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2017. október 20., péntek

20-10-2017 18:04 BLUES:MiX # 50 blues songs from the BLUES circle 1994-2001 3h 40m

20-10-2017 18:04 BLUES:MiX # 50 blues songs from the BLUES circle 1994-2001 3h 40m # Luther Allison, Jimmy Rogers, Ry Cooder, Charlie Musselwhite, Taj Mahal, Alvin Youngblood Hart, Freddie King, Kenny Brown, Bugs Henderson & The Shuffle Kings,  Gomez, Taj Mahal, Buddy Guy, Steve James, BB King, James Blood Ulmer, Janiva Magness



BLUES_circle The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 

from 1994-2001

Distinctive Chicago blues guitar stylist who expatriated to France in the '70s and returned to great acclaim in the '90s. / An American-born guitarist, singer, and songwriter who lived in France since 1980, Luther Allison was the man to book at blues festivals in the mid-'90s. Allison's comeback into the mainstream was ushered in by a recording contract with an American record company, Chicago-based Alligator Records. After he signed with Alligator in 1994, Allison's popularity grew exponentially and he worked steadily until his death in 1997.
Luther Allison
Bad Love 6:23
Nobody But You 4:33
Freedom 5:45
from Bad Love 1994

Brilliant urban blues guitarist and recording artist who worked extensively with Muddy Waters. / Guitarist Jimmy Rogers was the last living connection to the groundbreaking first Chicago band of Muddy Waters (informally dubbed "the Headhunters" for their penchant of dropping by other musicians' gigs and "cutting their heads" with a superior on-stage performance). Instead of basking in world-wide veneration, he was merely a well-respected Chicago elder boasting a seminal '50s Chess Records catalog, both behind Waters and on his own.
Jimmy Rogers
I'm Tired of Crying over You 3:46
Blue Bird (Jimmy D. Lane) 4:47
Whay Are You So Mean to Me (5:28)
from Blue Bird 1994
This was Jimmy Rogers' last "proper" Chicago blues album, and it deservedly won a W.C. Handy Award in 1995. There are no moonlighting rock stars here; they would come out in droves for Rogers' subsequent album Blues Blues Blues. And with the exception of the last track -- which is basically pianist Johnnie Johnson showing off for eight minutes -- Rogers sits squarely in the spotlight for the duration of Blue Bird... The backing band is a mix of Chicago blues brethren (Carey Bell on harp, Dave Myers on bass, Ted Harvey on drums) and family (Rogers' son Jimmy D. Lane on lead guitar), plus Johnson, who is perhaps a rock star by association since he played with Chuck Berry for 18 years. This one's a must-have.

Virtuoso roots guitarist who was steeped in the blues, but spent his career exploring new musical worlds from Tex-Mex to Cuban bolero. / Whether serving as a session musician, solo artist, or soundtrack composer, Ry Cooder's chameleon-like fretted instrument virtuosity, songwriting, and choices of material encompass an incredibly eclectic range of North American musical styles, including rock & roll, blues, reggae, Tex-Mex, Hawaiian, Dixieland jazz, country, folk, R&B, gospel, and vaudeville.
Ry Cooder
Paris, Texas 2:52
Theme from Alamo Bay 5:09
Highway 23 1:56
from Music By Ry Cooder 1995
Since he's a limited vocalist with erratic songwriting skills, one could justifiably argue that the soundtrack medium is the best vehicle for Ry Cooder's talents, allowing him to construct eclectic, chiefly instrumental pieces drawing upon all sorts of roots music and ethnic flavors (often, but not always, employing his excellent blues and slide guitar)... As few listeners (even Cooder fans) are dedicated enough to go to the trouble of finding all of his individual soundtracks, this is a good distillation of many of his more notable contributions in this idiom, although it inevitably leaves out some fine moments. Still, it's well programmed and evocative, often conjuring visions of ghostly landscapes and funky border towns.

A Mississippi transplant whose rangy, subtle harp playing made a splash in Chicago blues circles beginning in the 1960s. / Harmonica wizard Norton Buffalo can recollect a leaner time when his record collection had been whittled down to only the bare essentials: The Paul Butterfield Blues Band and Stand Back! Here Comes Charley Musselwhite's South Side Band. Butterfield and Musselwhite will probably be forever linked as the two most interesting, and arguably the most important, products of the "white blues movement" of the mid- to late '60s -- not only because they were near the forefront chronologically, but because they both stand out as being especially faithful to the style.
Charlie Musselwhite
Louisiana Fog (Charlie Musselwhite) 4:15
Big Leg Woman (With a Short Short Mini Skirt) (Israel Tolbert) 4:49
Fell On My Knees (Charlie Musselwhite) 5:40
from Takin' Care Of Business 1995

