Eddie Boyd (feat. Peter Green) – Eddie Boyd And His Blues Band (1967)

LPFrontCover1Edward Riley Boyd (November 25, 1914 – July 13, 1994) was an American blues pianist, singer and songwriter, best known for his recordings in the early 1950s, including the number one R&B chart hit “Five Long Years”.

Boyd was born either on Stovall’s Plantation, near Clarksdale, Mississippi, or on Frank Moore’s Plantation, near Stovall, Mississippi. He learned to play the guitar and the piano. His piano playing was influenced by the styles of Roosevelt Sykes and Leroy Carr.

Boyd moved to the Beale Street district of Memphis, Tennessee, in 1936, where he played Eddie Boyd02with his group, the Dixie Rhythm Boys. He then joined the Great Migration of African Americans north to the factories of Chicago in 1941. He recorded for Bluebird Records, accompanying such musicians as Sonny Boy Williamson, Jazz Gillum, Muddy Waters, and Tampa Red, before making his first recordings under his own name, in 1947.

He decided to produce his own recordings, and took two demos to Joe Brown at J.O.B. Records, who agreed to re-record the tracks. In May 1952 he recorded “Five Long Years”, which became a huge hit, topping the Billboard R&B chart for seven weeks late in the year.[1] He signed with Parrot Records, which then sold his contract to Chess Records. Boyd had two further hits for Chess in 1953, “24 Hours” and “Third Degree” (co-written by Willie Dixon), both of which reached number three on the R&B chart.

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He went on to record for a series of smaller labels in the 1950s, but an automobile accident in 1957 in which he was injured put his career on hold for a while. Boyd toured Europe with Buddy Guy’s band in 1965 as part of the American Folk Blues Festival. He later toured and recorded with Fleetwood Mac and John Mayall & the Bluesbreakers.

Unhappy with the racial discrimination faced in the United States, Boyd moved to Belgium, where he recorded with the Dutch band Cuby and the Blizzards. He moved again, in 1970, to Helsinki, Finland, where he continued to perform and recorded ten blues records, the first being Praise to Helsinki (1970). He married his wife, Leila, in 1977.

Eddie Boyd04Boyd died in 1994 at the Meilahti Hospital in Helsinki. He was buried in the St. Lawrence Church’s cemetery in Vantaa. A few months later, Eric Clapton’s chart-topping blues album From the Cradle, which includes interpretations of Boyd’s “Five Long Years” and “Third Degree”, was released. (wikipedia)

And here´s a pretty good album, recored with one of the best Britih blues musicians. mot of them were members of John Mayall’s  Bluesbreakers:

Eddie keeps on rolling those barrel house blues:
This is an Eddie Boyd album featuring to a large extent the best of the British blues musicians around at the time including Peter Green. And Eddie Boyd is a pianist and so that is what we have got.

I have had the album for decades and have always liked it.

OK Boyds song writing leaves a lot to be desired and the occasional track sounds as if he is making up the lyrics as he is going on.

Eddie Boyd01

Track 1 is a great rolling piano barrel house blues nicely augmented by some great sax backing. Tracks 2 and 11 offer the listener some superb slide guitar from Tony McPhee. Track 6 is a lovely steady rolling blues piano instrumental with a rock steady backing section. Track 15 is simply a wonderful piano boogie. And occasionally we can hear some very sympathetic harmonica playing from John Mayall.

Not a “classic” but highly relevant for its historic connection and well worth having in any blues collection. (by Retroman)


Eddie Boyd (piano, vocals)
Aynsley Dunbar (drums)
Peter Green (guitar, background vocals on 16.)
John Mayall (harmonica, background vocals on 16.)
John McVie (bass)
Bob Efford (saxophone on 01.)
Albert Hall (trumpet on 01.)
Harry Klein (saxophone on 01.)
Tony McPhee (guitar on 02. +  11.)
Rex Morris (saxophone on 01.)


