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BLUES_circle The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1972-1983
Whole Lot of People (Rory Gallagher)
Used to Be (Rory Gallagher)
from Deuce 1972
Released in November 1971, just six months after his solo debut, Rory Gallagher's second album was the summation of all that he'd promised in the wake of Taste's collapse, and the blueprint for most of what he'd accomplish over the next two years of recording. Largely overlooked by posterity's haste to canonize his next album, Live! In Europe, Deuce finds Gallagher torn between the earthy R&B of "Used to Be," a gritty blues fed through by some viciously unrestrained guitar playing... "There's a Light", too, plays to Gallagher's sensitive side, while stating his mastery of the guitar across a protracted solo that isn't simply spellbinding in its restraint, it also has the effect of adding another voice to the proceedings...
Accurately dubbed "the Queen of Chicago blues" (and sometimes just the blues in general), Koko Taylor helped keep the tradition of big-voiced, brassy female blues belters alive, recasting the spirits of early legends like Bessie Smith, Ma Rainey, Big Mama Thornton, and Memphis Minnie for the modern age.
One of rock's prime guitarists due to his uncanny ability to channel the blues-psych, Fender Strat-fueled playing style of Jimi Hendrix.
Swaggering Chicago blues harmonica player, a solo star who also worked frequently with Buddy Guy.
Long-running blues-rock combo the Numbers Band was formed in Kent, OH in mid-1969 by singer/guitarist Robert Kidney and saxophonist Terry Hynde (the brother of future Pretenders frontwoman Chrissie Hynde), who together remained the nucleus of the group throughout its decades of existence. Officially dubbed 15 60 75, but always called simply the Numbers Band by audiences, their original lineup also included guitarist/keyboardist Hank Smith, bassist Greg Colbert, and drummer Tim Hudson; the group made its live debut in July of 1970 at the popular Kent nightspot the Kove, soon playing the club at least four nights a week to a growing legion of fans. Though initially steeped in Chicago-style blues, the Numbers Band quickly began expanding into jazz as well, forging the signature sound they continued to pursue for the duration of their career. The group's roster remained in a seemingly constant state of flux, however, and by 1972, included bassist Gerald Casale and drummer David Robinson; as internal pressures continued to mount as the year ended, Kidney dissolved the project, joining his brother Jack's band King of Hearts. (Casale would later co-found Devo.)
An architect of Chicago blues' West Side sound, whose style combined broodingly intense vocals and sweet, stinging guitar solos.
One of the most important post-war blues guitarists, renowned for his massive tone and unique way of squeezing bends out of a guitar string.
I'm a Little Mixed Up(Criss Johnson)
What Kind of Man Is This? (Koko Taylor)
from South Side Lady 1973
Cut during the period when she was between Chess and Alligator, this 15-song selection, cut in a French studio and live in the Netherlands in 1973, is a potent set that finds Koko Taylor ably backed by the Aces, guitarist Jimmy Rogers, and pianist Willie Mabon. Lots of familiar titles -- a live "Wang Dang Doodle," studio remakes of "I'm a Little Mixed Up" and "Twenty-Nine Ways" -- and a few numbers that aren't usually associated with Chicago's undisputed blues queen.
Day of the Eagle (Robin Trower)
Bridge of Sighs (Robin Trower)
Too Rolling Stoned (Robin Trower)
from Bridge Of Sighs 1974
Guitarist Robin Trower's watershed sophomore solo disc remains his most stunning, representative, and consistent collection of tunes. Mixing obvious Hendrix influences with blues and psychedelia, then adding the immensely soulful vocals of James Dewar, Trower pushed the often limited boundaries of the power trio concept into refreshing new waters. The concept gels best in the first track, "Day of the Eagle," where the opening riff rockingly morphs into the dreamy washes of gooey guitar chords that characterize the album's distinctive title track that follows. .. One of the few Robin Trower albums without a weak cut, Bridge of Sighs holds up to repeated listenings as a timeless work, as well as the crown jewel in Trower's extensive yet inconsistent catalog.