A guitarist and singer/songwriter who took an interest in reviving the rural blues tradition, later extending to reggae and ragtime influences. / One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within that realm, Mahal soon broadened his approach, taking a musicologist's interest in a multitude of folk and roots music from around the world -- reggae and other Caribbean folk, jazz, gospel, R&B, zydeco, various West African styles, Latin, even Hawaiian.
Taj Mahal
Lovin' in My Baby's Eyes (Taj Mahal) 2:43
Fanning the Flames (Jon Cleary) 4:50
(You've Got to) Love Her With a Feeling (Freddie King / Sonny Thompson) 3:48
from Phantom Blues 1996
An eclectic bluesman would seem to be a contradiction in terms, but Taj Mahal, who has moved through the worlds of folk, rock, and pop to reach his present categorization, fits the description, and here he takes several pop and R&B oldies that came from blues roots ... and returns them to those roots. He also calls in such guest stars as Eric Clapton and Bonnie Raitt, who have more than a nodding acquaintance with the blues, to assist him. The result is progressive blues hybrid that treats the music not as a source, but as a destination.

Guitarist, singer, and songwriter Alvin Youngblood Hart is continuing in the path laid down by acoustic blues practitioners like Taj Mahal, Guy Davis, and other '90s blues revivalists, but his roots go back much further than that, to the classic stylings of Bukka White, Charley Patton, Leadbelly, and Blind Willie McTell.
Big Mama's Door (Alvin Youngblood Hart) 3:51
Gallows Pole (Jimmy Page / Robert Plant / Traditional) 4:45
If Blues Was Money (Alvin Youngblood Hart) 3:38
from Big Mama'S Door 1996
The debut recording of 33-year-old Hart is extraordinarily simple and simply extraordinary. Except for three cuts on which he's joined by Taj Mahal, Big Mama's Door is just Hart on acoustic guitar and vocals, and he's not doing anything fancy -- just playing prewar-style blues, mostly in a percussive Delta manner, recorded live to two-track. Yet he succeeds so well in blending technique and feeling, structure and spontaneity, tradition and freshness that he produces a minor gem of a blues record, evocative of the blues masters of the 1920s and '30s. He covers Leadbelly, Blind Willie McTell, Charley Patton, and the Mississippi Sheiks and does originals that replicate older blues idioms, not just in the notes but in the nuances, and in the personal commitment he brings to the material.

Blues singer and guitarist who flourished in the 1960s with a laid-back voice and a facile, fast-fingered guitar technique. / Guitarist Freddie King rode to fame in the early '60s with a spate of catchy instrumentals which became instant bandstand fodder for fellow bluesmen and white rock bands alike. Employing a more down-home (thumb and finger picks) approach to the B.B. King single-string style of playing, King enjoyed success on a variety of different record labels. Furthermore, he was one of the first bluesmen to employ a racially integrated group on-stage behind him. Influenced by Eddie Taylor, Jimmy Rogers, and Robert Jr. Lockwood, King went on to influence the likes of Eric Clapton, Mick Taylor, Stevie Ray Vaughan, and Lonnie Mack, among many others.
Sweet Home Chicago (Robert Johnson) 4:24
Gambling Woman Blues (Freddie King) 8:39
TV Mama 3:58

Raised in northern Mississippi’s hill country, as a child Brown absorbed the region’s rich musical
heritage. Largely self-taught on guitar, his guitar-playing neighbour, the under-recorded bluesman Joe Callicott, gave him encouragement and coaching. At the start of the 70s, Brown, who still had a day job in the construction industry, met R.L. Burnside and suggested they team up. Thereafter, he played with Burnside whenever possible, also working with George ‘Mojo’ Buford, Mississippi Fred McDowell and Johnny Woods before his partnership with Burnside filled his working life. At one point, he and Burnside played with Jon Spencer’s punk blues band. By the early 90s, Burnside and Brown were a formidable team, touring the USA, playing everything from juke joints to small festivals.
From Now On (Kenny Brown) 6:09
Goin' Back To Mississippi (Kenny Brown) 2:55
Jumper On the Line (Traditional) 5:06

The Tyler, TX-raised Bugs Henderson took his cues from the wealth of great roadhouse blues and blues-rock guitarists that were around Dallas, including Freddie King, Johnny Winter, and literally dozens of others on the Texas music scene of the '60s. Henderson has cited James Burton, Ricky Nelson's guitarist, as a major influence
Bugs Henderson & The Shuffle Kings
No One Owns the Blues 4:28
Chain Me (Bugs Henderson) 4:08
I Think I'll Just Stay Here and Drink
Merle Haggard) 3:44
from Have Blues... Must Rock 1998
"I'm fascinated by the things people say -- they try to tell me what I should play. Critics, pickers, radio too - they say I play too hard, I oughta play more blue. I know my music, and I know my name. Don't cut no hit records, don't play no T.V. game. My blues got rocked and my rock got blue. If you don't dig it, well find something else to do." These lyrics from the title track pretty much sum it up. If you're just looking for blues, this is not the Bugs Henderson CD you want...