01.Too Bad Part 1 (Boyd) 2.46
02. Dust My Broom (James) 2.37
03. Unfair Lovers (Boyd) 3.34
04. Key To The Highway (Broonzy) 2.33
05. Vacation From The Blues (Boyd) 2.05
06. Steak House Rock (Boyd) 4.12
07. Letter Missin’ Blues (Boyd) 3.44
08. Ain’t Doin’ Too Bad (Boyd) 3.11
09. Blue Coat Man (Boyd) 2.31
10. The Train Is Coming (Boyd) 4.27
11. Save Her, Doctor (Boyd) 2.51
12. Rack ‘Em Back (Boyd) 3.30
13. Too Bad Part 2  (Boyd) 2.48
14. The Big Bell (Boyd) 4.44
15. Pinetop’s Boogie Woogie (Smith) 2.27
16. Night Time Is The Right Time (Sykes) 3.07



Eddie Boyd05

Etta James – Mystery Lady – Songs Of Billie Holiday (1994)

FrontCover1Jamesetta Hawkins (January 25, 1938 – January 20, 2012), known professionally as Etta James, was an American singer who performed in various genres, including gospel, blues, jazz, R&B, rock and roll, and soul. Starting her career in 1954, she gained fame with hits such as “The Wallflower”, “At Last”, “Tell Mama”, “Something’s Got a Hold on Me”, and “I’d Rather Go Blind”. She faced a number of personal problems, including heroin addiction, severe physical abuse, and incarceration, before making a musical comeback in the late 1980s with the album Seven Year Itch.

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James’s deep and earthy voice bridged the gap between rhythm and blues and rock and roll. She won six Grammy Awards and 17 Blues Music Awards. She was inducted into the Rock and Roll Hall of Fame in 1993, the Grammy Hall of Fame in 1999, and the Blues Hall of Fame in 2001.[3] She also received a Grammy lifetime achievement award in 2003.[4] Rolling Stone magazine ranked James number 22 on its list of the 100 Greatest Singers of All Time; she was also ranked number 62 on Rolling Stone’s list of the 100 Greatest Artists of All Time.[5][6] Billboard’s 2015 list of “The 35 Greatest R&B Artists Of All Time” also included James, whose “gutsy, take-no-prisoner vocals colorfully interpreted everything from blues and R&B/soul to rock n’roll, jazz and gospel.”

The Rock and Roll Hall of Fame called hers “one of the greatest voices of her century” and says she is “forever the matriarch of blues.”

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James was hospitalized in January 2010 to treat an infection caused by MRSA, a bacterium resistant to many antibiotics. During her hospitalization, her son Donto revealed to the public that she had been previously diagnosed with Alzheimer’s disease in 2008.

James was diagnosed with leukemia in early 2011. The illness became terminal, and her husband Artis Mills was appointed sole conservator of the James estate and to oversee her medical care. She died on January 20, 2012, five days before her 74th birthday, at Riverside Community Hospital in Riverside, California. Her death came three days after that of Johnny Otis, the man who had discovered her in the 1950s. Thirty-six days after her death, her sideman Red Holloway also died.

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Her funeral was presided over by the Reverend Al Sharpton and took place in Gardena, California eight days after her death. Stevie Wonder and Christina Aguilera gave musical tributes. She was buried at Inglewood Park Cemetery in Los Angeles County, California. (wikipedia)

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Mystery Lady: Songs of Billie Holiday is the eighteenth studio album by Etta James, released in 1994. The album reached a peak position of number two on Billboard’s Top Jazz Albums chart and won the 1995 Grammy Award for Best Jazz Vocal Album.

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The popular Etta James usually performs raunchy single-entendre blues, so this surprisingly subtle outing is a real change of pace. She sounds quite laid-back on a set of ballads associated with Billie Holiday and utilizes a jazz rhythm section led by pianist Cedar Walton plus three horn players, including the great Red Holloway on tenor and alto. James makes no attempts at exploring uptempo material or scatting, sticking to soulful interpretations of the classic ballads. Despite the lack of variety in tempos, the music is quite satisfying. (by Scott Yanow)

I would say it’s very, very good. Ms James is in great voice, the band is first class, and the production is impeccable. The concentration on slow ballads is a positive for me. It gives the album a consistent feel, and it’s a record I often play end-to-end. (Steve Ford)


Ronnie Buttacavoli (flugelhorn, trumpet)
Tony Dumas (bass)
Red Holloway (saxophone)
Etta James (vocals)
Kraig Kilby (trombone)
Ralph Penland (drums, percussion)
Josh Sklair (guitar)
Cedar Walton (piano)


