Live from 1974 Montreaux jazz festival Buddy Guy and Junior Wells play with Pinetop Perkins and Bill Wyman. Sound quality is excellent, set selection is a nice combination of slow and fast tunes and Buddy and Junior do a nice job sharing the lime light. Buddy does a nice job of tone it down for Junior while still providing plenty of heat. Great rap with the crowd as well. If you get a chance to see Buddy live, please make the effort to see one of the last great blues men. This is a great CD for people who love live blues.
A young, red-haired guitarist with a monster tone and technique that belies his relatively young years, Rusty Zinn grew up in the Santa Cruz mountains in northern California. He was introduced to classic R&B through his mother’s collection of 45 singles, which included rare discs from Fats Domino and Elvis Presley. While in his teens, his brother brought home recordings by Muddy Waters and Howlin’ Wolf, and these proved to be a revelation for the young blues aficionado. He would empty his pockets regularly to purchase blues recordings and became fascinated by the guitar stylings of Robert Jr. Lockwood, Eddie Taylor, Luther Tucker, and Jimmy Rogers. These records prompted him to begin playing guitar at 17. He had some background in music, having played drums when he was younger, but he enjoyed another crystallizing moment when he saw Luther Tucker perform with Jimmy Rogers at a local club. He credits the nightclub showcase with changing his life, and he sought out all the recordings he could find with Luther Tucker as a sideman, which included records by Little Walter Jacobs, Muddy Waters, Sonny Boy Williamson, and James Cotton. A year later, when Zinn again went to see his idol, Tucker invited him on-stage. Tucker took the young Zinn under his wing and shared guitar techniques with him. Meanwhile, Zinn was working with several northern California blues bands in the late ’80s, and he was often tapped to back touring musicians like Snooky Pryor and Rogers.
You Ought to Know About Don Covay, but If You Don’t How About this for Starters. He Wrote Chain of Fools (Aretha Franklin), Sookie Sookie (Steppenwolf), Mercy Mercy (Rolling Stones) as Well as the Classics See Saw, Three Time Loser, Pony Time, Long Tall Shorty and Heaps More. Along with Solomon Burke, Joe Tex and Wilson Pickett was a Member of the Original Soul Clan who with Otis Redding Are Regarded as Soul Music’s Definitive Artists. This CD features his Classic Late 60’s/Early 70’s Original Recordings and Will Appeal to Anyone Interested in the History of Soul Or Listening to Great Deep Soul Music. Includes the Classics “Sweet Thing”, “Three Time Loser”, “Ain’t Nothing a Young Girl Can Do”, “Bad Luck”, “Daddy Please Don’t Go Tonight”, “Love is Sweeter on the Other Side”.
Sittin’ In With The Greats is the first authentic Chicago blues Play-along CD. It features some of Chicago’s greatest blues artists on the scene today. These include performances by Magic Slim, Willie Kent, John Primer, Little Smokey Smothers and Mike Avery. They are backed up by Chicago’s finest rhythm section players including Johnny B. Gayden, Ray “Killer” Allison, Michael Coleman, James Wheeler, Tim “Awesome” Austin and others. With 19 Vocal and Instrumental tracks, Sittin In With The Greats allows you to both accompany the artists, including solos, as well as having a straight rhythm track to solo, improvise or sing over. This is a seriously fun leaning tool to help you learn to play the blues with some of the bluesmen who helped create the music and who remain the pillars of Chicago’s blues scene today. The recording allows you to turn off the rhythm guitar or piano with the “Balance” knob on your stereo, to practice your own rhythm chops. Explanation of the aural approach, Lyrics to all songs, Musicians Bio’s and Track information are included in the 12 page booklet. Amateurs looking for a groove. professionals “shedding” on some new riffs, and even dreamers who long to perform with an all-star Chicago blues band can take the stage with this CD that not only makes for great listening but is the ultimate blues tool anywhere
New York City multi-instrumentalist Ted Horowitz flies back in the face of purists with another intriguing collection of mix-and-match street styles, once again boldly embellishing his blues with rap, hip-hop, and rock sensibilities. In his Popa Chubby performing persona, Horowitz has explored 21st century blues stylings on a succession of record labels, polarizing critical opinion while entertaining an expanding fan base. The Good, the Bad & the Chubby continues the process, as Horowitz blurs the blues lines with 13 original songs presented in a variety of original ways. Since his recording studio is near the WTC ground zero site, it’s not surprising that more than a few of the songs are streaked with 9/11 anger and angst. The opening track, a blues fusion with rap and gospel elements, is the best of such tunes, as it proclaims “Somebody Let the Devil Out” with some Dylanesque harp work layered over a churning rhythmic foundation. More traditional–although that’s a word out of place with Popa Chubby–material spans the spectrum, from the full-tilt boogie of “If the Diesel Don’t Get You Then the Jet Fuel Will” to the slow guitar showcase “I Can’t See the Light of Day.”
This CD features two Ventures albums from late 1965/early 1966.
The Ventures a Go-Go was the Ventures 20th album. It was released to capitalize on the popularity of go-go dancing. It features seven cover versions of recent hits, and five original tunes. The album has a lot of organ on it. I was surprised that the vocal lines in “Satisfaction” were played by an organ, instead of a guitar like they normally do when they cover a song with lyrics. Out of the original tunes, the great “The Swingin’ Creeper” is a favorite among Ventures fans, although “A Go-Go Dancer” is pretty terrific, too. The rest of the album is also solid.