22-01+2022 BLUES:MiX # 33 blues(y) songs from the BLUES_circle 2012-2002 (2h 32m) # Ruthie Foster, Tommy Castro, Albert Castiglia, Magic Slim & the Teardrops, Chris Duarte Group, Eric Clapton with special guest J.J. Cale, The Wood Brothers, The White Stripes, Boo Boo Davis, Taj Mahal, Shemekia Copeland
B L U E S M U S I C (2h 32m)
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BLUES_circle The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
2012-2002
With a naturally expressive voice that has drawn comparisons to greats like Aretha Franklin and Ella Fitzgerald, Texas-based singer and songwriter Ruthie Foster has a wide palette of American song forms -- gospel and blues to jazz, folk, and soul -- and her live performances are powerfully transfiguring...
Long Time Gone (David Crosby) 5:14
This Time (David Hidalgo / Louis Perez / Louie Pérez) 4:48
Everlasting Light (Dan Auerbach / Patrick Carney) 3:33
from Let It Burn 2012
One of the gospel-blues scene's best-kept secrets for over a decade, Texan singer/songwriter Ruthie Foster finally achieved some long-overdue mainstream recognition when her 2009 sixth studio effort, The Truth According to Ruthie Foster, picked up a Grammy nomination. By putting down the guitar and concentrating entirely on her vocals for the first time in her career, her follow-up, Let It Burn, suggests she means business. It's a wise move, as her impassioned, soulful tones have always been her main selling point, and backed by an impressive array of musicians, including the Meters' rhythm section and legendary gospel act the Blind Boys of Alabama, they're allowed the freedom to showcase their versatility... But whichever era Foster picks and chooses from, Let It Burn always feels utterly timeless.
Tommy Castro is an American guitarist, singer, songwriter, and bandleader. His muscular brand of roots music indulges electric and jump blues, funky R&B-inflected rockers, and searing soul-drenched ballads. An incendiary lead guitarist and showman, he often plays more than 200 dates a year...
Voodoo Spell feat. Michael Burks 10:02
Fog feat. Trampled Under Foot
from Tommy Castro Presents The Legendary Rhythm & Blues Revue--Live! 2011
A direct descendant from the traveling bundled artist packages of the '60s right down to its retro "hatch show"-styled cover art, Tommy Castro and his band play host to a relatively diverse assortment of high-energy blues and soul acts. The concept originated on the yearly Legendary Rhythm & Blues Cruise where such musical collaborations are typical. Castro's concept was to take that concept on the road, resulting in this dozen-track live album cherrypicked from various tour stops. It's a rollicking, very plugged-in affair... Everyone is at the top of their game with an electricity and vein-popping excitement that can only be generated when musicians feed off each other live...
Blues guitarist Albert Castiglia was born in New York on August 12, 1969. Five years later his parents moved to Miami, where Castiglia began learning guitar. By the age of 12, he began playing local gigs and did so consistently throughout high school. Following completion of his college education, Castiglia worked as a social service investigator while playing gigs at night and on weekends around South Florida. 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...
Cadillac Assembly Line (Sir Mack Rice) 5:01
Mojo 305 (Albert Castiglia / Steven Gaskell / Jerome Mascaro) 3:58
Murderin' Blues (Robert Nighthawk) 5:25
from Keepin' On 2010
Albert Castiglia has been making his living as a bluesman for 20 years, coming to prominence as lead guitarist for the legendary Junior Wells. He's played with a who's who of blues greats in his career and stepped out on his own in 2002 with Burn, an album that got universal raves. There's no doubting Castiglia's power as a guitarist... Critics often compare Castiglia's singing to Van Morrison, and maybe there was a bit of Van the Man in his vocal style years back, but on Keepin On he has his own signature style, a combination of urban grit and smooth, soulful crooning. Like Robert Cray, Castiglia combines hardcore blues with soul, rock, and country flavors for a sound that will appeal to rockers and blues purists alike.
Magic Slim & the Teardrops proudly upheld the tradition of what a Chicago blues band should sound like. Their emphasis on ensemble playing and a humongous repertoire that allegedly ranged upwards of a few hundred songs gave the towering guitarist's live performances an endearing off-the-cuff quality: you never knew what obscurity he'd pull out of his oversized hat next...
Magic Slim & the Teardrops
Rough Dried Woman (Don Clay / B. Earle) 3:57
Tell Me What Makes a Woman Treat a Good Man So Bad (Morris Magic Slim Holt) 3:35
Bad Boy (Eddie Taylor) 4:37
from Rough Dried Woman 2009
The Wolf record label has served Magic Slim & the Teardrops well, producing eight CDs between 1986 and 1992, when the band was emerging from Chicago to tour the world. They are deserving on many fronts as the self-proclaimed "best blues band on the planet," and these tracks, marketed as "Magic Slim's best 14 songs," certainly go a long way to proving that assertion. Of the album's 14 tracks, 11 come from the studio and three are previously unissued live concert sessions in Austria, all with Slim, the remarkable second guitarist John Primer, brother and bassist Nick Holt, and different drummers... It's debatable whether these tracks comprise the very best of Magic Slim & the Teardrops through their four decades of presenting rip-snorting Chicago-style blues, but everything on this collection is very good and should please all blues lovers, not only in the way they play, but the broad range of excellent tunes they have chosen to perform faithfully...
