Archive for the BLUES Category

Willie DIXON and Memphis SLIM – Willie´s Blues 1959

Posted in BLUES, Willie DIXON on December 26, 2010 by whoisthemonk

Willie DIXON and Memphis SLIM – Willie´s Blues 1959
1992 Issue.


These tunes were recorded in a New Jersey studio, when Willie and Memphis Slim were on a brief “lay-over” in New York between gigs. It only took a few hours to finish, the entire set was completely unrehearsed, they called in three session musicians, tuned-up, and the result was this wonderful 12 song recording of Chicago Blues done with an “After Hours” feel. Nervous is an enjoyable slow romp and Willie stammers and stutters like an anxious suitor would. Good Understanding in bit more up-tempo and features some excellent New Orleans style “walkin’ piano” by Memphis Slim. That’s My Baby is a straight ahead, easy going, number which features some good guitar work, but it’s Willie’s vocals which stand out. Slim’s Thing is the first of the two songs which were not penned by Dixon, and it is REALLY Slim’s Thing. It’s an up-tempo instrumental featuring Slim’s deft piano playing, all of the musicians get a chance to show their stuff, but Willie’s thumping and finger slapping bass is especially rewarding. That’s All I Want Baby is another slow tempo, no nonsense blues tune done well. Don’t You Tell Nobody has a quick tempo and Willie’s “Blues Shouting” style is the highlight on this song. Youth To You is the “stand out” cut on the first side of this recording, and although most people probably wouldn’t recognize this song by this title, well, that’s because it has been done so many times as I Just Want To Make Love To You by such artists as Foghat, etc. Hey, this is just one of WILLIE’S classic tunes, and he KNOWS how to do HIS OWN material!
Sittin’ And Cryin’ The Blues is a slow and soulful ballad with Willie lamenting, while the session sax player plays off of his vocals with some haunting jazzy-bluesy riffs. Built For Comfort is Willie’s “signiture tune,” it’s played without any excess, and then it’s over. Oh, it’ll leave a smile on your face! I Got A Razor is a slow and reflective narrative, and Willie just talks his way through the entire song. Before RAP, this is how talented Black Musicians(as well as talented musicians of other races) “expressed themselves,” and personally I find it much more effective! Go Easy is the second Memphis Slim tune. It’s another instrumental which has a nice, easy flow and features more of Slim’s accomplished “walkin’ piano,” along with some of Willie’s great “gut bucket” bass playing. Move Me is a variation of the Broonzy classic “Rock Me Baby,” and Willie turns this into a throbbing and raunchy affair, which has almost a “smokey strip club” type of aura about it. This is one of those records that they don’t make any longer, and it’s truly a shame that people don’t!

