MiXTAPE: ...when i was three... music from 1962 PnM.MiX

...when i was three...  music from 1962

M U S I C 1962

Booker T & the MGs – Green Onions

The Rollin' Stones - Roll over Beethoven (London, 12 July 1962 at the Marquee Club)

The Beatles - P.S. I Love You (Single Version, 11 September 1962)

Bob Dylan - House of the Risin' Sun

Lightnin' Hopkins - Awful Dreams

Muddy Waters, Howlin' Wolf, Little Walter - You Shook  Me

John Lee Hooker - Crawlin' King Snake

Arthur "Big Boy" Crudup - That's All Right

Albert King - This Morning

John Lee Hooker - Blues Before Sunrise

Alexis Korner - How Long, How Long Blues

Bob Dylan - Highway 51 Blues

Muddy Waters - Tiger in your Tank

B.B. King - Hully Gully Twist

Jimmy Smith - Beggar for the Blues  

Herbie Mann - Minor Groove

Rahsaan Roland Kirk - Domino

Oscar Peterson Trio With Milt Jackson - Work Song

Paul Desmond / Gerry Mulligan - Stardust

Louis Armstrong & Duke Ellington - I'm Beginning to See the Light

Herbie Hancock - Watermelon Man

Grant Green - Sometimes I Feel Like A Motherless Child

Donald Byrd - Royal Flush

Ike Quebec - Goin' Home

Grant Green - Blues In Maude's Flat

Rahsaan Roland Kirk - You Did It, You Did It

Stan Getz - Desafinado

João Gilberto, Antônio Carlos Jobim - One Note Samba

Jimmy Smith - Judo Mambo

Jimmy McGriff - M.G. Blues

Booker T & the MGs – You Can't Sit Down

Junior Parker - I Wanna Ramble

Gene Chandler - Stand By Me

John D. Loudermilk - Road Hog

Françoise Hardy - Le temps de l'amour

Petula Clark - Ya Ya Twist

The Beach Boys - Surfin' Safari

Elvis Presley - Good Luck Charm

Ray Charles & His Orchestra - Unchain My Heart

Ricky Nelson - My Babe

Duane Eddy - The Ballad of Paladin

Dave "Baby" Cortez - Rinky Dink

Sandy Nelson - Drums Are My Beat

Shelley Fabares - Johnny Angel 

Little Eva - The Loco-Motion 

Dee Dee Sharp - Gravy (For My Mashed Potatoes) 

Freddy Cannon - Palisades Park 

Chubby Checker - Slow Twistin'

The Shirelles - Baby It's You

The Isley Brothers - Twist and Shout

Chris Montez - Let's Dance

Mary Wells - The One Who Really Loves You

 Sam Cooke- Twistin' the Night Away

Brian Hyland - Sealed With a Kiss 

Ketty Lester - Love Letters

Bent Fabric - Alley Cat 

King Curtis - Soul Twist 

 Ace Cannon - Careless Love

Clyde Mcphatter - Lover Please

Barbara George - I Know (You Don't Love Me No More)

Rick Nelson - Young World

Dion - The Wanderer 

Burl Ives - A Little Bitty Tear

Ernie Maresca - Shout Shout (Knock Yourself Out)

Sam Cooke - Having a Party 

Joanie Sommers - Johnny Get Angry

Joe Henderson - Snap Your Fingers

Ray Charles - You Are My Sunshine

Aretha Franklin - I Surrender Dear

Joey Dee and The Starlighters - Shout   

Billy Vaughn - A Swingin' Safari

Mary Wells - You Beat Me to the Punch -

Barbara Lynn- You'll Lose a Good Thing 

Billy Joe & The Checkmates - Percolator (Twist) 

The Ikettes - I'm Blue (The Gong-Gong Song) 

