in music reviews, especially of albums where one of the lyrical directions is to "Sell My Monkey." The here and now of B.B. King at almost any point in his career was that he kept a band together, this ensemble growing in size as the bandleader's fame and fees expanded...



One of acoustic guitar's prime innovators (and eccentrics), he mixed traditionalist forms (folk, blues, country) with a decidedly modernist sensibility. 
John Fahey
Twilight on Prince George's Avenue (John Fahey) 5:46
Sligo Mud (John Fahey) 6:02
from The Best Of John Fahey: Vol.2 1964-1983
In keeping with the great perversity, virtuosity, and humor that marks all releases of John Fahey records, guitarist Henry Kaiser has compiled a second volume of the late picker's Takoma sides to coincide with the first, self-selected set issued in 1977. Kaiser, a wildly idiosyncratic player and cultural iconoclast, is better-suited than just about anyone to compile such a project, and he has kept the strange, perverse Fahey humor as part of his duties as producer...

East L.A. barrio band that draws gracefully from rock, Tex-Mex, country, folk, R&B, blues, and traditional Spanish and Mexican music. 
Los Lobos
Don't Worry Baby  (T-Bone Burnett / Louie Pérez / Cesar Rosas) 2:49
The Breakdown (T-Bone Burnett / David Hidalgo / Louie Pérez) 4:13
from How Will The Wolf Survive 1984
Los Lobos spent years playing parties, wedding receptions, restaurants, bars, and anyplace else where someone might pay them for a gig before landing a deal with Slash Records, and their first full-length album for the label, How Will the Wolf Survive?, is the work of a band that had learned how to play something for everyone while still maintaining their own musical personality in the process...


The sly, insinuating vocals and chunky piano style of Willie Mabon won the heart of many an R&B fan during the early '50s. His salty Chess waxings established the pianist as a genuine Chicago blues force, but he faded as an R&B hitmaker at the dawn of rock & roll. Mabon was already well-grounded in blues tradition from his Memphis upbringing when he hit Chicago in 1942. Schooled in jazz as well as blues, Mabon found the latter his ticket to stardom. 
Willie Mabon
I'm Mad 2:40
Monday Woman 2:55
Willie's Blues 3:05
from I'm Mad - The Best of Willie Mabon


An exceptionally talented blues and slide guitarist, beginning in the 1960s and stretching into the 21st century. / When Johnny Winter emerged on the national scene in 1969, the hope, particularly in the record business, was that he would become a superstar on the scale of Jimi Hendrix, another blues-based rock guitarist and singer who preceded him by a few years. That never quite happened, but Winter did survive the high expectations of his early admirers to become a mature, respected blues musician with a strong sense of tradition.
Johnny Winter
Master Mechanic (Steve Prestage / Joe Shamwell) 3:41
Murdering Blues 5:03
Good Time Woman (Johnny Winter) 6:08
from Serious Business 1985
...Signing to the Chicago-based independent blues label Alligator Records, he staged his own comeback with 1984's Guitar Slinger, and its follow-up, Serious Business, is in the same vein. That vein is straight Chicago-style electric blues in the manner of Muddy Waters. No more is Winter trying to justify the big record contract that hung over him after he signed to Columbia Records in 1969, a contract that seemed to demand he become the next Jimi Hendrix. On Alligator, Winter is far more relaxed. But it isn't just the change of venue; he was already developing from his old mile-a-minute playing style into more of an expressive bluesman in the late ‘70s. Here, the transition is complete. Ken Saydak provides some piano interludes and Jon Paris, an old Winter bandmate, blows harmonica on several songs. But for the most part, this is Winter and his rhythm section of bass player Johnny B. Gayden and drummer Casey Jones, exploring familiar styles of electric blues..

A rocking powerhouse of a guitarist who gave blues a burst of momentum in the '80s, with influence still felt long after his tragic death. 
Stevie Ray Vaughan & Double Trouble
Stevie Ray Vaughan and his band Double Trouble formed the most impressive blues act of the 1980s, which made Vaughan's death in a helicopter crash at the start of the '90s all the more tragic.
Say What! (Stevie Ray Vaughan) 5:23
Gone Home (E.J. Harris) 3:07
Come On, Pt. 3 (Earl King) 4:30
Life Without You (Stevie Ray Vaughan) 4:18
from Soul To Soul 1985
By adding two members to Double Trouble -- keyboardist Reese Wynans and saxophonist Joe Sublett -- Stevie Ray Vaughan indicated he wanted to add soul and R&B inflections to his basic blues sound, and Soul to Soul does exactly that. It's still a modern blues album, yet it has a wider sonic palette, finding Vaughan fusing a variety of blues, rock, and R&B styles...