Austin-based guitarist, songwriter, and singer Chris Duarte has often been compared with the late Stevie Ray Vaughan. It's heady stuff for the musician, who plays a rhythmic style of Texas blues-rock that is at times reminiscent of Vaughan's sound, and at other times reminiscent of Johnny Winter. The truth is, Duarte has his own sound that draws on elements of jazz, blues, and rock & roll...
Satisfy (Chris Duarte) 3:56
Troubles on Me (Chris Duarte) 5:43
She Don't Live Here Anymore (Chris Duarte) 6:40
from Vantage Point 2008
Now six albums into his career, it doesn't seem likely that Chris Duarte will ever quite shake off comparisons to Stevie Ray Vaughan and, to a lesser extent, Jimi Hendrix -- not because those comparisons are lazy critical shorthand but because Duarte continues to find more to mine in the tones and licks of those twin Stratocaster gods. On Vantage Point he relies rather heavily on Texas shuffles and slow, elongated 12-bar blues, so the scales are tipped slightly in SRV's favor, but Duarte does manage to fuse his two inspirations on "She Don't Live Here Anymore," which comes across as a Stevie Ray spin on "Voodoo Chile."... Throughout this record, Duarte's playing is this exceptional, but the best moments here are when his writing is up to his playing, as it is on the old-style roadhouse shuffle "Satisfy." These are the moments that suggest his growth as a writer is starting to match his growth as a player.
Prior to Eric Clapton, the idea of the guitar hero didn't exist in rock & roll. There were plenty of flashy players, but nothing along the lines of Clapton, who rocketed to fame in the 1960s as the guitarist for the Yardbirds, John Mayall's Bluesbreakers, and Cream. Clapton eased into a solo career in 1970...
Eric Clapton with special guest J.J. Cale
Little Wing (Jimi Hendrix) 6:58
After Midnight (J.J. Cale) 4:53
Key to the Highway (Big Bill Broonzy / Charles Seger) 4:12
from Live in San Diego 2007 (2016)
Eric Clapton recorded The Road to Escondido, a collaborative effort with his laconic idol J.J. Cale, in 2006 but the pair didn't play supporting concerts due to Cale's aversion of touring. He wound up showing up for one show: a date near his home in San Diego, playing five songs on March 15, 2007 at the iPayOne Center. That guest set forms the heart of 2016's Live in San Diego, a double-disc live album released three years after Cale's death. Effectively, this marks Clapton's second tribute to Cale since J.J.'s passing -- in 2014, he assembled The Breeze: An Appreciation of J.J. Cale -- but this brief mid-concert set perhaps illustrates the love and affection between the two men better than either The Breeze or The Road to Escondido. Mainly relying on chestnuts (although the new "Anyway the Wind Blows" kicks off the set), the chemistry is there along with a palpable affection between the two musicians, with Clapton following Cale's lazy lead. It provides a nice contrast to the heavy blues that dominates the rest of the album... Clapton decides to devote the majority of his set list to the guitar, which helps offset the easy-rolling grooves of the Cale showcase. Combined, it amounts to one of his most satisfying live albums.
A roots music trio featuring brothers Chris (upright bass, vocals) and Oliver Wood (guitars, vocals) along with multi-instrumentalist Jano Rix, the Wood Brothers bring a distinctive flair to their union of folk, blues, gospel, and jazz. Growing up in Boulder, Colorado, Chris and Oliver were exposed to American roots music at a young age by their parents and eventually started their own individual music careers, with Chris finding widespread success in the '90s as one-third of the adventurous jazz trio Medeski, Martin, & Wood and Oliver fronting the Atlanta-based funky roots combo King Johnson. In the mid-2000s, the two brothers' musical paths intertwined and they formed the Wood Brothers with Rix, signing to Blue Note Records and releasing their 2006 debut, Ways Not to Lose...
One More Day (Oliver Wood) 3:06
Chocolate on My Tongue (Oliver Wood) 2:49
Where My Baby Might Be 4:16
from Ways Not to Lose 2006
The Wood Brothers' debut album is a tense and hushed affair full of weighted lyrics peppered with words like truth, faith, spirit, and soul and more angels than you can shake a stick at, and each song seems tipped right at the edge of indecision and confusion. These are largely Oliver Wood's songs, with his brother Chris Wood (of Medeski, Martin & Wood) adding bass and backing vocals and Kenny Wollesen bringing light drums and percussion to five tracks. Oliver seems frozen in a kind of perpetual spiritual dilemma on these tracks, but what keeps the best of these songs from being exercises in self-centered ennui is the dogged hope that shines through between the cracks... Ways Not to Lose sounds like a bleak record, and it moves at a relentlessly slow pace, but just as the title carries a kind of guarded hope in happy endings, it believes in the possibilities that personal angels are everywhere in life.
