04-07-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1983-1988 (2h 30m)

04-07-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1983-1988  >>David Bowie, The Honeydrippers, Julian Cope, Tom Waits, Robert Wyatt,Miles Davis, Sonic Youth, Sinead O'Connor, The Nits, Jimmy Page, Robert Plant<<

 M U S I C  (2h 30m)

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1983-1988

The mercurial music icon widely considered the original pop chameleon and figurehead for countless musical movements.

David Bowie 

Modern Love  (David Bowie) 4:48

Let's Dance  (David Bowie) 7:37

Cat People (Putting out Fire)  (David Bowie / Giorgio Moroder) 5:09

from Let’s Dance 1983 

After summing up his maverick tendencies on Scary Monsters, David Bowie aimed for the mainstream with Let's Dance. Hiring Chic guitarist Nile Rodgers as a co-producer, Bowie created a stylish, synthesized post-disco dance music that was equally informed by classic soul and the emerging new romantic subgenre of new wave, which was ironically heavily inspired by Bowie himself. 

Briefly active in the mid-'80s, vintage R&B-inspired supergroup featuring Robert Plant, Jimmy Page, and Jeff Beck.

The Honeydrippers 

Young Boy Blues (Doc Pomus / Phil Spector) 3:32

Rockin' at Midnight 5:59

Sea of Love (George Khoury) 3:03

from The Honeydrippers, Vol. 1 1984
...Plant always harbored deep, abiding love for early rock & roll, a fact that was often obscured by his restlessness, too, a side that he indulged on his first two post-Zep solo albums -- glistening, modern albums with a heavier debt to Robert Fripp than Little Richard. Two albums in, he switched tactics for the EP detour The Honeydrippers, Vol. 1, an unabashedly retro-rock project that hauled out five golden oldies from the pre-Beatles era and served them up authentically, or at least as authentic nostalgia... Some may find this kind of pastiche a bit distancing, even campy, but there's a genuine warmth in Plant's performance, and his ad-hoc group of Honeydrippers -- including Jeff Beck and Jimmy Page in uncredited cameos -- have a great time running through these handful of oldies, particularly "Rockin' at Midnight."...

Enigmatic, prolific singer/songwriter and author known for his genre-defying work and contrary personality.

Julian Cope 

Reynard the Fox (Julian Cope) 6:16

O King of Chaos (Julian Cope) 2:36

from Fried 1984

In contrast to the crisp, clean sound of World, Fried often sounds rougher, a bit more shut in. Combine that with Cope's generally successful attempts to project an image of barely stable sanity, helped in large part by the notorious wearing-nothing-but-a-turtle-shell cover photos, and the idea of Fried as his album of crazed musical collapse understandably is a strong one. However, World producer Steve Lovell once again handles things here, along with playing guitar, while even more importantly, key Cope collaborator Donald Ross Skinner, a young musician from Cope's hometown, makes his debut. Kate St. John again contributes cor anglais throughout, adding a haunting atmosphere on many cuts. If anything, the album shows that Cope may be completely musical tripping out as he chooses but he knows exactly what he's doing throughout...

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). ..

The Blues Band 

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...

Led Zeppelin 

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.

Tom Waits 

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.

11-03-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1972-1983

11-03-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1972-1983 # Rory Gallagher, Koko Taylor,Robin Trower, Junior Wells, The Numbers Band, Otis Rush,Albert King, Peter Green, The Blues Band, Brian Auger, Pete York, Chris Farlowe,Led Zeppelin,Tom Waits

B L U E S    M U S I C

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1972-1983

 

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

Rory Gallagher 

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.

Koko Taylor 

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.

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.

18-02-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1976-1980 (2h 30m)

18-02-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1976-1980  >>Tom Waits, Pat Metheny, Talking Heads, The Clash, Iggy Pop, Brian Eno, Talking Heads, David Bowie, The Police, Embryo, Alvin Lee, Jean-Luc Ponty<<

 M U S I C  (2h 30m)

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1976-1980

A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed.