What My Momma Told Me (Junior Wells)
Key to the Highway (Big Bill Broonzy / Charles Segar)
The Train I Ride (Junior Wells)
from On Tap 1975
Underrated mid-'70s collection boasting a contemporary, funky edge driven by guitarists Phil Guy and Sammy Lawhorn, keyboardist Big Moose Walker, and saxman A.C. Reed. Especially potent is the crackling "The Train I Ride," a kissin' cousin to Little Junior Parker's "Mystery Train."
15-60-75 aka. The Numbers Band
The Animal Speaks (Robert Kidney)
Narrow Road (Robert Kidney)
Jimmy Bell (Cat Iron) Lead Guitar: Michael Stacey, Tenor Solo: Tim Maglione
from Jimmy Bell's Still in Town 1976
From the Rolling Stones to the White Stripes, plenty of rock bands have used the blues as a jumping off point and messed with the form to make something new, but hardly anyone pushed the music into a more interesting and innovative direction while staying true to its roots as 15-60-75, a Kent, OH combo known to locals as "the Numbers Band." Led by Robert Kidney on lead vocals and guitar and Terry Hynde on saxophone (yes, he's Chrissie's brother), this band never lost touch with the deep hoodoo groove at the heart of the blues, but they pushed and pulled at the sound from all directions, with the rhythm section laying out a steady and propulsive groove, additional percussionists throwing polyrhythms over the bed, the sax players blowing as if possessed by King Curtis and Ornette Coleman at once, the guitarists exploring the cosmos, and Kidney declaiming like the last great undocumented beat poet. Jimmy Bell's Still in Town, the group's first (and arguably best) album, manages to capture the band in all their shapeshifting glory, and what's most remarkable is how incredibly tight and unified this band is -- while this music leaps through any number of hoops, nothing and no one ever gets lost in the shuffle and the musicians perform with an intense focus that's all the more remarkable when you realize this was a live recording, cut in front of an enthusiastic audience at the Agora in Cleveland one evening in 1975. Music this smart and adventurous is rarely as satisfying on a gut level as Jimmy Bell's Still in Town, and this is a razor-sharp fusion of jazz, blues, and rock that kicks like a mule and will let you shake your ass all night long. David Thomas of Pere Ubu, a major fan of the Numbers Band, once called Jimmy Bell's Still in Town "the only good album ever recorded by anyone," and while he's clearly exaggerating to make a point, there's no doubt it's a better record than whatever you're listening to right now.
Baby What You Want Me to Do? (Jimmy Reed)
Whole Lotta Lovin'
Troubles, Troubles, Troubles (B.B. King / Sam Ling)
from Troubles, Troubles: The Sonet Blues Story 1977 (2006)
Troubles, Troubles was originally recorded for Sonet, but is probably better known through its re-release as Lost in the Blues by Alligator. .. But how does it stand as an Otis Rush album? It's a very good set -- perhaps "comfortable" says it best -- recorded with Rush's longstanding band of Bob Levis on rhythm guitar, Bob Stroger on bass, and Jesse Lewis Green on drums (despite what the package says). Recorded during an afternoon at a Stockholm studio while on tour, the band is tight and Rush's guitar and vocals are both in fine form...
Born Under a Bad Sign (William Bell / Booker T. Jones)
I'll Play the Blues for You (Chris Thomas King)
Blues at Sunrise (Albert King)
from Talkin' Blues 1978 (2003)
Talkin Blues contains a previously unreleased live date by Albert King recorded in Chicago on February 10, 1978. Released in cooperation with the Albert King Trust, this disc features seven live tracks, including King's signature tunes "I'll Play the Blues for You," "Born Under a Bad Sign," and "Blues at Sunrise." King's unique soulful guitar playing is in fine form here and the arrangements are punched up by the addition of a full horn section...