01. Don’t Explain (Herzog, Jr./Holiday) 5.19
02. You’ve Changed (Carey/Fischer) 4.37
03. The Man I Love (G.Gershwin/I.Gershwin) 4.30
04. I Don’t Stand A Ghost Of A Chance (With You) (Young/Washington/Crosby) 4.19
05. Lover Man (Oh, Where Can You Be?) (Davis/Sherman/Ramirez) 5.26
06. Embraceable You (G.Gershwin/I.Gershwin) 3.58
07. How Deep Is The Ocean (Berlin) 4.20
08. (I’m Afraid) The Masquerade Is Over (Magidson/Wrubel) 5.48
09. Body And Soul (Green/Heyman/Sour/Eyton) 4.19
10. The Very Thought Of You (Noble) 4.34
11. I’ll Be Seeing You (Kahal/Fain) 4-42



More from Etta James:

Etta James04

Ry Cooder – Same (1970)

LPFrontCover1Ryland Peter “Ry” Cooder (born March 15, 1947) is an American musician, songwriter, film score composer, record producer, and writer. He is a multi-instrumentalist but is best known for his slide guitar work, his interest in traditional music, and his collaborations with traditional musicians from many countries.

Cooder’s solo work draws upon many genres. He has played with John Lee Hooker, Captain Beefheart, Taj Mahal, Gordon Lightfoot, Ali Farka Touré, Eric Clapton, The Rolling Stones, Van Morrison, Neil Young, Randy Newman, Linda Ronstadt, Vishwa Mohan Bhatt, David Lindley, The Chieftains, The Doobie Brothers, and Carla Olson and The Textones (on record and film).

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He formed the band Little Village, and produced the album Buena Vista Social Club (1997), which became a worldwide hit; Wim Wenders directed the documentary film of the same name (1999), which was nominated for an Academy Award in 2000.

Cooder was ranked at No. 8 on Rolling Stone magazine’s 2003 list of “The 100 Greatest Guitarists of All Time”, while a 2010 list by Gibson Guitar Corporation placed him at No. 32 In 2011, he published a collection of short stories called Los Angeles Stories. (wikipedia)

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Ry Cooder is the debut album by roots rock musician Ry Cooder, released in 1970:

Already a seasoned music business veteran at the age of 22, Ry Cooder stepped out from behind the shadows of the likes of Jackie DeShannon, Taj Mahal, the Rolling Stones, and Captain Beefheart, signing his own deal with Warner Brothers records in 1969. Released the following year, Cooder’s eponymous debut creates an intriguing fusion of blues, folk, rock & roll, and pop, filtered through his own intricate, syncopated guitar; Van Dyke Parks and Lenny Waronker’s idiosyncratic production; and Parks and Kirby Johnson’s string arrangements. And while he’s still finding his feet as a singer, Cooder puts this unique blend across with a combination of terrific songs, virtuosic playing, and quirky, yet imaginative, arrangements. For material, Cooder, the son of folklorist parents, unearths ten gems — spanning six decades dating back to the 1920s — by legends such as Woody Guthrie, Blind Blake, Sleepy John Estes, and Leadbelly, as well as a current Randy Newman composition.

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Still, as great as his outside choices are, it’s the exuberant charm of his own instrumental “Available Space” that nearly steals the show. Its joyful interplay between Cooder’s slide, Van Dyke Parks’ music hall piano, and the street-corner drumming creates a piece that is both loose and sophisticated. If “Available Space” is the record’s most playful moment, its closer, “Dark Is the Night,” is the converse, with Cooder’s stark, acoustic slide extracting every ounce of torment from Blind Willie Johnson’s mournful masterpiece. Some of the eccentric arrangements may prove to be a bit much for both purists and pop audiences alike, but still, Cooder’s need to stretch, tempered with a reverence for the past, helps to create a completely original work that should reward adventurous listeners. (by Brett Hartenbach)


John Barbata (drums)
Max Bennett (bass)
Bobby Bruce (violin)
Ry Cooder (guitar, vocals, mandolin, bass)
Van Dyke Parks – piano
Chris Ethridge (bass)
Roy Estrada (bass)
Richie Hayward (drums)
Milt Holland (drums, percussion)
Gloria Jones & Co. (background vocals)