Tom Waits 

Step Right Up (Tom Waits)

Invitation to the Blues  (Tom Waits)

from Small Change 1976

The fourth release in Tom Waits' series of skid row travelogues, Small Change proves to be the archetypal album of his '70s work. A jazz trio comprising tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, plus an occasional string section, back Waits and his piano on songs steeped in whiskey and atmosphere in which he alternately sings in his broken-beaned drunk's voice (now deeper and overtly influenced by Louis Armstrong) and recites jazzy poetry. It's as if Waits were determined to combine the Humphrey Bogart and Dooley Wilson characters from Casablanca with a dash of On the Road's Dean Moriarty to illuminate a dark world of bars and all-night diners...  If you like it, you also will like the ones before and after; otherwise, you're not Tom Waits' kind of listener.

Guitar virtuoso whose accessible, original style and extraordinary sense of technique bridged the gap between jazz and rock.

Pat Metheny 

Bright Size Life (Pat Metheny)

Missouri Uncompromised (Pat Metheny)

from Bright Size Life 1976

Pat Metheny's debut studio album is a good one, a trio date that finds him already laying down the distinctively cottony, slightly withdrawn tone and asymmetrical phrasing that would serve him well through most of the swerves in direction ahead. His original material, all of it lovely, bears the bracing air of his Midwestern upbringing... Besides being Metheny's debut, this LP also features one of the earliest recordings of Jaco Pastorius, a fully formed, well-matched contrapuntal force on electric bass, though content to leave the spotlight mostly to Metheny. Bob Moses, who like Metheny played in the Gary Burton Quintet at the time, is the drummer, and he can mix it up, too.

One of the most acclaimed bands of the post-punk era, a vision of innovative art-pop featuring David Byrne's manic yelp over tight R&B grooves.

Talking Heads 

New Feeling (David Byrne)

Tentative Decisions (David Byrne)

Psycho Killer  (David Byrne / Chris Frantz / Tina Weymouth)

from Talking Heads: 77 1977 

Though they were the most highly touted new wave band to emerge from the CBGB's scene in New York, it was not clear at first whether Talking Heads' Lower East Side art rock approach could make the subway ride to the midtown pop mainstream successfully. The leadoff track of the debut album, Talking Heads: 77, "Uh-Oh, Love Comes to Town," was a pop song that emphasized the group's unlikely roots in late-'60s bubblegum, Motown, and Caribbean music. But the "Uh-Oh" gave away the group's game early, with its nervous, disconnected lyrics and David Byrne's strained voice. All pretenses of normality were abandoned by the second track, as Talking Heads finally started to sound on record the way they did downtown: the staggered rhythms and sudden tempo changes, the odd guitar tunings and rhythmic, single-note patterns, the non-rhyming, non-linear lyrics that came across like odd remarks overheard from a psychiatrist's couch, and that voice, singing above its normal range, its falsetto leaps and strangled cries resembling a madman trying desperately to sound normal...

17-12-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1972-1977

17-12-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1972-1977  >>Chick Corea, King Crimson, Mahavishnu Orchestra, Gentle Giant, Mikael Ramel, Grateful Dead, Neil Young, Tom Waits, Pat Metheny, Talking Heads, The Clash<<

  M U S I C

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1972-1977

Talented pianist who has a wide palate of influences but was highly important in early fusion and jazz-rock. A masterful jazz pianist, Chick Corea is a celebrated performer whose influential albums have found him exploring harmonically adventurous post-bop, electric fusion, Latin traditions, and classical.

Chick Corea 

Return to Forever (Chick Corea)

What Game Shall We Play Today? (Chick Corea / Neville Potter)

from Return to Forever 1972

The legendary first lineup of Chick Corea's fusion band Return to Forever debuted on this classic album (titled after the group but credited to Corea), featuring Joe Farrell on soprano sax and flute, the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira, and electric bass whiz Stanley Clarke. It wasn't actually released in the U.S. until 1975, which was why the group's second album, Light as a Feather, initially made the Return to Forever name. Nonetheless, Return to Forever is every bit as classic, using a similar blend of spacy electric-piano fusion and Brazilian and Latin rhythms. It's all very warm, light, and airy, like a soft breeze on a tropical beach...

