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2017. november 7., kedd

07-11-2017 19:09 BLUES:MiX # 50 blues songs from the BLUES circle 1998-2005 # 3h 39m

07-11-2017 19:09 BLUES:MiX # 50 blues songs from the BLUES circle 1998-2005 3h 39m # Bugs Henderson & The Shuffle Kings,  Gomez, Taj Mahal, Buddy Guy, Steve James, BB King, James Blood Ulmer, Janiva Magness, Boo Boo Davis, Barrelhouse Chuck,Jessie Mae Hemphill, Scott H. Biram, Carl Weathersby, Albert Castiglia, Alvin Youngblood Hart, Julian Fauth



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


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...

Boo Boo Davis is a survivor and belongs to the last generations of musicians that write and play the blues based on first hand experience of a hard life in the Mississippi Delta.
Boo Boo Davis
Big House All by Myself 5:06
Can Man 4:30
Keep on Lovin' Me Baby(Otis Rush) 5:28
from Can Man 2002
Boo Boo’s father, Sylvester Davis farmed cotton and played several instruments. Musicians who he played with include John Lee Hooker, Elmore James and Robert Pete Williams. Boo Boo remembers these and other musicians dropping by and rehearsing at their house. At the age of five Boo Boo was playing the harmonica and singing in church with his mother. By thirteen he was playing guitar, and by eighteen he was playing out with his father and older brothers under the name of The Lard Can Band. This band travelled all throughout the Delta. In the early sixties he went north to St Louis and was around during the heyday of the St Louis music scene (Albert King, Ike Turner, Chuck Berry and many others). Together with his brothers they were the weekend house band in Tabby’s Red Room in East St Louis for eighteen years.

Barrelhouse Chuck (Charles Goering, July 10, 1958 – December 12, 2016) was an American Chicago blues and electric blues pianist, keyboardist, singer, and songwriter. He claims to be the only Chicago blues pianist to have studied under Sunnyland Slim, Pinetop Perkins, Blind John Davis, Detroit Junior, and Little Brother Montgomery. His work has appeared on fourteen albums.
Sitting on Top of the World (Lonnie Chatmon / Walter Vinson) 2:26
Mean Mistreater Mama (Leroy Carr / Bob Robinson) 3:00
Prescription for the Blues feat: Erwin Helfer (Eurreal Montgomery) 3:50
Chicago is home base for many of the top (but not necessarily well-known) piano blues (also boogie-woogie) artists in the country. The Sirens Records seems determined to document as many of them on disc as possible. This The Sirens CD features Barrelhouse Chuck (aka Chuck Goering), who gets a little help from his friend Erwin Helfer on three tracks. If any jazz style can make a piano wail and talk, it's piano blues...

Mississippi blueswoman Jesse Mae Hemphill specialized in a folk-derived non-commercial blues indigenous to her region. 
Feelin' Good (Jessie Mae Hemphill) 3:53
Streamline Train (Jessie Mae Hemphill) 5:33
Shake It, Baby (Jessie Mae Hemphill) 3:22
from Shake It Baby 2003
The 12-song Heritage of the Blues: Shake It Baby collection of Mississippi singer/guitarist Jessie Mae Hemphill is certainly needed. She didn't have the opportunity to record very often. As a matter of fact, her greatest exposure came through an appearance in Robert Palmer's 1993 film Deep Blues, which featured footage of Hemphill playing bass drum as part of Jessie Mae's Fife and Drum Band and then playing solo guitar. The tracks on Heritage of the Blues were recorded between 1979 and 1988 and feature Hemphill on guitar, diddley bow, drums, foot tambourine, and bells...

Texas-based one-man band whose rough and relentless music is the place where country, blues, and punk cross paths. 
Goin' Down Slow 2:38
Brown's Ferry Blues 2:54
Sweet Thing 2:25
...Describing his music as "the bastard child of punk, blues, country, hillbilly, bluegrass, chain gang, metal, and classic rock," Biram was born in Lockhart, Texas and grew up in Prairie Lea (a small town of less than 250 residents) and San Marcos (a city of 50,000 not far from Austin). While in high school, Biram joined a local punk rock band called the Thangs, and played shows with them after moving on to college (Biram earned a degree in fine arts from Southwest Texas State University). As he developed a taste for roots music (in particular Lightnin' Hopkins and Doc Watson), he played with a pair of bluegrass bands during his college days, Scott Biram & the Salt Peter Boys and Bluegrass Drive-By...

Vocalist, songwriter, and guitarist Carl Weathersby is a soul-blues crooner in the classic Chicago tradition.
I'm Back Again 4:28
Angel of Mercy 6:56
Hold On 4:24
from Hold On 2004
Best known for his work with Billy Branch & Sons of the Blues, Weathersby's first album, 1996's Don't Lay Your Blues on Me, was hailed as genuine, state-of-the-art Chicago blues for the '90s. Weathersby released his second album, Looking Out My Window, in 1997, and the raves continued; the song "The Blues Follow Me Around," which Weathersby first recorded with Branch, was nominated for a Handy Award.

New York-born, Florida-based blues guitarist and singer with a powerful, electrified sound. 
Albert Castiglia
I Didn't Know 3:36
Burn 4:39
Hoodoo Man Blues 9:49
from Burn 2004
... In 1990 he joined Miami Blues Authority, and was the group's lead guitarist and vocalist for over seven years. After an audition with Chicago blues harp legend Junior Wells in 1997, Castiglia become the permanent lead guitarist for Wells' Hoodoo Man's Band. Following Junior's death in 1998, the band stayed together long enough to open shows for blues belter Sandra Hall. In 2001 Castiglia began writing his own material with the help of Graham Drout, guitarist and vocalist with the Miami-based band Iko Iko. With Drout's assistance, Castiglia released his debut CD, Burn, in 2002, followed four years later by A Stone's Throw on Blues Leaf Records...

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.
Alvin Youngblood Hart
Big Mama's Door (Might Return) (Alvin Youngblood Hart) 5:49
Motivational Speaker (Alvin Youngblood Hart) 3:56
In My Time of Dying (Traditional) 6:40
from Motivational Speaker 2005
Bluesman Alvin Youngblood Hart's Motivational Speaker is his first outing since Down in the Alley, his stellar, acoustic collection of covers from 2002. Cut in Memphis with a very electric trio that includes Gary Rasmussen (former Rationals and Sonic's Rendezvous bassist) and drummer Ed Michaels, the album is a hard-edged, wooly, dirt-under-the-nails affair. Hart produced the set himself and brought in a number of guests including Jim and Luther Dickinson, Audley Freed, Richard Ford, Susan Marshall, Richard Rosenblatt, and Jim Spake...

Julian Fauth is a singer and piano player whose style is based on the tradition of pre-war barrelhouse blues and boogie woogie, with infusions of gospel and jazz. He writes his own songs in addition to re-interpreting traditional material. In his teens he was a protégé of the late Mississippi blues legend Mel Brown. He plays regularly in Toronto and has played across Canada, in the USA, Western Europe, Russia and Cuba.
Julian Fauth
Cobalt (Julian Fauth) 5:13
Red Richard (Julian Fauth) 3:40
Winter of '99 (Julian Fauth) 4:36
from  Songs of Vice and Sorrow 2005
The love child of Mississippi John Hurt and Billy Childish, Julian Fauth is an interesting mix of the old, the very old, and the merely retro... But from the Victorian ragamuffin cover photo to the weird mix of influences all over this double-album-length CD, Songs of Vice and Sorrow is a unique, idiosyncratic, and often fascinating statement.

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