I’d like to say a few things about Willie Dixon. Of anybody, and I mean ANYBODY, in ANY field, I’ve never run across a person who was more real than Willie was! I went to see him in a small club around 1983, and although I virtually never ask for somebody’s autograph, well, I figured that I’d get a chance to speak with him briefly, so I took this LP with me to the show. It was about 100 degrees, his band’s bus was delayed, so he limped up to the stage with a cane in a very slow manner. Then he started talking to the audience about a foundation for all of the Blues artists who were shamelessly ripped off, and not only was his talk both insightful and informative, but that petition of his was signed by VIRTUALLY EVERY seminal musician. After he was done speaking I walked out into the hallway and said, “Mr. Dixon, would you please sign this for me?” It was funny, because he saw that I had an “official” LP of his, but he just kept on staring at me for a minute or two, then he shook his head, signed the LP, and walked away to get ready for the show. When the show started he limped up to the stage again, but when the music started, he tossed the cane down, and delivered the most INSPIRATIONAL live performance that I’ve ever seen, however, throughout the entire show he’d look over at me now and then to see how I was reacting to the performance? I’d say he knew that I KNEW music, and that I also UNDERSTOOD what he was about? As the show went along, virtually everybody in the audience had moved up to the stage, and they were TOTALLY transfixed by Willie’s persona and performance, however, I kept sitting in a small alcove nearby, but he kept looking at me and by now whenever he did, then he seemed to smile and nod as if he knew that he had gotten his message through to me? Yeah, Willie, I’ve always tried to give credit when credit was due, and I will ALWAYS have this record with: From Willie Dixon on the back of it; it might of said a bit more, but Willie was SO REAL, that I FORGOT to tell him WHAT MY NAME was? Actually, I’m glad that I forgot, because it means so much more to ONLY have “From Willie Dixon” without my name getting in the way! Nobody got in Willie’s way; and even Led Zeppelin ended up paying Willie for some tunes of his that they BORROWED, which they hadn’t given him credit for. Hey, Peter Grant got a taste of just how REAL and POWERFUL Willie Dixon was in person, and I think it’s the ONLY time that he and Zeppelin didn’t speak, and quietly PAID somebody what they were owed! Oh, Willie also hooked Chuck Berry up with Chess, and did a few other “things,” too! Yeah, Willie was THAT REAL, THAT AUTHENTIC, and had THAT kind of PRESENCE, and those qualities are very hard to fake! No, you have to EARN and DESERVE things like that, and anybody who met Willie, Knew that he surely had…and THEN SOME!!!
By M.S.Ulbricht.
Willie Dixon- Bass Guitar, Vocals
Memphis Slim- Piano
Wally Richardson- Guitar
Al Ashby- Tenor Sax
Harold Ashby- Tenor Sax
Gus Johnson- Drums
01. Nervous 3:15
02. Good Understanding 2:15
03. That’s My Baby 3:23
04. Slim’s Thing 3:24
05. That’s All I Want Baby 2:16
06. Don’t You Tell Nobody 2:05
07. Youth To You 3:16
08. Sittin’ And Cryin’ The Blues 3:18
09. Built For Comfort 2:31
10. I Got A Razor 4:11
11. Go Easy 5:51
12. Move Me 3:20
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Tom WAITS – Rain Dogs 1985

Posted in BLUES, Tom WAITS on December 26, 2010 by whoisthemonk

Tom WAITS – Rain Dogs 1985
ILPS 9803


With its jarring rhythms and unusual instrumentation — marimba,
accordion, various percussion — as well as its frequently surreal
lyrics, Rain Dogs is very much a follow-up to Swordfishtrombones,
which is to say that it sounds for the most part like The Threepenny
Opera being sung by Howlin’ Wolf. The chief musical difference is the
introduction of guitarist Marc Ribot, who adds his noisy leads to the
general cacophony. But Rain Dogs is sprawling where its predecessor
had been focused Tom Waits’ lyrics here sometimes are imaginative to
the point of obscurity, seemingly chosen to fit the rhythms rather than
for sense. In the course of 19 tracks and 54 minutes, Waits sometimes
goes back to the more conventional music of his earlier records,
which seems like a retreat, though such tracks as the catchy Hang Down
Your Head, Time, and especially Downtown Train (frequently covered
and finally turned into a Top Ten hit by Rod Stewart five years later)
provide some relief as well as variety. Rain Dogs can’t surprise as
Swordfishtrombones had, and in his attempt to continue in the direction
suggested by that album, Waits occasionally borders on the chaotic
(which may only be to say that, like most of his records, this one is uneven).
But much of the music matches the earlier album, and there is so much of
it that that is enough to qualify Rain Dogs as one of Waits’ better albums.
By William Ruhlmann, AMG.
William Shimmel- Accordion (tracks: A3, A9, B1)
Robert Musso- Banjo (tracks: A7)
Tony Levine- Bass (tracks: B8)
Greg Cohen- Double Bass (tracks: A5, B3, B4) ,
Larry Taylor- Double Bass (tracks: A1, A3, A4, A6 to B2, B5 to B7) ,
Tony Garnier- Double Bass (tracks: A2)
Mickey Curry- Drums (tracks: B8) ,
Stephen Taylor Arvizu Hodges- Drums (tracks: A1 to A4, A6, B1, B2, B6, B7)
Chris Spedding- Guitar (tracks: A1) ,
G.E. Smith- Guitar (tracks: B8) ,
Keith Richards- Guitar (tracks: A6, B5, B6) ,
Marc Ribot- Guitar (tracks: A1 to A4, A7, A8, B1) ,
Robert Quine- Guitar (tracks: B6, B8)
Michael Blair- Percussion (tracks: A1 to A4, A7, A8, B1, B3 to B5, B8 to B10)
John Lurie- Alto Sax (tracks: B7)
Ralph Carney- Saxophone [Bass], Clarinet (tracks: A4, B2 to B5, B9)
Bob Funk- Trombone  (tracks: A3, A5, B1)
A1.  Singapore  2:43
A2.  Clap Hands  3:45
A3.  Cemetery Polka  1:47
A4.  Jockey Full of Bourbon  2:45
A5.  Tango Till They’re Sore  2:50
A6.  Big Black Mariah  2:43
A7.  Diamonds and Gold  2:32
A8.  Hang Down Your Head  2:30
A9.  Time  3:55
B1.  Rain Dogs  2:53
B2.  Midtown (Instrumental)   1:01
B3.  9th & Hennepin  1:57
B4.  Gun Street Girl  4:37
B5.  Union Square  2:23
B6.  Blind Love  4:19
B7.  Walking Spanish  3:05
B8.  Downtown Train  3:50
B9.  Bride of Rain Dogs (Instrumental)   1:07
B10. Anywhere I Lay My Head  2:47
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Tim LOTHAR & Peter NANDE – Two For The Road 2009

