13-08-2018 12:06 BLUES:MiX # 33 blues songs from the BLUES circle 1982-1972

Hound Dog Taylor

13-08-2018 12:06 BLUES:MiX # 33 blues songs from the BLUES circle 1982-1972 # Hound Dog Taylor, Robin Trower, Jack Bruce, Bill Lordan, Tom Waits, The Fabulous Thunderbirds, Jimmy Johnson, David Wilcox, Otis Rush, Johnny Shines, Junior Wells, Maggie Bell,  The Allman Brothers Band, Albert King

B L U E S   M U S I C

LISTEN THE PLAYLIST ON DEEZER.COM

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

1982-1972

Alligator Records, Chicago's leading contemporary blues label, might never have been launched at all if not for the crashing, slashing slide guitar antics of Hound Dog Taylor. Bruce Iglauer, then an employee of Delmark Records, couldn't convince his boss, Bob Koester, of Taylor's potential, so Iglauer took matters into his own hands. In 1971, Alligator was born for the express purpose of releasing Hound Dog's debut album. We all know what transpired after that.
Hound Dog Taylor
Crossroads (Traditional) 2:22
Blue Guitar (Hound Dog Taylor) 3:38
from Genuine Houserocking Music 1982
With Alligator label prexy Bruce Iglauer recording some 20 or 30 tracks over two nights everytime the band went into the studio, there were bound to be some really great tracks lurking in the vaults and these are it. Noteworthy for the great performance of Robert Johnson's "Crossroads," (previously only available as a Japanese 45) but also for the "rock & roll" inclusion of "What'd I Say" and Brewer Phillips' take on "Kansas City." No bottom of the barrel scrapings here.

One of rock's prime guitarists, due to his uncanny ability to channel Jimi Hendrix's blues-psych, Fender Strat-fueled playing style. Throughout his long and winding solo career, guitarist Robin Trower has had to endure countless comparisons to Jimi Hendrix due to his uncanny ability to channel Hendrix's bluesy/psychedelic, Fender Strat-fueled playing style.
Robin Trower
Jack Bruce, Bill Lordan
Into Money (Robin Trower) 2:56
End Game (Bill Berry / Peter Buck / Mike Mills / Keith Reid / Michael Stipe / Robin Trower) 5:11
from B.L.T. 1981
It wasn't until the 1980 Victims of the Fury album, seven years into his solo career, that Robin Trower would employ former Procul Harum bandmate Keith Reid to provide lyrics (with Reid probably the only lyricist in history to get band status). Though this is officially a Robin Trower release entitled B.L.T., the marquee giving Jack Bruce and Bill Lordan equal heading above the double-sized name of Robin Trower, the project is shouldered by all talents involved and inhibited by a dreadful cover photo of a white bread sandwich: bacon, lettuce and tomato with -- if you look closely -- raw bacon. All concerned would have been better off titling this a Jack Bruce/Robin Trower project with drummer Bill Lordan...

Robin Trower

A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed.  In the work of American songwriter Tom Waits, swampy blues, Beat poetry, West Coast jazz, Tin Pan Alley, country, 1930s-era cabaret, and post-Civil War parlor songs meet neon-lit carnival music, and the wheezing, clattering, experimental rhythms (often played by makeshift musical instruments from car radios to metal pipes and tin cans -- hence his love of Edgard Varese and Harry Partch) form a keenly individual musical universe.
Tom Waits
Heartattack and Vine (Tom Waits) 4:50
Downtown (Tony Hatch / Tom Waits) 4:44
'Til the Money Runs Out 8Tom Waits) 4:25
from Heartattack and Vine 1980
Heartattack and Vine is Tom Waits' seventh and final album for Asylum. As such, it's transitional. As demonstrated by its immediate predecessors, 1978's excellent Blue Valentine and 1977's Foreign Affairs, he was already messing with off-kilter rhythms even in the most conventionally structured blues and jazz songs, with nastier-sounding guitars -- he plays a particularly gnarly style of rhythm on this entire album. Five of these nine tracks are rooted in gutbucket blues with rock edges and primal R&B beats. By this time, his singing voice had deteriorated to a gasping-for-breath whiskey-and-cigarettes growl that could make words indecipherable from one another, but his jazzman-inspired phrasing more than compensated... In sum, Heartattack and Vine reveals just how much Waits had grown during his tenure with Asylum. Though not perfect in sequencing -- the alternating juxtaposition of rowdy blues and heartworn ballads gets old -- almost every song stands on its own as a dusty gem.