Insatiable showman, blues singer, and ace harp man kept his high-energy act alive for over a half century. / At his high-energy, 1970s peak as a bandleader, James Cotton was a bouncing, sweaty, whirling dervish of a bluesman, roaring his vocals and all but sucking the reeds right out of his defenseless little harmonicas with his prodigious lung power.
James Cotton
Here I Am (Knocking at Your Door) 5:00
Just to Be with You (Bernard Roth) 6:03
Cross Your Heart (Sonny Boy Williamson II) 4:22
from Live from Chicago Mr. Superharp Himself 1986


His Japanese fans reverently dubbed Fenton Robinson "the mellow blues genius" because of his ultra-smooth vocals and jazz-inflected guitar work. But beneath the obvious subtlety resides a spark of constant regeneration -- Robinson tirelessly strives to invent something fresh and vital whenever he's near a bandstand. 
Fenton Robinson
Somebody Loan Me A Dime 3:43
Leave You In The Arms 2:38
She's A Wiggler 5:14
from Mellow Fellow 1986


Renowned for his blues guitar work, particularly in support of his mentor Howlin’ Wolf. 
Quiet and extremely unassuming off the bandstand, Hubert Sumlin played a style of guitar incendiary enough to stand tall beside the immortal Howlin' Wolf. The Wolf was Sumlin's imposing mentor for more than two decades, and it proved a mutually beneficial relationship; Sumlin's twisting, darting, unpredictable lead guitar constantly energized the Wolf's 1960s Chess sides, , even when the songs themselves (check out "Do the Do" or "Mama's Baby" for conclusive proof) were less than stellar. Sumlin started out twanging the proverbial broom wire nailed to the wall before he got his mitts on a real guitar...
Hidden Charms (Willie Dixon) 1:58
A Soul That's Been Abused (Ronnie Earl) 7:19
How Can You Leave Me, Little Girl?
Hubert Sumlin) 4:49
Hubert Sumlin was Howlin' Wolf's guitar player for 23 years, and his jagged, desperate, and angular guitar playing was a big part of Wolf's rough-and-tumble sound. This album was recorded in October 1986 at Newbury Sound in Boston, 11 years after Wolf's death, and although Sumlin had headlined some European albums, it was to be his debut solo album in the U.S. The sessions were initiated and put together by guitarist Ronnie Earl, who arranged for the presence of an all-star band, and brought in Mighty Sam McClain to handle most of the vocals, since Sumlin was notoriously reticent about occupying center stage...

Major British blues bandleader who, starting in London in 1963, featured some of the 
most successful rock musicians of the '60s and '70s. / As the elder statesman of British blues, it is John Mayall's lot to be more renowned as a bandleader and mentor than as a performer in his own right. Throughout the '60s, his band, the Bluesbreakers, acted as a finishing school for the leading British blues-rock musicians of the era. Guitarists Eric Clapton, Peter Green, and Mick Taylor joined his band in a remarkable succession in the mid-'60s, honing their chops with Mayall before going on to join Cream, Fleetwood Mac, and the Rolling Stones, respectively. John McVie and Mick Fleetwood, Jack Bruce, Aynsley Dunbar, Dick Heckstall-Smith, Andy Fraser (of Free), John Almond, and Jon Mark also played and recorded with Mayall for varying lengths of times in the '60s.
Ridin' On The L&N (Dan Burley / Lionel Hampton) 5:51
Help Me (Sonny Boy Williamson II) 6:50
Room To Move (John Mayall) 4:55
Recording DateApril 19, 1987 - April 10, 1988
British blues boomer John Mayall has always been somewhat of an ersatz figure because of his proclivity to stretch into more jazz or folky territory. Not that there's anything wrong with that, but he's never been all that authentic or convincing. This in-concert double-CD set from 1987 does focus on an attempt to contemporize the electric Chicago blues style, and on the whole succeeds. Mayall and his band, with the leader singing and playing amplified guitar, cover tunes by Sonny Boy Williamson, Otis Rush, Little Walter, and Jimmy Rogers, while nine others are penned by the leader. His nearly 11-minute "Room to Move," with Mayall on harmonica, is always a showstopper. Over the decades Mayall has gone back and forth from electric to acoustic, and though his less bluesy material has always been more popular, it's good to hear him strap on the axe and get down on occasion.