The Kingston Trio - Where Have All The Flowers Gone 

The Highwaymen - Cotton Fields

Peter, Paul & Mary - If I Had a Hammer 

Duane Eddy - Dance with the Guitar Man

Arthur Lyman - Caravan

Martin Denny - Black Orchid

Elvis Presley - Return to Sender

The Tokens - The Lion Sleeps Tonight

Ray Stevens - Ahab the Arab

Pat Boone - Speedy Gonzales

Tornadoes - Telstar

The Shadows - Wonderful Land

The Everly Brothers - How Can I Meet Her

Fats Domino - Jambalaya (On the Bayou)

Bruce Channel - Hey Baby

Duane Eddy - Deep in the Heart of Texas

The Vernons Girls - Lover Please

The Spotnicks - Orange Blossom Special

Jet Harris - The Man with the Golden Arm

The Mar-Kets - Surfer's Stomp

The Beach Boys - Surfin'

Jennell Hawkins - Moments (To Remember)

Ben E. King - Don't Play That Song (You Lied)

Jimmy Norman - I Don't Love You No More (I Don't Care About You)

Bobby Vee, The Crickets - Someday (When I'm Gone from You)

Les Cooper & The Soul Rockers - Wiggle Wobble

EVERY DAY i HAVE THE BLUES BLUES:MiX # 33 blues(y) songs from the BLUES circle 1965-1975

EVERY DAY i HAVE THE BLUES BLUES:MiX # 33 blues(y) songs from the BLUES circle 1965-1975 # B.B. King, The Paul Butterfield Blues Band, Cream, Muddy Waters, Jimi Hendrix,The Allman Brothers Band,Rory Gallagher, Koko Taylor,Robin Trower, Junior Wells

B L U E S    M U S I C

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.BLUES_circle on ⏵deezer

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

1965-1975

 

One of the most important electric guitarists in history, whose bent notes and staccato picking style influenced legions to come. Universally hailed as the king of the blues, the legendary B.B. King was without a doubt the single most important electric guitarist of the last half of the 20th century. His bent notes and staccato picking style influenced legions of contemporary bluesmen, while his gritty and confident voice -- capable of wringing every nuance from any lyric -- provided a worthy match for his passionate playing.

B.B. King 

Every Day I Have the Blues  (Peter Chatman / Memphis Slim)

Sweet Little Angel  (B.B. King / Jules Taub)

It's My Own Fault (John Lee Hooker / B.B. King / Jules Taub)

from Live at the Regal 1965

B.B. King is not only a timeless singer and guitarist, he's also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader's cues with almost telepathic accuracy. King's voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of "How Blue Can You Get," where the Chicago venue threatens to explode at King's prompting. Of course, the master's guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King's lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues.

With a style honed in the gritty blues bars of Chicago's south side, the Butterfield Blues Band was instrumental in bringing the sound of authentic Chicago blues to a young white audience in the mid-'60s, and although the band wasn't a particularly huge commercial success, its influence has been enduring and pervasive. 

The Paul Butterfield Blues Band 

I Got a Mind to Give Up Living (Traditional)

All These Blues (Public Domain / Traditional)

East-West

from East West 1966

The raw immediacy and tight instrumental attack of the Paul Butterfield Blues Band's self-titled debut album were startling and impressive in 1965, but the following year, the group significantly upped the ante with its second LP, East-West. The debut showed that Paul Butterfield and his bandmates could cut tough, authentic blues (not a given for an integrated band during the era in which fans were still debating if a white boy could play the blues) with the energy of rock & roll, but East-West was a far more ambitious set, with the band showing an effective command of jazz, Indian raga, and garagey proto-psychedelia as well as razor-sharp electric blues. Butterfield was the frontman, and his harp work was fierce and potent, but the core of the band was the dueling guitar work of Mike Bloomfield and Elvin Bishop, especially Bloomfield's ferocious, acrobatic solos, while Mark Naftalin's keyboards added welcome washes of melodic color, and the rhythm section of bassist Jerome Arnold and drummer Billy Davenport were capable of both the rock-solid support of veteran blues players and the more flexible and artful pulse of a jazz combo, rising and relaxing with the dynamics of a performance...

