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jasapaal
 Into the Rhythm
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1981: Paul Butterfield - North South |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: Paul Butterfield Album: North South Label: Rhino Year:1981 Format, bitrate: mp3, 320 kbps CBR Time: 35:02 min Size: 79.11 Мb This is absolutely terrible! East West is one of my favorite Paul Butterfield albums (actually I like all 3 of them) and was surprised to find an album I'd never heard of. This album is a bunch of 70's disco songs with Paul Butterfield listed as doing back up vocals. Must have sold the rights to use his name. ~ Amazon.com |
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1976: Paul Butterfield Blues Band - Put It In Your Ear |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: Paul Butterfield Blues Band Album: Put It In Your Ear Label: JVC Compact Discs Year: 1976; release: 2005 Format, bitrate:mp3 320 kbps CBR Time: 35:37 min Size: 78.62 Mb The Butterfield Blues Band has been critically acclaimed as one the greatest electric blues bands ever! Lead by singer & harmonica player Paul Butterfield, their albums have stood the test of time as classics of the 60's & early 70's. Put It In Your Ear was originally issued in 1975 & features David Sanborn, Eric Gale, plus Garth Hudson & Levon Helm from The Band. ~ Wounded Bird Records. 2005. |
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1976: Santana - Amigos |
Latin, Blues-Rock |
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 Artist: Santana Album: Amigos Label: Columbia Year: 1976 Format, bitrate: Mp3, 320 Kbps Time: 41:14 Size: 102 MB AMG rating:  Это уже более блюзовый альбом, который вернул группе былые позиции. Но как по мне, тут не везде проявляется духовный феномен Сантаны и переживаемом нами диске, более проявляюся течения ужасного денежного поглотителя. By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. "Let It Shine" (number 77), an R&B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status. ~ William Ruhlmann, All Music Guide |
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1973: Paul Butterfield's Better Days - It All Comes Back |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: Paul Butterfield's Better Days Album: It All Comes Back Label: Bearsville / WEA - BR 2170 Year: 1973 Format, bitrate: mp3 320; kbps CBR Time: 39:03 min Size: 87.04 Mb This blues album from The Band collaborator Paul Butterfield and his group Better Days, with Geoff Muldaur, Ronnie Barron, Christopher Parker, Billy Rich, Amos Garrett, and Howard Johnson, has a cover of the Rick Danko/Bobby Charles composition "Small Town Talk". The song was originally written for the album Bobby Charles, and Rick Danko also used it on his 1978 solo debut Rick Danko. ~ theband.hiof.no |
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1971: The Paul Butterfield Blues Band - Sometimes I Just Feel Like Smilin' |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artist: Paul Butterfield Blues Band Album: Sometimes I Just Feel Like Smilin' Label: Elektra Asylum Year: 1971 Format, bitrate: Mp3, 320 kbps CBR Time: 00:38:59 min Size: 86.47 Mb Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ. The result was a wonderfully messy and boisterous display of American-styled blues, with intensity and pure passion derived from every bent note. In front of all these instruments is Butterfield's harmonica, beautifully dictating a mood and a genuine feel that is no longer existent, even in today's blues music. Each song captures the essence of Chicago blues in a different way, from the back-alley feel of "Born in Chicago" to the melting ease of Willie Dixon's "Mellow Down Easy" to the authentic devotion that emanates from Bishop and Butterfield's "Our Love Is Drifting." "Shake Your Money Maker," "Blues With a Feeling," and "I Got My Mojo Working" (with Lay on vocals) are all equally moving pieces performed with a raw adoration for blues music. Best of all, the music that pours from this album is unfiltered...blared, clamored, and let loose, like blues music is supposed to be released. A year later, 1966's East West carried on with the same type of brash blues sound partnered with a jazzier feel, giving greater to attention to Bishop's and Bloomfield's instrumental talents. ~ Mike DeGagne, Rovi |
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1973: Paul Butterfield's Better Days - Live At Winterland Ballroom |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artist: Paul Butterfield's Better Days Album: Live At Winterland Ballroom Label: Victor Entertainment Year: 1973 Release: 1999 Format, bitrate: Mp3, 320 kbps CBR Time: 01:02:58 min Size: 140.10 Mb Japanese edition of live album by the blues rock legends, recorded at the Winterland Ballroom in San Francisco on February 23rd, 1973. Nine tracks, including 'Country Side', 'Highway 28' & 'He's Got All The Whiskey'. Features earlier availability from Japan than the rest of the world. All tracks have been digitally remastered using 20 bit K2 technology. 1999 release. ~ Editorial Reviews, amazon.com |