With their unlikely but fascinating mix of arty concepts and raw sounds, the White Stripes were among the leaders of the early-2000s garage rock revival and helped define the sound of 21st century rock as the decade progressed. Jack and Meg White's clever use of limitations -- from their lineup to their instrumentation to their red, white, and black color scheme -- maximized their creativity, allowing them to bring a surprising number of facets to their seemingly back-to-basics approach. Meg's straight-ahead, minimalist drumming complemented Jack's freewheeling guitars and vocals perfectly, and their music touched on not only on obvious forebears such as the Gories and the Stooges, but also Son House and Blind Willie McTell's mythic blues, Led Zeppelin's riffs...
Blue Orchid 2:37
Instinct Blues4:16
Little Ghost 2:18
from Get Behind Me Satan 2005
According to Jack White, Get Behind Me Satan deals with "characters and the ideal of truth," but in truth, the album is just as much about what people expect from the White Stripes and what they themselves want to deliver. Advance publicity for the album stated that it was written on piano, marimba, and acoustic guitar, suggesting that it was going to be a quiet retreat to the band's little room after the big sound, and bigger success, of Elephant. Then "Blue Orchid," Get Behind Me Satan's lead single, arrived. A devilish slice of disco-metal with heavily processed, nearly robotic riffs, the song was thrilling, but also oddly perfunctory; it felt almost like a caricature of their stripped-down but hard-hitting rock. As the opening track for Get Behind Me Satan, "Blue Orchid" is more than a little perverse, as though the White Stripes are giving their audience the required rock single before getting back to that little room, locking the door behind them, and doing whatever the hell they want...
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.
He was born and raised in Drew, Mississippi in the heart of Delta. It was the richest cotton land in the South and the large amounts of field workers attracted the best musicians from the surrounding areas. The entire Delta region was rich with blues, but the town of Drew was a particularly fertile one... Sharecroppers sang loudly to help pass the grueling hours of work and without a doubt Boo Boo developed his loud, bellowing voice based on the singing he heard in the fields as a young boy. In fact, that voice, through the years has demolished many amps and speaker cabinets...
Don't Bother My Shoes 3:37
The Snake 4:53
Keep Your Car Locked 4:52
from The Snake 2004
The third album by St. Louis' Boo Boo Davis, 2004's The Snake, is a small departure for the singer and harmonica player. Where 2001's East St. Louis and 2002's Can Man were straight up old-school electric blues with a very strong early Chicago influence, The Snake hedges its stylistic bets by incorporating more of an R&B feel more along the lines of Robert Cray's soulful but poppy albums...
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. The African-derived heritage of most of those forms allowed Mahal to explore his own ethnicity from a global perspective and to present the blues as part of a wider musical context...
The Very Best of Taj Mahal
Señor Blues (Horace Silver) 6:44
Lonely Avenue (Doc Pomus) 3:26
Take a Giant Step (Gerry Goffin / Carole King) 4:37
Mailbox Blues (Taj Mahal) 3:31
from Blues With A Feeling 2003
Throughout his career, Taj Mahal has always been considered a bluesman, which is true enough, since the basis for everything he does has been the country blues, but he is not a traditionalist at heart, and he has always looked for ways to push the blues into new places and shapes. Adding at times rhythms and sensibilities that are drawn from reggae, ragtime, calypso, zydeco, and other genres, Mahal practices a kind of blues hybrid that is his alone, and he has been a huge influence on newer artists like Chris Thomas King and Corey Harris. This collection derives from the five albums he recorded with Private Records during the 1990s, and overlaps somewhat with The Best of the Private Years, released in 2000...
Projecting a maturity beyond her years, blues singer Shemekia Copeland began making a splash in her own right before she was even out of her teens. Copeland fashioned herself as a powerful, soul-inflected shouter in the tradition of Koko Taylor and Etta James, yet also proved capable of a subtler range of emotions. Her 1998 Alligator debut, Turn the Heat Up!, featured a career-elevating version of "Ghetto Child," a classic by her father, renowned Texas blues guitarist Johnny Copeland, that has been part of her performance repertoire ever since...
Livin' on Love (Craig Fuller / Gary Nicholson) 4:03
When a Woman's Had Enough (Alan Mirikitani / Dennis Walker) 3:54
Talking to Strangers (Mac Rebennack) 4:06
from Talking To Strangers 2002
This disc, which has Dr. John at the controls as a producer, brings together a mix that brings out the best for all those concerned and involved with this project. There is no weakness here, it is a straight-ahead use of all the strengths of Shemekia Copeland, daughter of Johnny Copeland. The songs were well selected to effectively show off all her potency as a vocalist. There are some many good writers that are also players on this disc that the tunes fit like gloves. There are strong contributions by John "Fingers" Hahn, Mac Rebennack, and Shemekia Copeland herself. The tunes, varied in style, are all based in the deep blues, and were selected for their capability to push her vocal talents to constant new personal pinnacles... This disc shows us some new sides of this fine singer, while she stretches her limits and she more than holds her own while being in the company of such luminous musicians as accompany her on this disc. This disc seems a return to the blues burner she is capable of being. She does her daddy proud on this stellar disc.
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