The first and best power trio, whose brand of highly amplified, free-form playing took blues and rock in new directions. Although Cream were only together for a little more than two years, their influence was immense, both during their late-'60s peak and in the years following their breakup. Cream were the first top group to truly exploit the power trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s. It was with Cream, too, that guitarist Eric Clapton truly became an international superstar...

Cream 

White Room (Pete Brown / Jack Bruce)

Crossroads (Ahmad Jamal / Robert Johnson / Traditional)

Politician (Pete Brown / Jack Bruce)

Born Under a Bad Sign (William Bell / Booker T. Jones)

from Wheels of Fire 1968

If Disraeli Gears was the album where Cream came into their own, its successor, Wheels of Fire, finds the trio in full fight, capturing every side of their multi-faceted personality, even hinting at the internal pressures that soon would tear the band asunder. A dense, unwieldy double album split into an LP of new studio material and an LP of live material, it's sprawling and scattered, at once awesome in its achievement and maddening in how it falls just short of greatness. It misses its goal not because one LP works and the other doesn't, but because both the live and studio sets suffer from strikingly similar flaws, deriving from the constant power struggle between the trio... And in many ways Wheels of Fire is indeed filled with Cream's very best work, since it also captures the fury and invention (and indulgence) of the band at its peak on the stage and in the studio, but as it tries to find a delicate balance between these three titanic egos, it doesn't quite add up to something greater than the sum of its parts. But taken alone, those individual parts are often quite tremendous.

The giant of postwar blues, who eloquently defined Chicago's swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar.

Muddy Waters 

I Am the Blues (Willie Dixon)

Rollin' and Tumblin' (McKinley Morganfield)

Blues and Trouble (McKinley Morganfield)

Hurtin' Soul

from After the Rain 1969

...The album mostly featured higher-wattage remakes of a lot of familiar repertoire, including "Honey Bee" and "Rollin' and Tumblin'," and also reintroduced Muddy's own electric guitar, which had mostly been unheard on his recordings of the 1960s (and completely missing from Electric Mud). And on the tracks where he does play lead, they're first-rate representations of his talent as it stood at the tail end of the 1960s, powerful and bold, like a king (or maybe even a god) surveying a blues landscape he had shaped, and ranging across it freely...

In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the electric rock guitar more than anyone before or since. Hendrix was a master at coaxing all manner of unforeseen sonics from his instrument, often with innovative amplification experiments that produced astral-quality feedback and roaring distortion.

Jimi Hendrix 

The Jimi Hendrix Experience

In From the Storm (Jimi Hendrix)

Hear My Train A-Comin' (Jimi Hendrix)

Ezy Ryder  (Jimi Hendrix)

Red House  (Jimi Hendrix)

from Live in Maui 1970 

...However, they were seasoned pros, and Live in Maui presents in full the two sets they played before the cameras on July 30, 1970. These recordings document Hendrix and his accompanists -- bassist Billy Cox and drummer Mitch Mitchell -- as a well-oiled machine that delivered this material with a confidence and strength that also gave them room to stretch out without losing the plot. Hendrix delivers the guitar pyrotechnics that were his trademark, demonstrating his skills with a clear focus while using the swoops and cries of his Stratocaster to explore the outer limits of his songs. ..

Blending rock, blues, country, and jazz, the godfathers of Southern rock in all its wild, woolly glory.

The Allman Brothers Band 

Statesboro Blues (Blind Willie McTell)

Don’t Keep Me Wonderin’ (Gregg Allman)

Stormy Monday (T-Bone Walker)

from  Fillmore West '71

Graham's left coast venue, the Fillmore West, in San Francisco in January of 1971. They were slotted between openers the Trinidad Tripoli Steel Band and Hot Tuna. These three shows are presented in their entirety in a four-disc set. Sourced from original two-track, reel-to-reel soundboard masters, they were held in ABB crew members Twiggs Lyndon's, Joe Dan Petty's, and Mike Callahan's closets for nearly five decades. They were then acquired by archivist Kirk West, who set the painstaking restoration process in motion... A revelation of these recordings is what they say about the Allmans' development and how much more polished they were just six weeks later, which doesn't diminish the earlier dates one iota: These performances are absolutely electrifying. They are wooly and intensely exploratory.