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1964: The Paul Butterfield Blues Band - The Original Lost Elektra Sessions |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artist: The Paul Butterfield Blues Band Album: The Original Lost Elektra Sessions Label: Elektra/WEA Year: 1964 Release: 1995 Format, bitrate: Mp3, 320 Kbps, CBR Time: 00:58:56 min Size: 128.43 Mb AMG Rating:  All but one of these 19 tracks were recorded in December, 1964, as Paul Butterfield Blues Band's projected first LP; the results were scrapped and replaced by their official self-titled debut, cut a few months later. With both Michael Bloomfield and Elvin Bishop already in tow, these sessions rank among the earliest blues-rock ever laid down. Extremely similar in feel to the first album, it's perhaps a bit rawer in production and performance, but not appreciably worse or different than what ended up on the actual debut LP. Dedicated primarily to electric Chicago blues standards, Butterfield fans will find this well worth acquiring, as most of the selections were never officially recorded by the first lineup (although different renditions of five tracks showed up on the first album and the What's Shakin' compilation).~ Richie Unterberger, All Music Guide |
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1970: The Paul Butterfield Blues Band - Live |
Modern electric blues, Blues-Rock, Modern Electric Chicago Blues |
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 Artist: The Paul Butterfield Blues Band Album: Live Label: Wounded Bird Records Year:1970, release: 2005 Format, bitrate:mp3; 320 kbps CBR Time: 01:17:42 min Size:172.06 Mb For the Paul Butterfield Blues Band, this two-LP set proved that it all came down to Butterfield himself and his abilities as a leader in the end. For all of the adulation heaped on Mike Bloomfield, Elvin Bishop, et al., the group was ultimately an extension of Butterfield's abilities as a leader and player, and this set proved that Butterfield and the bandmembers he had assembled in 1971 had more than two LPs' worth of live playing in them that was worth releasing and worth buying. And that wasn't the half of it -- talk about ironies -- at the time the Paul Butterfield Blues Band recorded this live album, they were at their peak as a concert act; they were getting all the bookings they wanted at the best clubs in the biggest cities in the country, and a lot of other places as well, in front of enthusiastic audiences who were devouring their blues-jazz-rock-R&B hybrid sound as fast as they could pump it out on-stage. They just weren't selling many records, which was why few people ever got to hear this album. The four-man horn section and the single guitar are a long way from the band that dazzled audiences six years earlier on East-West, or at Monterey in 1967; this is big-band Chicago blues with a jazz base and a killer sound, ranging all over the musical map without peer. In the midst of all of those seemingly louder instruments blowing away, however, one can still find a great showcase for Butterfield's blues harp on numbers like Big Walter Horton's "Everything's Gonne Be Alright." The sound, recorded on then state-of-the-art equipment at the L.A. Troubadour, is excellent and the performances are as tight as anything ever delivered by the band, in many ways fulfilling the promise of the longer numbers represented on their earlier studio albums. The original double LP is still worth finding for vinyl enthusiasts. [In 2004, an expanded edition of the album was released on CD by Rhino Handmade with an additional 70 minutes of music on it.] ~ Bruce Eder, All Music Guide |
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1969: Jo-Ann Kelly - Jo-Ann Kelly |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Jo-Ann Kelly Album: Jo-Ann Kelly Year: 1969, release: 1998 Label: Beat Goes On Quality: mp3/320 kbps Size: 127 MB Time: 32:53  AMG Rating:  На диске переиздан дебютный альбом британской блюзовой певицы и гитаристки Джо-Энн Келли, выпущенный CBS в 1969 г. В него вошел акустический материал, записанный в конце 60-х гг. в британских пабах и фолк-клубах продюсером Nick Perls. Основатель лейблов Yazoo и Blue Goose Records, в 1964 г. открывший широкой публике Son House, Перлз разглядел в молодой британской девушке с внешностью школьной учительницы уникальный талант исполнения аутентичного блюза. Действительно, до появления на сцене Джо-Энн Келли общепринятым мнением было то, что белые исполнители не способны играть музыку Дельты, а если кто и мог технически исполнить ее на гитаре, то уж петь как черные исполнители точно был не в состоянии. Но после выступления Джо-Энн в 1968 г. на Мемфисском фолк-блюзовом фестивале это мнение было опровергнуто. Причем она получила поддержку и признание не только и не столько от критиков, а от действительно уважаемых людей, таких как выступавшие там Bukka White и столетний патриарх Nathan Beauregard. После этого она привлекла к себе внимание крупных звукозаписывающих компаний. Перлз предложил издать сделанные им записи фирме CBS, которая в конце 60-х гг. активно входила в соул/блюзовый сегмент рынка, ранее игнорировавшийся ею. В рамках этого направления уже были подписаны контракты с Taj Mahal и Johnny Winter, так что Джо-Энн Келли пришлась как раз вовремя.