Buddy Guy is one of the most celebrated blues guitarists of his generation 
(and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge...
Jam 4:38
I Wonder Why 6:31
from Live in Chicago '88 1988
Breaking into the R&B Top Ten his very first time out in 1956 with the startlingly intense slow blues "I Can't Quit You Baby," southpaw guitarist Otis Rush subsequently established himself as one of the premier bluesmen on the Chicago circuit. Rush is often credited with being one of the architects of the West side guitar style, along with Magic Sam and Buddy Guy. It's a nebulous honor, since Rush played clubs on Chicago's South side just as frequently during the sound's late-'50s incubation period. Nevertheless, his esteemed status as a prime Chicago innovator is eternally assured by the ringing, vibrato-enhanced guitar work that remains his stock in trade and a tortured, super-intense vocal delivery that can force the hairs on the back of your neck upwards in silent salute...



The guitarist who brought blues back to the charts in the '80s via songs that defined blues themes but added modern and personal twists. / Tin-eared critics have frequently damned him as a yuppie blues wannabe whose slickly soulful offerings bear scant resemblance to the real down-home item. In reality, Robert Cray is one of a precious few young blues-based artists with the talent and vision to successfully usher the idiom into the 21st century without resorting either to slavish imitation or simply playing rock while passing it off as blues. 
The Robert Cray Band
Don't Be Afraid of the Dark (Dennis Walker) 3:46
Across the Line 4:06
from Don't Be Afraid of the Dark 1988
With 1986's Strong Persuader, guitarist and vocalist Robert Cray stepped to the front of the line as a smooth and intelligent practitioner of the blues genre... With that standard being set, Don't Be Afraid of the Dark is marred by it's lack of potent material and a tired-sounding band and Cray... This is one of those albums that might not be exciting at first, but if it is listened to intently some of the songs do become worthwhile.

What sets Joanna Connor apart from the rest of the pack of guitar-playing female blues singers is her
skill on the instrument. Even though Connor has become an accomplished singer over time, her first love was guitar playing, and it shows in her live shows and on her recordings. Brooklyn-born, Massachusetts-raised Joanna Connor was drawn to the Chicago blues scene like a bee to a half-full soda can. 
Joanna Connor 
Texas Flyer 3:23
When You're Being Nice (Joanna Connor) 3:55
Playin' in the Dirt (D. Amy / Robert Cray) 3:58
from Believe It! 1989
On the surface, Believe It! is standard-issue bar-band blues-rock, but it is distinguished by Joanna Connor's passion for the music. Connor believes in the music so much, it can't help but appear in the grooves every once in a while. In particular, her guitar playing is noteworthy -- it's tough, greasy, and powerful...







A fiery guitarist and talented songwriter who plays a unique blend of Memphis R&B, southwest blues, and urban funk. / A hard-rocking, high-voltage blues guitarist most often compared to Stevie Ray Vaughan, Tinsley Ellis is hardly one of the legions of imitators that comparison might imply. Schooled in a variety of Southern musical styles, Ellis draws not only from fiery Vaughan-style blues-rock, but also Texas bluesmen like Freddie King and Clarence "Gatemouth" Brown, the soulful blues of B.B. King, the funky grit of Memphis soul, and numerous other electric bluesmen. 
Tinsley Ellis
Leaving Here (Lamont Dozier / Brian Holland / Eddie Holland) 3:03
Must Be the Devil (Tinsley Ellis) 4:24
Mr. Night Time (Tinsley Ellis) 3:26
from Fanning The Flames 1989
Fanning the Flames is an erratic but impressive set from Tinsley Ellis. While his basic sound is indebted to Stevie Ray Vaughan, the guitarist borrows from every other major blues artist. Furthermore, he has a tendency to overplay his licks, giving the album a feeling of unfocused fury. That sound can be overwhelming, though; his technique is impressive, even if he doesn't know when to reign it in. As a consequence, Fanning the Flames may not be of interest to general listeners, but for guitar fans, there's plenty of music here to treasure.



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