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A következő címkéjű bejegyzések mutatása: Champion Jack Dupree. Összes bejegyzés megjelenítése
A következő címkéjű bejegyzések mutatása: Champion Jack Dupree. Összes bejegyzés megjelenítése

2021. július 11., vasárnap

11-07-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1988-1997


11-07-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1988-1997 Lazy Lester, Tinsley Ellis, Bob Dylan, Champion Jack Dupree, Stevie Ray Vaughan and Double Trouble, Lil' Ed & the Blues Imperials, B.B. King, Charlie Musselwhite, Jimmy Johnson, Thornetta Davis,  Tommy Castro


B L U E S    M U S I C

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

1988-1997

 
Swamp blues vocalist and harp-man of the 1950s and '60s who earned an impressively long revival beginning in the 1980s.
I'm a Man (Bo Diddley) 4:00
Alligator Shuffle(Leslie Johnson) 2:45
from Harp & Soul 1988 
After a lengthy hiatus from the music business, Lester was in the midst of his comeback when he waxed this album for Alligator. The overall sound is redolent of those Louisiana swamp blues classics, but with a cannily updated contemporary edge that works well.



A fiery guitarist and talented songwriter who plays a unique blend of Memphis R&B, southwest blues, and urban funk.
I've Made Nights By Myself (Albert King) 2:36
Lucky Lou (Jody Williams) 3:21
from Georgia Blue 1988
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 as evidenced by his 1988 Alligator debut Georgia Blue (a label he has been signed to three different times) 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...

Iconic singer/songwriter and musical wanderer who rose to prominence during the '60s folk revival and changed the world of music.  Bob Dylan's influence on popular music is incalculable. As a songwriter, he pioneered several different schools of pop songwriting, from confessional singer/songwriter to winding, hallucinatory, stream-of-consciousness narratives...
Political World  (Bob Dylan) 3:48
Everything Is Broken (Bob Dylan) 3:13
from Oh Mercy 1989
Oh Mercy was hailed as a comeback, not just because it had songs noticeably more meaningful than anything Bob Dylan had recently released, but because Daniel Lanois' production gave it cohesion. 

2021. május 29., szombat

29-05-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1979-1991


29-05-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1979-1991 The Blues Band, Led Zeppelin, Tom Waits, Ernestine Anderson, Phil Guy, Lil Ed & The Blues Imperials, Chicago Bob & The Shadows, Lazy Lester, Tinsley Ellis, Bob Dylan, Champion Jack Dupree, Stevie Ray Vaughan and Double Trouble


B L U E S    M U S I C

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1979-1991

 
England's the Blues Band is led by ex-Manfred Mann vocalist Paul Jones and guitarist/vocalist Dave Kelly, who, before forming the group in 1979, had been a member of the John Dummer Blues Band and issued several solo recordings on his own (Kelly had also received praise for his playing by such blues legends as Howlin' Wolf and John Lee Hooker). ..
Talk to Me Baby (Elmore James)
Two Bones and a Pick (T-Bone Walker)
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.


Acknowledged as the most successful and influential band of the heavy rock era, with a catalog that continues to inspire... 
Drawing upon postwar electric blues, early rock & roll, and psychedelia, Zeppelin created a titanic roar in their earliest days but even then they weren't merely heavy...
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.


A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed.
Underground (Tom Waits)
Gin Soaked Boy (Tom Waits)
...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.

2018. szeptember 21., péntek

21-09-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1969-1959


John Hammond Jr July 1964 Newport

21-09-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1969-1959 # John Hammond, Fred McDowell, Howlin' Wolf, John Lee Hooker, Willie Dixon, Lightnin' Hopkins, Elmore James, Champion Jack Dupree, Big Joe Williams, Curtis Amy & Paul Bryant, Brownie McGhee


B L U E S   M U S I C


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1969-1959

John Hammond, Jr. is one of a handful of white blues musicians who was on the scene at the beginning of the first blues renaissance of the mid-'60s. That revival, brought on by renewed interest in folk music around the U.S., brought about career boosts for many of the great classic blues players, including Mississippi John Hurt, Rev. Gary Davis, and Skip James. Some critics have described Hammond as a white Robert Johnson, and Hammond does justice to classic blues by combining powerful guitar and harmonica playing with expressive vocals and a dignified stage presence.
John Hammond
Mystery Train (Junior Parker) 3:00
I'm Leavin' You (Chester Burnett) 3:21
from Southern Fried 1969
Southern Fried differed little from other early Hammond albums in its repertoire, consisting entirely of covers of blues and R&B songs. As usual, the Chicago sound came in for especially heavy tribute, with versions of songs by Howlin' Wolf, Muddy Waters, and Chuck Berry, as well as a pass at "Mystery Train," though more vocal-oriented R&B got a nod with Chuck Willis' "It's Too Late" and some of the other tunes. Where this might have a leg up on some other early Hammond efforts -- and a leg up on blues cover albums in general -- is in the stellar band, featuring Muscle Shoals stalwarts like Eddie Hinton and Roger Hawkins. Allman Brothers fans, too, will want to keep an eye out for it as it features Duane Allman playing fine lead guitar on four tracks...


...As a stylist and purveyor of the original Delta blues, he was superb, equal parts Charley Patton and Son House coming to the fore through his roughed-up vocals and slashing bottleneck style of guitar playing. McDowell knew he was the real deal, and while others were diluting and updating their sound to keep pace with the changing times and audiences, Mississippi Fred stood out from the rest of the pack simply by not changing his style one iota...
Fred McDowell
Levee Camp Blues (Mississippi Fred McDowell) 3:49
My Baby Don't Treat Me Like Humankind (Mississippi Fred McDowell) 2:21
from Levee Camp Blues / Rec. 1968 (1998)
When Mississippi Fred McDowell recorded these sides in March of 1968, producer Pete Welding encouraged McDowell to recall the earliest material he had learned when he first started playing. The result is a selection of tunes that simply don't show up on his other recordings, both stylistically and because of their previously unreleased status...


A primal, ferocious blues belter with a roster of classics rivaling anyone else, and a sandpaper growl of a voice that has been widely imitated.   In the history of the blues, there has never been anyone quite like the Howlin' Wolf. Six foot three and close to 300 pounds in his salad days, the Wolf was the primal force of the music spun out to its ultimate conclusion. A Robert Johnson may have possessed more lyrical insight, a Muddy Waters more dignity, and a B.B. King certainly more technical expertise, but no one could match him for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.
Howlin' Wolf
Just My Kind (Chester Burnett / Howlin' Wolf) 2:53
I'm the Wolf (Chester Burnett / Howlin' Wolf) 2:54
from More Real Folk Blues 1967
This companion volume to the Real Folk Blues album was issued in 1967 (after the Wolf had appeared on network television with the Rolling Stones, alluded to in the original liner notes) and couldn't be more dissimilar in content to the first one if you had planned it that way. Whereas the previous volume highlighted middle-period Wolf, this one goes all the way back to his earliest Chess sessions, many of which sound like leftover Memphis sides...