Изданный диск включает в себя одиннадцать композиций, большая часть которых является классикой довоенного блюза и включает в себя материал таких мастеров, как Чарли Пэттон, Сон Хаус, Роберт Джонсон, Чарли МакКой, Томми МакКленнан. Два авторских трека Келли – "Look Here Partner" и "Sit Down On My Knee" – следуют блюзу Дельты и практически неотличимы от традиционных вещей. На записи Джо-Энн аккомпанирует себе на слайд-гитаре без участия других музыкантов. В соответствии с практикой исполнения фолк-блюза, гитара является здесь не доминирующим инструментом, как в блюз-роке, а "вторым голосом" исполнителя, обеспечивая тесную взаимосвязь и взаимозависимость между вокалом и музыкой. Критики называли ее наследницей великой Бесси Смит, британским ответом Дженис Джоплин, но сама Джо-Энн не стремилась делать деньги и активно участвовать в шоу-бизнесе. Она успешно прошла прослушивание с группой Джонни Уинтера и должна была сопровождать их в американском туре. До этого у нее были сольные трехдневные гастроли по Штатам. Морально и психически вымотавшись уже за две недели выступлений, она бросила все и вылетела в Англию. На выступлениях с Уинтером и дальнейшем контракте с CBS был поставлен крест. Тем не менее, контакты с Перлзом не прервались, впоследствии он издавал ее на собственном лейбле Blue Goose, но уже с аккомпанирующей группой. ~ Сергей Исправников, Blues.ru For blues connoisseurs and fans Jo Ann Kelly was a real blue blood. She was unanimously heralded as the British "Queen of Blues", and could have worn this title with pride. But the friendly Englishwoman with her unpretentious manner never showed a trace of self importance. Big-time promotion campaigns for her own cause were not her style, either. Her modesty is probably one of the reasons why she never achieved stardom but rather earned primarily the respect of insiders. Her almost thirty-year career is only sporadically documented on records - which fails to do justice to a "queen" of her talent. When Jo Ann Kelly died on October 21, 1990 at the age of forty-six after a tragic illness the press praised her lifetime achievements and artistry in numerous obituaries, posthumous acknowledgement which should have been hers much earlier. ~ tradition-moderne.com |
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1993: Big Time Sarah And The BTS Express - Lay It On 'Em Girls |
Music » Blues » Modern electric blues |
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 Artist: Big Time Sarah And The BTS Express Album: Lay It On 'Em Girls Label: Delmark Records Year: 1993 Format: Flac Time: 51:11 Size: 321.08 MB (Full arts) AMG Rating: "Big Time" Sarah Streeter has the power, struttin' tone, and booming voice ideal for stomping, sassy numbers. This CD spotlights the band Streeter formed in 1989, the BTS Express. Her songs explore the familiar battle between the sexes, with Streeter sometimes angry, sometimes confused, and often confrontational in the "classic" blues style. She covers three numbers by Willie Dixon, as well as material from Bill Withers, George Gershwin, and Leonard Feather, and displays both a vibrant style and more versatility than might be expected.~ Ron Wynn, All Music Guide |
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2007: Alabama Slim & Little Freddie King - The Mighty Flood |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artists: Alabama Slim & Little Freddie King Album: The Mighty Flood Label: Music Maker Year: 2007 Format, bitrate: Flac Time: 47:11 Size: 221Mb When Hurricane Katrina struck, Milton “Alabama Slim” Frazier and his cousin Little Freddie King made it out of New Orleans with their lives but not much else. The story of their encounter with the storm is related in the two versions of the Mighty Flood that bookend this disc’s dozen selections and give it its name.