Ry Cooder03

01. Alimony (Jones/Young/Higginbotham) 2.56
02. France Chance (Callicott) 2.48
03. One Meat Ball (Singer/Zaret) 2.29
04. Do Re Mi (Guthrie) 3.04
05. My Old Kentucky Home (Turpentine & Dandelion Wine) (Newman) 1.48
06. How Can A Poor Man Stand Such Times And Live? (Reed) 2.47
07. Available Space (Cooder) 2.14
08. Pigmeat (Ledbetter) 3.09
09. Police Dog Blues (Blake) 2.47
10. Goin’ To Brownsville (Estes) 3.24
11. Dark Is The Night (Johnson) 2.48


More from Ry Cooder:

The official website:

Black Patti – Red Tape (2017)

FrontCover1The duo of Peter Crow C. and Ferdinand “Jelly Roll” Kraemer from Munich, Germany focuses on the sound of prewar blues… either covers or originals. The name Black Patti is taken from a short lived Chicago record label from 1927 that lasted less than a year. Their intent is sincere. The instrumentation of acoustic guitars, mandolin and harmonica is great.

Both musicians sing, often in harmony, and wrote all the material themselves on this excellent release. The only other musicians involved are double bassists Ryan Donohue and Uli Lehmann who add a bottom line pulse to several songs. The material is traditional in terms of styles with ragtime and Piedmont well represented.

Black Patti01

The mandolin is not often heard in modern blues though there are exceptions such as Rich Del Grosso and specialist guitarists who play occasionally, such as Billy Flynn. As such this disc is a real change and the jingling tone of the mandolin on opener “Ask Your Mama” sounds great. The two voices combine well and there is no issue with accents as both sing well in an adopted language. Lyrically “Evil Queen Of Diamonds” harks back to earlier traditions of the good man being done down by an evil girl (and the gambling allusion does no harm either!).

Black Patti04

Peter had a hand in writing all songs bar one here, the exception being Ferdinand’s’s “Good Bye Little Baby” which borrows the riff (and some of the lyrical theme) of SBW’s “Good Morning Little Schoolgirl” with the two vocalists singing in a call and response style. The album title comes from “Red Tape Blues” which brings age-old concerns about money up to date with reference to ‘plastic card’ with a chorus that reprises the ‘Glory Hallelujah’ refrain in a deceptively jaunty presentation of some tough facts about debt.

Black Patti02

“I Shouldn’t Have Done It” is an attractive tune with another good chorus as the pair confess to a number of misdemeanors involving alcohol and an unlikely partner: “She was six feet four had no front teeth, she took off her wig and there was nothing beneath”. Peter’s harmonica is featured on the hillbilly tune “Wooten Stomp” and the fast-paced “I’ll Never Come Back Home”. “Frenchmen Street Rag” takes us on a trip to New Orleans while “A Stroll With Mr Roll” is an autobiographical piece about mandolin player Ferdinand of whom it is said (perhaps tongue in cheek) “when he is on tour he buzzes like a bumble bee”. The album closes with “Nagging Blues” that could quite easily pass as a vintage song but is another of Peter’s tunes.

Black Patti03

This is a well recorded disc that will be of definite interest to acoustic blues fans, especially those who appreciate the mandolin. (bluesblastmagazine.com)


Ferdinand „Jelly Roll“ Kraemer (mandolin, guitar, vocals)
Peter „Crow C.“ Krause (vocals, guitar, harmonica)
Ryan Donahue (bass, background vocals)
Uli Lehmann (bass bei 05.)


01. 01. Ask Your Mama (Krause/Kraemer) 3.29
02. Evil Queen Of Diamonds (Krause/Judge) 3.53
03. Good Bye Little Baby (Kramer) 3.15
04. Red Tape Blues (Krause) 3.37
05. A Little Bit Friday (Krause/Kraemer) 4.08
06. I Shouldn’t Have Done It (Krause/Judge) 3.39
07. Wooten Stomp (Krause/Kraemer) 2.48
08. Frenchmen Street Rag (Kramer) 2.36
09. That’s My Sugar (Krause) 2.01
10. I’ll Never Come Back Home (Krause/Judge) 3.01
11. A Stroll With Mr. Roll (Krause) 2.53
12. The One That Is Always True (Krause/Kraemer) 2.33
13. Nagging Blues (Krause/Judge) 2.10



Black Patti with Robert Crumb (May 2022):


Live November 2021:
Live November 2021

The official website:

B.B. King & Eric Clapton – Riding With The King (2000)

FrontCover1B.B. King & Eric Clapton: No introduction necessary !