In the Skies (P.A. Green / Peter Green)
A Fool No More (P.A. Green / Peter Green)
Just for You (P.A. Green / Peter Green / S. White)
from In the Skies 1979
After almost a decade of personal, drug-addled hell since his 1970 debut The End of the Game, Peter Green begins his comeback with In the Skies, and a title tune that sounds downright hopeful compared to where he left off. Although Green shares lead guitar work with Snowy White, it's clear from his fluid technique and haunting tone that he can still play. "A Fool No More" is the kind of slow blues Green excels at...
Talk to Me Baby (Elmore James)
Two Bones and a Pick (T-Bone Walker)
Death Letter (Son House)
from Official Blues Band Bootleg Album 1979-1980 (2001)
The Blues Band is a virtual who's who of the British blues scene. An '80s supergroup of sorts, the band consists of Paul Jones, solo artist and former member of Manfred Mann (lead vocals and harmonica ); Dave Kelly, solo artist and former member of the John Dummer Blues band (lead vocals and slide guitar); Tom McGuinness, former member of Manfred Mann and McGuinness Flint (lead guitar and back-up vocals); Hughie Flint, also former McGuinness Flint (drums); and Gary Fletcher, formerly of Sam Apple Pie (bass and backup vocals). Although formed in 1979, the band released its debut album, The Bootleg Album, in 1980 as supposedly a one-time live project. The album was originally a private pressing, recorded live and released by the band themselves, but it sold so well it was re-released intact by Arista after signing the band to a contract... A superb package and a must for any fan of British blues music.
Peter York is a British rock drummer who has been performing since the 1960s. He was one of the original members of the Spencer Davis Group, along with Spencer Davis and the brothers, Steve and Muff Winwood. York stayed with the band until 1969.
Chris Farlowe always seemed destined for great things as a singer -- and based on the company he kept on-stage and the people he worked with in the mid-'60s, he did succeed, at least on that level.
New Orleans Street March (Brian Auger)
Motorboat (James Campagnola)
from Olympic Rock & Blues Circus 1981
Bass – Steve Richardson, Brass [Section] – Masters Of Desaster, Drums – Charly Eichert, Pete York, Guitar – John Marshall, Tenor Saxophone – James Campagnola, Trombone – Andrew Pet, Trumpet – Jeff Reynolds
Poor Tom (Jimmy Page – Robert Plant)
Walter's Walk (Jimmy Page – Robert Plant)
Darlene (John Bonham – John Paul Jones – Jimmy Page – Robert Plant)
from Coda 1982
Released two years after the 1980 death of John Bonham, Coda tied up most of the loose ends Led Zeppelin left hanging: it officially issued a bunch of tracks circulating on bootleg and it fulfilled their obligation to Atlantic Records... it amounts to a good snapshot of much of what made Led Zeppelin a great band: when they were cooking, they really did groove.
Underground (Tom Waits)
16 Shells from a Thirty-Ought Six (Tom Waits)
Gin Soaked Boy (Tom Waits)
from Swordfishtrombones 1983
...And he drastically altered a musical approach that had become as dependable as it was unexciting. Swordfishtrombones has none of the strings and much less of the piano work that Waits' previous albums had employed; instead, the dominant sounds on the record were low-pitched horns, bass instruments, and percussion, set in spare, close-miked arrangements (most of them by Waits) that sometimes were better described as "soundscapes." ... The music can be primitive, moving to odd time signatures, while Waits alternately howls and wheezes in his gravelly bass voice. He seems to have moved on from Hoagy Carmichael and Louis Armstrong to Kurt Weill and Howlin' Wolf (as impersonated by Captain Beefheart)... Artistically, Swordfishtrombones marked an evolution of which Waits had not seemed capable (though there were hints of this sound on his last two Asylum albums), and in career terms it reinvented him.
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