British five-piece combo of '90s & '00s with a distinctly American blues-soaked indie rock veneer / Gomez are a five-piece British act consisting of Ben Ottewell (vocals, guitar), Tom Gray (vocals, guitar, keyboards), Paul Blackburn (bass, guitar), Olly Peacock (drums), and Ian Ball (vocals, guitar, harmonica). Emerging during a time in which the majority of up-and-coming British bands were either retro-pop (à la Oasis), trip-hop (Portishead), or space rock (the Verve, Radiohead), Gomez were one of the few to feature bluesy influences
Get Miles (Ian Ball / Paul Blackburn / Tom Gray / Ben Ottewell / Olly Peacock) 5:16
Make No Sound (Ian Ball / Paul Blackburn / Tom Gray / Ben Ottewell / Olly Peacock) 3:27
Love Is Better Than a Warm Trombone (Ian Ball / Paul Blackburn / Tom Gray / Ben Ottewell / Olly Peacock) 3:30
from Bring It On 1998
On their debut album, Bring It On, England's Gomez introduce their original take on bluesy roots rock. Unlike Jon Spencer Blues Explosion, this isn't amphetamine-fueled freak-out music but similar at times to Beck's acoustic-based work (One Foot in the Grave), with more going on vocally. The band has a total of three strong vocalists, who can switch from pretty harmonies to gutsy blues outpourings in the blink of an eye. The band manages to cover a lot of ground convincingly on Bring It On, which is unusual, since it commonly takes bands the course of a few releases to hone their sound...

A guitarist and singer/songwriter who took an interest in reviving the rural blues tradition, later extending to reggae and ragtime influences.  / One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within that realm, Mahal soon broadened his approach, taking a musicologist's interest in a multitude of folk and roots music from around the world -- reggae and other Caribbean folk, jazz, gospel, R&B, zydeco, various West African styles, Latin, even Hawaiian.
Taj Mahal
River of Love (Porter Carroll / Richard Feldman / Jimmy Scott) 4:07
Don't Call Us
Richard Feldman / Taj Mahal) 4:20
Down Home Girl (Arthur Butler / Jerry Leiber) 3:43
Dark Angel (Marty Grebb / Steven Seagal) 3:26
from Blue Light Boogie 1999
Blue Light Boogie is a compilation drawn from Taj Mahal's work for the Private Music label during the '90s, specifically the albums Like Never Before (1991) and Dancing the Blues (1993); there's also an ample and varied helping of covers ranging from traditional, rural blues to rock & roll. It's sort of an odd tactic for a compilation, given that The Best of the Private Years, released a year later, doesn't duplicate any of this material; as a result, that supposedly balanced introduction ends up skewed away from Blue Light Boogie's sources, not featuring any songs from Like Never Before. Still, even if all of this is a ham-handed way for a record company to handle an artist's discography, Blue Light Boogie is overall a pretty decent sampler and an entertaining listen.

Contender for the title of greatest blues guitarist ever, with a fiery, screechy, super-quick technique that influenced countless followers. / 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. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite.
Buddy Guy
Damn Right, I've Got the Blues (Buddy Guy) 4:29
Mustang Sally (Sir Mack Rice) 4:44
Midnight Train feat: Johny Lang (Roger Reale / Jon Tiven) 5:20
from Buddy's Baddest The Best of Buddy Guy 1999
Buddy Guy revitalized his career when he signed with Silvertone Records in the early '90s. His first album for the label, Damn Right, I've Got the Blues, was a smash success, earning critical acclaim, awards, and sales hand over fist. Prior to that record, he was a legend only among blues fans; afterward, he was a star. Although it was a bit too rock-oriented and slick for purists, Damn Right was a terrific album, setting the pace not only for Guy but for modern electric blues in the '90s...