Riding with the King is a collaborative album by B.B. King and Eric Clapton that was released in 2000. It was their first collaborative album and won the 2000 Grammy Award for Best Traditional Blues Album. The album reached number one on Billboard’s Top Blues Albums and was certified 2× Multi-Platinum in the United States. Riding with the King was also released on a DVD-Audio in higher resolution and with a 5.1 surround sound mix in 2000.

The album was generally well received by reviewers, although some felt that it could have been better, and that the sound on the CD was too polished for a blues album.

B.B.King & Eric Clapton in the Sixites:

Riding with the King was the first collaborative album by Eric Clapton and B.B. King. They performed together for the first time at Cafe Au Go Go in New York City in 1967 when Clapton was 22 and a member of Cream, but did not record together until 1997 when King collaborated with Clapton on the song “Rock Me Baby” for his duets album, Deuces Wild. Clapton looked up to King and had always wanted to make an album with him. King said they had discussed the project often, and added: “I admire the man. I think he’s No. 1 in rock ‘n’ roll as a guitarist and No. 1 as a great person.” At the time of recording Riding with the King, Clapton was 55 and King 74.

Clapton initiated the recording sessions for Riding with the King and included some of his regular session musicians on the album. He also chose the songs and co-produced the album with Simon Climie, who had previously worked on several of Clapton’s albums. While this would appear to be a Clapton album recorded with King, Clapton gave center-stage to King, who took the lead on many of the songs with his singing and his solos.


The album contains five “vintage” King songs from the 1950s and 1960s: “Ten Long Years”, “Three O’Clock Blues”, “Help the Poor”, “Days of Old” and “When My Heart Beats Like a Hammer”.[3] Other standards include the Big Bill Broonzy-penned “Key to the Highway” (which Clapton had recorded in the early 1970s with Derek and the Dominos), Chicago pianist Maceo Merriweather’s “Worried Life Blues”, a cover of Isaac Hayes’s composition “Hold On, I’m Comin'” originally a 1966 single for Sam & Dave, and “Come Rain or Come Shine” from the 1946 musical St. Louis Woman. Two of the songs, “I Wanna Be” and “Marry You”, previously appeared on guitarist Doyle Bramhall II’s 1999 solo album, Jellycream. The album’s title track, “Riding with the King”, is a John Hiatt composition that came about when producer Scott Mathews recounted to Hiatt a strange and abstract dream he had of flying on an airplane with Elvis Presley. It is also the title track of Hiatt’s 1983 album of the same name that Mathews co-produced. The balance of the tracks were written especially for the album.


The tracks are a mixture of acoustic (“Worried Life Blues”) and electric songs (“Three O’Clock Blues”), and vary from slow numbers (“Ten Long Years”) to “mid-tempo stomps” (“Help the Poor”).

Steve Futterman at Entertainment Weekly called the “father” and “son” collaboration “triumphant”.[6] Louis Gerber wrote in Cosmopolis that Riding with the King “goes directly to the heart and soul” and is a “refreshing and sensational album, the best in the popular music genre since the release of Santana’s Supernatural”.

Dave Ferman wrote in the Mobile Register that while the album was a “great idea well-executed”, it is not as good as it could have been. Ferman complained that, in his opinion, Clapton has never been a very good blues vocalist, that Joe Sample’s keyboards were far too prominent in the mix, and that the CD sounded too “squeaky-clean, … antiseptic and clinical” for a blues album.


Nicole Bode wrote in the Columbia Daily Spectator that on the album, King takes Clapton “deeper into blues territory than he has ever gone alone”.[8] She said that King’s presence draws out a “raw, growling” side of Clapton’s voice that will surprise most Clapton fans.[8] She was particularly complimentary of “Come Rain or Come Shine”, on which she said King uses “a mournful vibrato so tender it almost breaks your heart”.[8] Bode also liked the call and response guitar and vocal duet of Clapton and King on “Hold On, I’m Comin'”, although she did add that Clapton’s vocals are not of the same calibre as King’s.[8]

Riding with the King peaked at number one on the Billboard Top Blues Albums in 2000,[9] and was certified 2× Multi-Platinum in the United States. The album also won a Grammy Award for Best Traditional Blues Album in 2000.