Arguably the definitive exponents of British progressive rock, spurred on by Robert Fripp's innovative guitar work. If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but made their albums among the most enduring and respectable of the prog rock era.

King Crimson 

Larks' Tongues in Aspic, Pt. 1 (Bill Bruford / David Cross / Robert Fripp / Jamie Muir / John Wetton)

Book of Saturday (Robert Fripp / Richard Palmer-James / John Wetton)

Exiles (David Cross / Robert Fripp / Richard Palmer-James)

from Larks' Tongues In Aspic 1973

King Crimson reborn yet again -- the then-newly configured band makes its debut with a violin (courtesy of David Cross) sharing center stage with Robert Fripp's guitars and his Mellotron, which is pushed into the background. The music is the most experimental of Fripp's career up to this time -- though some of it actually dated (in embryonic form) back to the tail-end of the Boz Burrell-Ian Wallace-Mel Collins lineup. And John Wetton was the group's strongest singer/bassist since Greg Lake's departure three years earlier. What's more, this lineup quickly established itself as a powerful performing unit, working in a more purely experimental, less jazz-oriented vein than its immediate predecessor. "Outer Limits music" was how one reviewer referred to it, mixing Cross' demonic fiddling with shrieking electronics, Bill Bruford's astounding dexterity at the drum kit, Jamie Muir's melodic and usually understated percussion, Wetton's thundering yet melodic bass, and Fripp's guitar, which generated sounds ranging from traditional classical and soft pop-jazz licks to hair-curling electric flourishes.

Led by guitarist John McLaughlin, a band whose sophisticated improvisations and high-powered music helped pioneer the jazz-rock fusion of the '70s. One of the premiere fusion groups, the Mahavishnu Orchestra were considered by most observers during their prime to be a rock band, but their sophisticated improvisations actually put their high-powered music between rock and jazz. Founder and leader John McLaughlin had recently played with Miles Davis and Tony Williams' Lifetime. 

Mahavishnu Orchestra 

Birds of Fire (John McLaughlin)

Miles Beyond (John McLaughlin)

from Birds Of Fire 1973

Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second -- and, no thanks to internal feuding, last -- studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading -- with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass -- can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury...

Acclaimed British progressive rock band noted for their meld of hard rock with classical music and medieval approach to singing. Formed at the dawn of the progressive rock era in 1969, Gentle Giant seemed poised for a time in the mid-'70s to break out of its cult-band status... Somewhat closer in spirit to Yes and King Crimson than to Emerson, Lake & Palmer or the Nice, their unique sound melded hard rock and classical music, with an almost medieval approach to singing.

Gentle Giant 

Playing the Game (Kerry Minnear / Derek Shulman / Ray Shulman)

Cogs in Cogs (Kerry Minnear / Derek Shulman / Ray Shulman)

No God's a Man (Kerry Minnear / Derek Shulman / Ray Shulman)

from The Power And The Glory 1974

...When asked where he thinks ‘The Power and the Glory’ sits in the catalog of 11 albums Gentle Giant released in their 10-year existence, Derek pets his beard with the back of his hand, gazes out a second and says, "I think it’s part of the culmination of what Gentle Giant had become. A band has to go through the same processes as a person. A band is born, has a childhood and then goes into adulthood. I think we became an adult on ‘The Power and the Glory’. It was Gentle Giant becoming adults and the culmination of the best of our musicianship coming together as a band; it was a golden period for the band. Not to say any period before or after was better or worse, but it was a good period in being creative musically while gaining fan acceptance."...

09-02-2020 > BLUES:MiX # 33 blues(y) songs from the BLUES circle 2005-1994

Shemekia Copeland

09-02-2020 > BLUES:MiX # 33 blues(y) songs from the BLUES circle 2005-1994 # Shemekia Copeland, Detroit Jr., Robert Belfour, Tom Waits, John Hammond, Alvin Youngblood Hart, B.B. King, Colin James, Taj Mahal, Joanna Connor, The Jeff Healey Band, Chris Duarte Group

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2005-1994

A powerful blues singer and daughter of blues guitarist Johnny Copeland whose award-winning recordings run the gamut from electric blues to soul and Americana.