Slim, who takes the vocals on all but two tracks, comes by his nickname honestly- he was born and raised in Huntsville, Alabama and stands almost seven feet tall. As harrowing as his account of Katrina is, it gains power from its understated delivery (like John Lee Hooker’s Tupelo, on which it was modeled). Slim also employs the device of updating an old blues theme by transforming "Tin Pan Alley" into "Crack Alley."
The other tracks include a version of Mr. Charlie by the way of Lightnin’ Hopkins, a Going Upstairs that¹s loosely based on Howlin’ Wolf’s "No Place to Go", and "I Got The Blues", which bears a faint resemblance to Buddy Guy’s "Dam Right I’ve Got The Blues." These, and all of Slim’s other performances, owe their primary stylistic debt to Hooker and Hopkins, with King supplying most of the guitar work and Slim adding simple rhythm patterns on some cuts. The occasional assist from varying combinations of harmonica, bass, and drums is unnecessary but unobtrusive, though it helps add drive to King’s gospel piece "Lord, I’m Good For Something."
His other lead, on "I Don’t Know What To Do", is a moody number cut from much the same cloth as his cousin’s efforts. This is one of those rare albums where the listener enjoys the sensation of sitting in on a private gathering of friends playing and singing with and for one another. ~ Jim Dekoster, Living Blues |
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1985: Roy Buchanan - Live At Rockpalast |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Roy Buchanan Album: Live At Rockpalast Year: 1985; release: 2011 Label: MIG Music Quality: mp3; 320Kbps Total Time: 1:06:36 Total Size: 170.34 MB (with scans) Roy Buchanan has long been considered one of the finest, yet criminally overlooked guitarists of the blues rock genre whose lyrical leads and use of harmonics would later influence such guitar greats as Jeff Beck, his one-time student Robbie Robertson, and ZZ Top’s Billy Gibbons.
The Rolling Stones wanted him to replace Brian Jones, and Eric Clapton asked him to play the guitar for Derek & The Dominos – but he turned down both offers. He moved to Los Angeles when he was a teenager and played in the band Heartbeats with Spencer Dryden (who later became the drummer of Jefferson Airplane). After this, he went on tour with Dale Hawkins and played with Robbie Robertson (The Band) who described Buchanan as one of his main influences.
Live at Rockpalast captures a live performance recorded for the German rock series Rockpalast on February 24, 1985 in Hamburg. It is a performance that shows Buchanan’s genius on the guitar in an extremely unique way – especially with his brilliant covers by artists including Jimi Hendrix or Don Gibson. It is no secret, however, that Roy Buchanan was particularly able to present his outstanding talents during his live performances – most of which were unfortunately not recorded. ~ exystence.net |
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1965: The Paul Butterfield Blues Band - The Paul Butterfield Blues Band (1965) |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: The Paul Butterfield Blues Band Album: The Paul Butterfield Blues Band Label: Elektra Asylum Year:1965 Format, bitrate: mp3 320 kbps CBR Time: 38:00 min Size: 83,29 Mb AMG Rating:  Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ. The result was a wonderfully messy and boisterous display of American-styled blues, with intensity and pure passion derived from every bent note. In front of all these instruments is Butterfield's harmonica, beautifully dictating a mood and a genuine feel that is no longer existent, even in today's blues music. Each song captures the essence of Chicago blues in a different way, from the back-alley feel of "Born in Chicago" to the melting ease of Willie Dixon's "Mellow Down Easy" to the authentic devotion that emanates from Bishop and Butterfield's "Our Love Is Drifting." "Shake Your Money Maker," "Blues With a Feeling," and "I Got My Mojo Working" (with Lay on vocals) are all equally moving pieces performed with a raw adoration for blues music. Best of all, the music that pours from this album is unfiltered...blared, clamored, and let loose, like blues music is supposed to be released. A year later, 1966's East West carried on with the same type of brash blues sound partnered with a jazzier feel, giving greater to attention to Bishop's and Bloomfield's instrumental talents. ~ Mike DeGagne, All Music Guide |
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1965: B.B. King - Confessin' The Blues |
Music » Blues » Modern electric blues |