Posted in BLUES, Peter NANDE, Tim LOTHAR on December 26, 2010 by whoisthemonk

Tim LOTHAR & Peter NANDE – Two For The Road 2009


Two for the Road finds Tim Lothar and Peter Nande, two of Denmark’s finest roots music artists, traveling back in time to capture the essence of pre-WWII American acoustic country blues.
From the first notes of this outstanding country Blues album you know it’s going to be fun.
The rollicking beat and wonderfully relaxed feel of it all might make you overlook just how fine the musicianship is. But don’t.
Tim Lothar, originally a drummer, plays a style that’s pure blues yet recognizably his own: He combines fingerpicking, slide, and a drummer’s intricate sense of rhythm.
Peter Nande’s harmonica ranges from dance-quick and happy to as lonesome as a midnight train.
Lothar and Nande have each been named Danish Blues Artist of the Year, but to say that is almost to undervalue them: Who cares that they’re Danish? They should win some W.C. Handy awards: This is the best acoustic Blues album you’ll buy this year.
It’s produced by long-time American Bluesman James Harman—who, one critic has written, “is incapable of making a bad album.” His production (and guest vocals) infuse the outing with authenticity and humour.
One highlight is a cover of the Lovin’ Sam Theard tune, ‘Can’t Get That Stuff No More’ (wrongly attributed here to Tampa Red)—you just have to sing along.
The nine originals are stellar, too, from ‘Slow Train’, a jaunty toe-tapper, to ‘Rough Ride’, which Lothar’s loping drums and staccato guitar give a propulsive feel.
This album proves that Blues don’t come from place of birth: These guys get it. Beginning to end, this album is a damn good time.
By M.D. Spenser.
01. Slow Train
02. Can’t Get That Stuff No More
03. Ain’t Too Old
04. Baby Blue
05. Late Again
06. You Got To Choose
07. Done Left You
08. Rough Ride
09. Still On Hold
10. Poor Boy
11. Confessions
12. Pa-ta-nin’ Ta’ Jook-jernts
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The Siegel-Schwall Band – Sleepy Hollow 1972

Posted in BLUES, The Siegel-Schwall Band on December 26, 2010 by whoisthemonk

The Siegel-Schwall Band – Sleepy Hollow 1972


“Sleepy Hollow” was Siegel-Schwall’s second effort for their new label, “Wooden Nickel Records” Released in 1972, it broke new ground with hits “Hey Billie Jean” and “Something’s Wrong”. Check out the harp workout Corky gives to “Billie Jean”, then listen to the greased lightning fretwork Jim puts into “Something’s Wrong”….whew!! How do dey do dat?? “You Don’t Love Me Like That” is a blues boogie like you always wanted to hear, footstompin’ music and awesome slide guitar. Rollo Radford, bass player extraordinaire, gets a tune here too, with an original called “I Wanna Love Ya” and appropriately, it opens the record setting the tone for what’s to come. He has a very tuneful and powerful voice, and it’s always a treat to hear Rollo belt one out. Jim’s “Blues For A Lady” is the longest cut, and also the quietest…it’s a slow blues and tells a story of love for his then wife Cherie, in Jim’s own special way. And Jim even visits country music with his hilarious “Sick To My Stomach” in which he sings about the gastric distress he experiences whenever he thinks of his girl being with another man.
By William H. Haines.
Corky Siegel- Vocals, Harp and Piano
Jim Schwall- Guitar and Vocals
Rollow Radford- Bass and Vocals
Sheldon Ira “Shelly” Plotkin- Drums