Shemekia Copeland 

Breakin' Out 3:33

Poor, Poor Excuse 3:02

from The Soul Truth 2005

Shemekia Copeland can sing the heck out of the blues, but she isn't necessarily a blues singer, and on The Soul Truth she makes what would seem like a sure-fire move into Memphis soul territory, even working with Stax great Steve Cropper, who produced the album and adds his trademark guitar economics to most of the tracks...

Emery Williams Jr. is a living link to the great Chicago blues piano players of the 1940s and 1950s. Born on October 26, 1931, in Haynes, AR, Williams was given the name Detroit Junior when be began recording on his own in the 1960s...

Detroit Jr. 

Rockin' After Midnight (Lowell Fulson) 3:34

Blues on the Internet (Emery Williams, Jr.) 6:53

from Blues On The Internet 2004

Veteran blues pianist (and longtime Howlin' Wolf sideman) Emery Williams Jr. -- known professionally as Detroit Junior -- has had a renaissance of sorts in the past decade, releasing three albums on Blue Suit Records, and now this one, Blues on the Internet, on Delmark Records. Williams is a throwback to the classic Chicago blues piano style, and his warm, expressive vocals fall somewhere between a hoarse Ray Charles and a latter-day Bob Dylan, while his songwriting, although hardly innovative, is solid and workmanlike, avoiding most of the obvious blues clichés. His intent isn't to move blues into the 21st century so much as preserve the way it was played in Chicago in the 1950s (where Williams played alongside the likes of Jimmy Reed, Eddie Boyd, Eddie Taylor, and Little Mack Simmons)...  Fans of vintage Chicago blues piano will find this collection a delight...

Robert 'Wolfman' Belfour is a little-known but very powerful blues guitarist and singer based in Memphis, Tennessee. Born to sharecropper parents on a farm in Holly Springs, Mississippi, he began playing guitar in the late '40s after the death of his father who left the instrument to him. He learned by emulating the sounds of such greats as John Lee Hooker, Muddy Waters, and his idol, Howlin Wolf, as they were being broadcast on his mother's battery-operated radio. He was also influenced to some extent by his neighbor, Junior Kimbrough. Belfour's style is deeply-rooted in the sounds of his North Mississippi birthplace. It is a highly rhythmic and riff-oriented type of playing that can also be heard in the work of other players from the region, like Jessie Mae Hemphill, R.L. Burnside, and the late Fred Mcdowell.

Robert Belfour 

Crazy Ways (Robert Belfour) 4:17

Breaking My Heart (Robert Belfour) 5:01

from Pushin' My Luck 2003

Robert Belfour's sophomore effort for Fat Possum -- at 63, he is one of the youngest artists on the roster and is by far the most "polished," if the Delta blues can ever really be called that -- proves his debut was indeed only a beginning. In stark contrast to his labelmates, Belfour strictly plays acoustic blues, but he plays them with the same dark, trancelike feel of Junior Kimbrough, haunting spookiness of Fred McDowell, rhythmic intensity of John Lee Hooker, and sprawling drawl of Lightnin' Hopkins. Ted Gainey aids Belfour on a drum kit. While the first album was all of a piece, and everything but the vocal seemed to be recorded at the same level (and even then, Belfour couldn't always be understood among the ringing guitars and shuffling drums), Pushin' My Luck is nervier, a bit more edgy. Belfour's truly nearly unbelievable singing is a bit more in the foreground, enough to add to the hypnotic repetition in his music, while the drums -- played no more elaborately than Meg White's in the White Stripes -- are mixed just a tad higher, bringing it extremely close to the punch this stuff has when played in front of a live audience... I hope this guy lives to be a 100 and makes a record every year he's on this planet. Forget everything you just read: This record is amazing; just buy it.