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 Artist: B.B. King Album: Confessin' The Blues Year: 1965 Label: ABC Music Format, bitrate: Mp3; 320Kbps Total Time: 26:33 Total Size: 65.42 MB This is the third ABC Paramount platter from B.B. King, following on the heels of the genre-defining Live at the Regal (1964). The artist's vocal delivery and signature fretwork are uniformly strong, although at times the material feels as if it isn't completely suited to the artist. While not an overt "concept" album, Confessin' the Blues (1965) consists of a dozen selections with King supported by his concurrent road band: Duke Jethro (piano), Leo Lauchie (bass), and Sonny Freeman (drums). If, as has been suggested, the idea was to groom King into being a Ray Charles protégé, these initial attempts provide varying degrees of success. During the opener -- an update of the standard "See See Rider" -- King is constricted by the compact and rigid arrangement. Conversely, "Do You Call That a Buddy" allows more of his unique intimacy to seep into the grooves. The robust horn section occasionally overpowers or -- perhaps more accurately -- interferes with what are otherwise textbook examples of King's unquestionable mastery of the assembled vintage rhythm & blues entries. One of the more glaring occurrences can be heard on the overhaul of Jay McShann's memorable title track "Confessin' the Blues." Listeners are drawn into King's understated narrative, only to then be blasted by the brass' bright and brash contributions. Thankfully, such instances are the exception and not the rule as demonstrated on the definitive renditions of "I'm Gonna Move to the Outskirts of Town," "How Long, How Long Blues," and the absolutely essential interpretations of Big Joe Turner's "Cherry Red" and "Wee Baby Blues." Confessin' the Blues wraps up with an incongruous, but nonetheless spectacularly stylish take of Percy Mayfield's "Please Send Me Someone to Love." King takes hold of a big band -- presumably recorded at an all-together different session -- with the command and authority that would be his trademark for decades to come. In that context, the tune is prophetic, as his predilection for big-band blues has certainly served King well during the ensuing decades. ~ Lindsay Planer, All Music Guide |
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1964-1967: Earl Hooker - Play your guitar Mr.Hooker! |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artist: Earl Hooker Album: Play Your Guitar Mr. Hooker! Label: Black Magic Records Year:1964-1968 ; Release:1993 Format mp3, bitrate:320kbps Time:37:25 Size: 83 MB 1964-1967 output by the guitarist that was largely done for the tiny Cuca logo of Sauk City, WI. The normally tight-lipped Hooker proves that he could sing on this romping version of "Swear to Tell the Truth," while A.C. Reed, Little Tommy, Frank Clark, and Muddy Waters, Jr. help out behind the mike elsewhere. A pair of live cuts from 1968 find Hooker stretching out in amazing fashion. ~ Bill Dahl, All Music Guide |
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1972: Climax Chicago - Rich Man |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Climax Chicago Album: Rich Man Label: C5 Records Year: 1972 AIR Release: 1990 C5 Records Reissue Format: Flac Time: 39:43 Size: 228MB Rich Man was originally released by Sire in 1972, four years before the Climax Blues Band broke through to the mainstream via their only radio hit, "Couldn't Get It Right." While this isn't the most memorable record in their discography, it is worth checking out for fans, as a lighter, pop-oriented approach is mixed with the hard blues-rock the band was known for at the time, especially on the Bo Diddley-like "Shake Your Love" and the Son House standard "Don't You Mind People Grinning in Your Face."~ Al Campbell, All Music Guide |
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1972: Jeff Beck - Jeff Beck Group |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Jeff Beck Album: Jeff Beck Group Label: Epic Year: 1972 Format, bitrate: mp3 @ 256 Kbps Time: 40:29 Size: 74 MB Continuing with the same group lineup as on Rough and Ready, Jeff Beck Group was slagged off by critics for Steve Cropper's admittedly lazy production. However, several of the songs hold up masterfully, including the skronky "Ice Cream Cakes," the superlative redo of Don Nix's "Going Down," and the beautifully sad and wistful instrumental, "Definitely Maybe." Beware of early, poor-sounding versions.~ Tom Graves, All Music Guide |
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1973: Paul Butterfield - Better Days |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artist: The Paul Butterfield Blues Band Album: Better Days Label: Bearsville Year: 1973; release: 1995 Format, bitrate: mp3 @ VBR Time: 38 min Size: 52 mb AMG rating "We're the only band around that's playing rooted American music," Better Days vocalist and former folkie Geoff Muldaur told an interviewer when this album was first released in 1973, and with perhaps just a handful of exceptions he was right. The band's mix of various styles of blues, from rural (Robert Johnson), to cosmopolitan (Percy Mayfield), along with hints of New Orleans R&B, boogie woogie, and early rock and country, was tremendously out of step with the pop trends of its time.