Influential Irish guitarist who played an earthy, stripped-down brand of blues-rock that touched everyone who heard it.

Rory Gallagher 

Used to Be (Rory Gallagher)

Whole Lot of People (Rory Gallagher)

There's a Light (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.

Koko Taylor 

I'm a Little Mixed Up(Criss Johnson)

What Kind of Man Is This? (Koko Taylor)

Twenty-Nine Ways to My Baby's Door (Willie Dixon)

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.

One of rock's prime guitarists due to his uncanny ability to channel the blues-psych, Fender Strat-fueled playing style of Jimi Hendrix.

Robin Trower 

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.

Swaggering Chicago blues harmonica player, a solo star who also worked frequently with Buddy Guy.

Junior Wells 

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."

23-06-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1961-1966

23-06-2020  FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1961-1966  >>Fats Domino, John Lee Hooker, The Tornadoes, THE BEATLES, Dick Dale and His Del-Tones, THE BEATLES, Muddy Waters, The Who, The Paul Butterfield Blues Band, Love<<

  M U S I C

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

1961-1966

A giant figure of R&B and rock & roll, the New Orleans singer and pianist contributed scores of beloved classics to pop history. 

Fats Domino 

I Hear You Knocking (Bartholomew, Domino, King) 1:57

I Miss You So (Scott, Henderson, Robin) 2:19

Ain't That Just Like A Woman (Demetrius, Moore) 2:42

from I Miss You So 1961

The most popular exponent of the classic New Orleans R&B sound, Fats Domino sold more records than any other black rock & roll star of the 1950s. His relaxed, lolling boogie-woogie piano style and easygoing, warm vocals anchored a long series of national hits from the mid-'50s to the early '60s. Through it all, his basic approach rarely changed. He may not have been one of early rock's most charismatic, innovative, or threatening figures, but he was certainly one of its most consistent.

Domino's first single, "The Fat Man" (1949), is one of the dozens of tracks that have been consistently singled out as a candidate for the first rock & roll record. As far as Fats was concerned, he was just playing what he'd already been doing in New Orleans for years, and would continue to play and sing in pretty much the same fashion even after his music was dubbed "rock & roll."...

The most elemental of the electric blues giants, one of few to both inspire and draw from rock & roll idols. He was beloved worldwide as the king of the endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves were at once both ultra-primitive and timeless. But John Lee Hooker recorded in a great many more styles than that over a career that stretched across more than half a century.

John Lee Hooker 

A New Leaf (David Arnold / John Lee Hooker) 2:30

Blues Before Sunrise (Leroy Carr / John Lee Hooker) 3:49

Let's Make It (John Lee Hooker) 2:27

from Burnin' 1962

From the vaults of Vee Jay Records comes an abundance of classic John Lee Hooker reissues, featuring original art work, running orders, and budget prices from the Collectables label. With the amount of Hooker material available on the market, some of it is of dubious quality, but you can't go wrong with these reissues. Burnin' was released in 1962 and combines 12 tracks of electric material performed by Hooker backed by a band... All of the Hooker Vee Jay reissues are recommended.

The Tornados were an English instrumental group mostly active in the 1960s.

The Tornadoes 
Telstar (Meek)
Swinging Beefeater (Meek)
Love And Fury (Duke)
from Telstar 1962
The house band for pioneering record producer Joe Meek. Their original and classic line-up comprised Alan Caddy (guitar), Clem Cattini (drums), Heinz Burt (bass), George Bellamy (rhythm guitar) and Roger LaVern (keyboards). Their instrumental material was composed and produced by Meek, and frequently had a futuristic sound which reflected Meek's interest in electronics and sound manipulation. Although their first single "Love And Fury" bombed, the follow-up "Telstar" caught the public imagination and was a number one hit in both the UK and USA (they were the first British group ever to top the US Hot Hundred).