01.I Wanna Love You 4:01
02.Somethin’s Wrong 4:12
03.Sleepy Hollow 3:33
04.Blues For A Lady 8:35


05.His Good Time Band 3:59
06.You Don’t Love Me Like That 3:31
07.Sick To My Stomach 2:23
08.Always Thinkin’ Of You Darlin’ 3:30
09.Hey Billie Jean 6:06
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James SOLBERG Band – See That My Grave Is Kept Clean 1995

Posted in BLUES, James SOLBERG on December 26, 2010 by whoisthemonk

James SOLBERG Band – See That My Grave Is Kept Clean 1995


As a former sideman for the late Luther Allison, Solberg’s strong Allison influence is evident here. However he takes things one step further in his highly emotional, rich, overtone-saturated guitar playing. This fits perfectly with the somewhat minor key oriented set on “See That My Grave Is Kept Clean”. The Hammond B-3, expertly played by H Bomb Vegas, has a dominant role in this recording; in fact this represents some of the most tasteful blues organ on recorded CD. Solberg’s vcals are good but his powerful guitar and it’s interaction with the rest of the group, especially the B-3, are what makes this CD great. Highlights include the title cut and a fabulous rendition of the classic “St. James Infirmary”. Overall a very highly listenable and enjoyable CD
By Douglas K. Hawley.
Jim Solberg’s debut album See That My Grave is Kept Clean is a storming collection of hard-driving electric blues. Before he had the chance to make this record, Solberg perfected his trade by working as a sideman. Those years slinging a guitar paid off in spades, as this record demonstrates. There’s a maturity to his style, but there’s also unbridled energy — the combination is, at times, irresistable. The songs may be a little uneven, but there’s no denying that Solberg and his crack supporting band have made See That My Grave Is Kept Clean into something to remember.
By Thom Owens, All Music Guide.
Charlie Bingham- (Guitar),
Bruce McCabe- (Piano),
James Solberg- (Guitar), (Vocals),
Mike Vlahakis- (Piano).
01. See That My Grave Is Kept Clean 5:12
02. Cry for Me Baby 3:48
03. Let’s Straighten It Out 3:41
04. Somebody Give Me a Guitar 2:27
05. Everything’s Gonna Be Alright 3:23
06. Bad Love 6:54
07. Baby, When Ya Comin’ Back 3:24
08. St. James Infirmary 8:45
09. Man of Many Words 4:11
10. Ain’t Nobody’s Business 3:42
11. Snatch It Back and Hold It 3:44
12. Jimmy’s Blues 3:49
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Jackson DELTA – Lookin' Back 1991