A 20th Anniversary reissue of the album was released on June 26, 2020. The reissue will feature two previously unreleased tracks, “Rollin’ and Tumblin'”, the video of which was released on Clapton’s YouTube channel on May 21, 2020, and a cover of “Let Me Love You Baby” written by Willie Dixon. (wikipedia)


The potential for a collaboration between B.B. King and Eric Clapton is enormous, of course, and the real questions concern how it is organized and executed. This first recorded pairing between the 74-year-old King and the 55-year-old Clapton was put together in the most obvious way: Clapton arranged the session using many of his regular musicians, picked the songs, and co-produced with his partner Simon Climie. That ought to mean that King would be a virtual guest star rather than earning a co-billing, but because of Clapton’s respect for his elder, it nearly works the other way around. The set list includes lots of King specialties — “Ten Long Years,” “Three O’Clock Blues,” “Days of Old,” “When My Heart Beats Like a Hammer” — as well as standards like “Hold on I’m Coming” and “Come Rain or Come Shine,” with some specially written and appropriate recent material thrown in, so King has reason to be comfortable without being complacent.


The real danger is that Clapton will defer too much; though he can be inspired by a competing guitarist such as Duane Allman, he has sometimes tended to lean too heavily on accompanists such as Albert Lee and Mark Knopfler when working with them in concert. That danger is partially realized; as its title indicates, Riding With the King is more about King than it is about Clapton. But the two players turn out to have sufficiently complementary, if distinct, styles so that Clapton’s supportive role fills out and surrounds King’s stinging single-string playing. (It’s also worth noting that there are usually another two or three guitarists on each track.) The result is an effective, if never really stunning, work. (by William Ruhlmann)


Doyle Bramhall II (guitar, background vocals on 04. + 07.)
Tim Carmon (organ)
Eric Clapton (guitar, vocals)
Nathan East (bass)
Andy Fairweather Low (guitar)
Steve Gadd (drums)
B.B. King (guitar, vocals)
Joe Sample (piano)
Paul Waller (programming)
Jimmie Vaughan (guitar on 06.)
background vocals:
Susannah Melvoin – Wendy Melvoin
01. Riding With The King (Hiatt) 4.23
02. Ten Long Years (Taub/King) 4.40
03. Key To The Highway (Broonzy/Segar) 3.39
04. Marry You (Bramhall II/Melvoin/Ross) 4.59
05. Three O’Clock Blues (Fulson) 8.35
06. Help The Poor (Singleton) 5.06
07. I Wanna Be (Bramhall II/Sexton) 4.45
08. Worried Life Blues (Hopkins/Merriweather) 4.25
09. Days Of Old (Taub/King 3:00
10. When My Heart Beats Like A Hammer (King/Taub 7:09
11. Hold On, I’m Comin’ (Hayes/Porter) 6.19
12. Come Rain Or Come Shine (Arlen/Mercer) 4.11
13. Let Me Love You (Dixon) 5.07
14. Rollin’ And Tumblin’ (Traditional) 4.32



More from Eric Clapton:

More from B.B. King:
More BBKing

Cherie & Jim Schwall – A Wedding Present From Cherie & Jim Schwall (1973)

FrontCover1Jim Schwall (November 12, 1942 – June 19, 2022) was an American musician, singer-songwriter, and photographer. He was best known as a co-founder and member of the Siegel-Schwall Band.

Jim Schwall was born in Evanston, Illinois. A singer-songwriter, he played guitar, as well as mandolin, bass guitar, accordion, and other instruments. He studied music at Roosevelt University. There he met Corky Siegel, and became interested in electric blues music. Schwall and Siegel formed a blues duo in 1964, playing at Chicago bars and clubs. They performed regularly at Pepper’s Lounge and at Big John’s, where well known, established blues musicians such as Muddy Waters, Howlin’ Wolf, and Willie Dixon would often sit in. The duo expanded to a quartet and became the Siegel-Schwall Band. Schwall’s amplified Gibson B-25 acoustic guitar was a distinctive component of the band’s sound.