These days, of course, there are many bands doing more or less the same thing (although rarely as well), but the fact that these guys couldn't have cared less about appearing trendy is one of the reasons why BETTER DAYS sounds timeless. Another reason, of course, is world class musicianship; Muldaur, Paul Butterfield, and stupendously stylish guitarist Amos Garrett in particular come across as both relaxed and passionate. Despite their essentially formalistic approach to music making, they never sound academic or sterile. BETTER DAYS is one of the great lost albums of the '70s. ~ cduniverse.com |
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1972: Albert King - I'll Play The Blues For You |
Music » Blues » Modern electric blues |
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 Artist: Albert King Album: I'll Play The Blues For You Label: Stax Year: 1972; release: 1990 Format, bitrate: mp3 192 kbps CBR Total time: 41:03 min Size: 55,33 Mb It's not as if Albert King hadn't tasted success in his first decade and a half as a performer, but his late-'60s/early-'70s recordings for Stax did win him a substantially larger audience. During those years, the label began earning significant clout amongst rock fans through events like Otis Redding's appearance at the Monterey International Pop Festival and a seemingly endless string of classic singles. When King signed to the label in 1966, he was immediately paired with the Stax session team Booker T. & the MG's. The results were impressive: "Crosscut Saw," "Laundromat Blues," and the singles collection Born Under a Bad Sign were all hits. Though 1972's I'll Play the Blues for You followed a slightly different formula, the combination of King, members of the legendary Bar-Kays, the Isaac Hayes Movement, and the sparkling Memphis Horns was hardly a risky endeavor. The result was a trim, funk-infused blues sound that provided ample space for King's oft-imitated guitar playing. King has always been more impressive as a soloist than a singer, and some of his vocal performances on I'll Play the Blues for You lack the intensity one might hope for. As usual, he more than compensates with a series of exquisite six-string workouts. The title track and "Breaking Up Somebody's Home" both stretch past seven minutes, while "I'll Be Doggone" and "Don't Burn Down the Bridge" (where King coaxes a crowd to "take it to the bridge," James Brown-style) break the five-minute barrier. Riding strutting lines by bassist James Alexander, King runs the gamut from tough, muscular playing to impassioned cries on his instrument, making I'll Play the Blues for You one of a handful of his great Stax sets. ~ Nathan Bush, All Music Guide |
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1991: Danny Gatton - 88 Elmira St. |
Contemporary Jazz, Blues-Rock |
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 Artist: Danny Gatton Album: 88 Elmira Street Label: Elektra / Wea Year: 1991 Format: FLAC Time: 51.15 Size: 343 MB AMG Rating: After years of knocking around the Washington, D.C.-area circuit, local guitar legend Danny Gatton finally got to cut his first album for a major label. It was indeed worth the wait, spot-welding blinding speed and immaculate chops that went in a million different directions (jazz, country, rockabilly, blues, you name it) to a musical sensibility that made this all-instrumental album a whole lot more than just yer average fretboard wanking jam-fest. Gatton's Telecaster really shines on diverse material ranging from Martin Denny's "Quiet Village" to the roadhouse shuffle "Funky Mama" to the off-the-wall rendition of the theme to The Simpsons. Kudos to Elektra for having the corporate balls to put this out; short, chunky, and middle-aged, Danny Gatton was a bona fide guitar hero for the '90s, putting the lie to the hard canard that only speedburner metal mega-hair dudes can make the front covers of the guitar mags.~ Cub Koda, All Music Guide |
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