The most popular and influential rock act of all time, a band that blazed several new trails for popular music.
The Beatles
I Saw Her Standing There  (John Lennon / Paul McCartney)
Misery  (John Lennon / Paul McCartney)
Anna (Go to Him) (Arthur Alexander)
Chains (Gerry Goffin / Carole King)
from Please Please Me 1963
Once "Please Please Me" rocketed to number one, the Beatles rushed to deliver a debut album, bashing out Please Please Me in a day. Decades after its release, the album still sounds fresh, precisely because of its intense origins. As the songs rush past, it's easy to get wrapped up in the sound of the record itself without realizing how the album effectively summarizes the band's eclectic influences. Naturally, the influences shine through their covers, all of which are unconventional and illustrate the group's superior taste... "I Saw Here Standing There" is one of their best rockers, yet it has surprising harmonies and melodic progressions... The Beatles may have played notoriously rough dives in Hamburg, but the only way you could tell that on their first album was how the constant gigging turned the group into a tight, professional band that could run through their set list at the drop of a hat with boundless energy...

27-05-2020 > BLUES:MiX # 33 blues(y) songs from the BLUES circle 1983-1971

i'LL PLAY THE BLUES FOR YOU > BLUES:MiX # 33 blues(y) songs from the BLUES circle 1983-1971 # Albert King, Jessie Mae Hemphill, Muddy Waters, J.J. Cale, Albert King, John Lee Hooker, Houston Stackhouse, Hound Dog Taylor, Elvin Bishop, Free, Long John Baldry, Ten Years After

B L U E S    M U S I C

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1983-1971

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.

Albert King 

I'll Play the Blues for You, Pts. 1-2 (Jerry Beach) 7:18

Can't You See What You're Doing to Me 4:17

from Stax Profiles Rec. 1968-1983

As part of the Stax Profiles series, blues guitarist Albert King is spotlighted with material recorded in the late '60s and early '70s for the Memphis-based label. Since this midline compilation only contains 11 cuts, it's easy to dwell on what was left off...  Without a doubt, the main jewel of this set is the previously unreleased version of "Born Under a Bad Sign" recorded on December 6, 1983, and featuring King disciple and then up-and-coming guitar legend Stevie Ray Vaughan. For whatever reason, this version was left off the King/Vaughan collaboration In Session.

Mississippi blueswoman Jesse Mae Hemphill specialized in a folk-derived non-commercial blues indigenous to her region. A Mississippi singer/guitarist, Jessie Mae Hemphill weaves strong Delta traditions into her idiosyncratic style. Hemphill comes from a musical background -- reportedly, her grandfather was recorded in the fields by Alan Lomax in the '40s. Jessie Mae learned how to play guitar as a child by watching her relatives perform. Throughout the '60s and '70s, she sang with various Mississippi bar bands. In the early '80s, she decided to pursue a solo career.

Jessie Mae Hemphill 

She-Wolf (Jessie Mae Hemphill) 4:41

Jump, Baby, Jump (Jessie Mae Hemphill) 3:23

Black Cat Bone (Jessie Mae Hemphill) 4:57

Boogie 'Side the Road (Jessie Mae Hemphill) 3:47

from She-Wolf 1981

This compact disc reissue gathers up all the original tracks from Jessie Mae's 1980 debut album for the French Vogue label along with four remixed bonus tracks, all seeing their first domestic release. Recorded by folklorist Dr. David Evans (who also contributes second guitar on 13 of the 15 tracks here) in various locales around Memphis and Mississippi, the music stays down-home and primal throughout. There's a strong sense of rhythm that permeates this record, whether it comes from the fife and drum-derived percussion work of Calvin Jackson and Joe Hicks or simply Jessie Mae's own foot-operated tambourine driving the beat home... The blues, real and raw.