Posted in BLUES, Jackson DELTA on December 26, 2010 by whoisthemonk

Jackson DELTA – Lookin’ Back  1991


This independently produced CD is just great. It was recorded live and sounds more immediate and present than 98% of live records. The performances are loose, fun, and honest, with great playing all around. There is nothing precious or falsely authentic about this R&B-flavored record. The best cuts are “My Mistake” and “My Ears Keep Hearing Voices”
By Richard Meyer. AAJ.
A Profile of Jackson Delta, Jackson Delta emerged – after almost 15 years of work in coffee houses, clubs, colleges, concert halls and festivals – as a world-class acoustic roots/blues band.
The trio of Alan Black (drums, harmonica), Rick Fines (guitars) and Gary Peeples (guitars) has taken its own brand of basic, emotive, stripped-down music to enthusiastic audiences from the Mississippi Delta to the Mackenzie Delta.
“Jackson Delta grew out of rock n roll bands that Al and Gary and I played in. On our off nights we would get together to play acoustic blues.” – Rick Fines.
Blending the traditional sounds of the rural south with their own contemporary songwriting, this is a band with rare depth, passion, and finesse. And when the three residents of Peterborough, Ontario named their band after the Jackson Creek, which flows into Little Lake right beside the downtown Holiday Inn, they indicated that their music has a home-grown wit as well.
Jackson Delta’s first hint of a strong future was in 1988, when the trio placed third in the new talent contest for the National Blues Awards, and cut their first album in the famed Sun Studios in Memphis – in a single hour. The resulting tape, Delta Sunrise, is a collector’s item these days as only 250 copies were pressed.
The follow-up album, Acoustic Blues (nominated for Best Roots/Traditional at the 1990 Juno awards), was recorded a year later. This independently released album was just what the band needed to trigger interest among club bookers, concert promoters and festival organizers. Since then the band has hardly paused for breath.
The band’s third album,** Lookin’ Back **, continued the trio’s exploration of the blues tradition, but was markedly different in that all but two pieces were original tunes. A fourth album resulted from a live session cut with pianist Gene Taylor at the Ultrasound Showbar in Toronto in the spring of 1992. Titled I Was Just Thinking That… the record brought the band their second Juno nomination.
Jackson Delta has performed at virtually every important folk, jazz and blues festival across the country, toured with Muddy Waters veteran piano man Pinetop Perkins and performed with Colleen Peterson, Mose Scarlett, Ken Hamm and many others.
01. Lookin’ Back 4:15
02. Fool In Love 3:37
03. Goin’ Back To Memphis 3:40
04. My Mistake 3:50
05. Honey, What’s Wrong With You 4:00
06. My Ears Keep Hearing Voices 3:00
07. Little Sister’s Gonna Be Alright 2:54
08. The Feel Of Uncertainty 3:45
09. Silly Rules 2:50
10. Unpaid Bills Blues 3:15
11. I Sleep With A Ghost 5:00
12. Crazy (About You) 3:30
13. Worried Life 4:25
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Jim MORRISON – The Lost Paris Tapes 1969-1971

Posted in BLUES, Jim MORRISON on December 26, 2010 by whoisthemonk

Jim MORRISON – The Lost Paris Tapes 1969-1971
Bootleg (Soundboard)


The Lost Paris Tapes is the title given to a recorded collection of unedited poems and songs by rock musician and poet Jim Morrison of The Doors. Although Morrison intentionally made the recordings, they are considered bootlegs because they were never officially released to the public in their unedited form by Morrison or his heirs.

The title of the collection is however a misnomer, because most of the recordings were made in Los Angeles in March 1969; long before Morrison traveled to Paris (where he died under mysterious circumstances in 1971). Morrison took these Los Angeles recordings with him to Paris, where they were found among his belongings after his death.

The only recording on the collection that Morrison actually made in Paris is a segment featuring an apparently drunken Morrison playing around in a studio with two equally inebriated American street musicians. Morrison had befriended the street musicians only a short time earlier, when he found them performing Crosby, Stills, Nash, and Young tunes on a Paris sidewalk.

Doors keyboardist Ray Manzarek has referred to this recording as “drunken gibberish,” observing, “If you haven’t heard them, you’re missing nothing.”

However, once Morrison gave up trying to perform with the two street musicians, he broke into a solo performance of “Orange County Suite.” A writer for Rolling Stone magazine later called this piece “an astounding version of . . . [an] unfinished, unrealized paean to his old lady (Pamela Courson) that had been rejected from at least two Doors albums. . . . It was a drunken, and mostly ad-libbed, recording. Yet, listening carefully . . . , one hears the authentic last of Jim Morrison, two weeks before he died, as he roars spontaneous verses and imagery about his hard-hearted woman, his anguish and his obsessions, easily deploying a poetic champion’s compositional facility for the natural cadence and spontaneous rhyme.”

Morrison offhandedly labeled the resulting reel-to-reel tape of the session “Jomo and the Smoothies” (Jomo being a pseudonym for Morrison).
01. Jim Morrison Poetry Session
02. Last Recordings Session
03. Orange County Suite
04. Whiskey, Mystics and Men
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