Multi-instrumentalist, vocalist, and songwriter Steve James has carved a niche for himself in the acoustic and folk-blues scene through a lot of touring. He's built his fan base the old-fashioned way, without the support of an international record company marketing machine.
Steve James
Galway Station Blues (Steve James) 3:48
Way Out on the Desert (Roosevelt Williams) 3:03
Stack Lee's Blues (Steve James) 4:43
from Boom Chang! 2000
Boom Chang is guitarist Steve James' fourth release overall but his debut for Burnside Records. This acoustic roots and blues disc features guest appearances from bassist Mark Rubin of the Bad Livers (playing tuba!), Alvin Youngblood Hart on guitar and mandolin, Cindy Cashdollar on Hawaiian guitar and Dobro, and harp master Gary Primich. The mood on these 14 tracks is raw and fun...

Highly influential guitarist with a precise yet effortless sounding soft-fingered style, as well as the longest career in blues. 
B. B. King
I Got to Leave This Woman (George Jackson) 3:36
Monday Woman (Willie Mabon) 3:36
Makin' Love Is Good for You (Tony Joe White) 3:47
from  Makin' Love Is Good For You 2000
Over the years, the music world has seen its share of over-70 singers who kept performing even though they didn't have much of a voice left: Peggy Lee and Frank Sinatra are among the names that come to mind. But when B.B. King entered his 70s, the veteran blues singer/guitarist could still belt it out with confidence, and he does exactly that on Makin' Love Is Good for You, which was recorded when King was 74. Although this blues/soul effort won't go down in history as one of his all-time classics, it's a respectable CD that finds his voice continuing to hold up well. King's charisma remains, and he has no problem getting his points...Nonetheless, it can be an enjoyable addition to your blues library if you're among King's diehard fans.

Free jazz has not produced many notable guitarists. Experimental musicians drawn to the guitar have had few jazz role models; consequently, they've typically looked to rock-based players for inspiration. James "Blood" Ulmer is one of the few exceptions -- an outside guitarist who has forged a style based largely on the traditions of African-American vernacular music... That's not to say his sound is untouched by the rock tradition -- the influence of Jimi Hendrix on Ulmer is strong -- but it's mixed with blues, funk, and free jazz elements. The resultant music is an expressive, hard-edged, loudly amplified hybrid that is, at its best, on a level with the finest of the Harmolodic school.
James Blood Ulmer
O Gentle One (James Blood Ulmer) 6:06
99 Names (Traditional / James Blood Ulmer) 4:55
Home Alone (James Blood Ulmer) 6:59
from Blue Blood 2001
For almost a decade, guitarist James Blood Ulmer has been courting the blues as a deeper shade of black with his trademark harmolodic jazz-funk expressionism. In addition, Ulmer's music has come to rely increasingly as much on riffing as it does on improvisation. The results have been mixed; Ulmer is his own worst enemy by not knowing what to leave off a record... However, his Third Rail experiment with Bill Laswell and Bernie Worrell was less so, another mixed bag with filled with excess. Blood hasn't issued a new recording in three years, which registers excitement and trepidation for fans. With a lineup that includes Laswell, Bernie Worrell, Amina Claudine Myers, and Jerome "Bigfoot" Bailey, the potential is certainly here. Overall, there is a deep nighttime feeling to this disc; there are few tracks featuring the fire-spitting, wood-splintering knot-like runs that come flailing off the strings and melt the brain of the listener. This is a riff- and song-oriented recording (yes, there are vocals) that accent the blues and gospel side of Ulmer's playing (anyone remember his playing on John Patton's Accent on the Blues way back when?) that is anything but "straight." /  Welcome back Blood, we missed ya.

Detroit-born blues and soul singer known for her passionate phrasing and vocal delivery. / Blues and soul singer Janiva Magness was no stranger to trouble and hard times growing up, and at her best, she pours that lifetime of emotion into her passionate phrasing and vocal delivery. Born in Detroit, Magness grew up with her father's blues and country record collection, as well as the city's wonderful Motown pop-soul sound, all of which shaped her style and approach as a musician. 
Janiva Magness
Blues Ain't Pretty (Jeff Big Dad Turmes) 3:43
It's Your Voodoo Working 4:26
Tell Me How Do You Feel (Ray Charles / Percy Mayfield) 3:11
Every Dog Has His Day 3:56
from Blues Ain't Pretty 2001
It's a long way from Michigan to the West Coast, but Janiva Magness didn't lose a bit of that great Detroit R&B influence when she made the trip. She gained a dedicated, ardent fan base in the L.A. area and she enlisted some of the area's finest for this one. Kirk Fletcher and Kid Ramos tear it up on guitar. Songwriter Jeff Turmes plays bass and contributes some fine songs...

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