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The Siegel-Schwall Band became quite popular, and by 1967 were touring nationally, performing at large venues like the Fillmore West and sharing the bill with well-known rock bands.[9][10] Between 1966 and 1974, they released at least ten albums. They were also noted for their collaborations with Seiji Ozawa, combining blues with classical music. After 1974, they disbanded, but the band re-formed in 1987. They played occasional live dates and released two albums of new material over the following decade.

Siegel-Schwall Band (L-R: Rollo Radford, Corky, Sam Lay, Jim Schwall):
SiegelSchwall Band01

Schwall was also the leader of his own blues-rock band, the Jim Schwall Band. This band formed in the mid-1970s, and versions continued playing live on an intermittent basis into the 2000’s.

Schwall was also involved in numerous other musical projects. He played guitar and accordion in the band So Dang Yang, and was the bassist for the Cajun Strangers. He held a PhD in musical composition from the University of Wisconsin-Madison, 1993, and taught music at the college level. As a composer, he specialized in ballet, opera, and other music for the stage.

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Schwall was also a professional photographer, and did different types of photography. In his later years he worked at creating art prints that combined human figures and natural landscapes. He sometimes used 19th-century photographic techniques such as kallitype, cyanotype, and gum printing, non-silver techniques that predate the gelatin silver process.
Political activism

Schwall was active in progressive political causes. In 2002 he ran for mayor of Madison, Wisconsin.

After retiring and settling in Tucson, Schwall took to writing. At the urging of friends, he wrote a memoir titled “My So-called Career(s)” still unpublished, and was working on a novel tentatively titled “Organ Pipe Incident.” (wikipedia)

Famed Chicago blues guitarist and vocalist Jim Schwall — co-founder of the influential and popular Siegel-Schwall Band — died of natural causes at his home in Tucson, Arizona on Sunday, June 19, 2022. He was 79. (wikipedia)

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In 1970, Jim Schwall (of the famed Chicago blues-based Siegel-Schwall Band) got married, and along with new bride Cherie recorded and privately pressed A Wedding Present From Cherie & Jim Schwall, (released in 1973). As described on the back cover, the album was home recorded on a Sony reel to reel at a number of parties and contains mostly first takes. It is acoustic, sparse, and bluesy, featuring hard left and right panning in the mix (which lends to the separated and isolated feeling of the music). “Thinking Of You” is exceptional in that it strays away from the blues territory of the album, and veers into a more psych-folk direction. Serving as the only known composition credited to Cherie Schwall, one can’t help but wonder what could have been. (Bosavi)


Cherie Schwall (vocals)
Jim Schwall (guitar, vocals)
Peter Szillies (harmonica)

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01. Everything Is Going To Be All Right (Moss) 3.21
02. Thinking Of You (C.Schwall) 3.59
03. Can I Play With Your Poodle? (unknown) 1.54
04. It Won’t Be Long (McFarland) 2.48
05. Blues For A Lady (J.Schwall) 4.07
06. I’m Getting Old (J.Schwall) 3.56
07. Season Of The Witch (Leitch) 6.13
08. Cadillac Ford (J.Schwall) 2.33
09. Wanderin’ (Kaye) 4.38



People should know, Jim was a beautiful humanitarian and a one-of-a-kind musician.
(Corky Siegel)

More from Siegel-Schwall

The official website (now deleted):

John Mayall – Same (Rare Italian Sampler) (1982)

FrontCover1John Mayall (born 29 November 1933), OBE, is the godfather of the British blues. A singer/songwriter and multi-instrumentalist, he has been a bandleader and recording artist since 1965. A generation older than most of his sidemen, Mayall was a mentor; his bands were both a lab and finishing school for iconic musicians — particularly guitarists. Eric Clapton, Peter Green, and Mick Taylor served, as did bassists Jack Bruce and John McVie and drummers Mick Fleetwood and Aynsley Dunbar, among dozens of others. Five of Mayall’s first seven albums, including 1966’s Blues Breakers with Eric Clapton, 1967’s A Hard Road, and 1969’s The Turning Point, all placed inside the British Top Ten. After emigrating to the U.S., Mayall cut several albums during the ’70s including Ten Years Are Gone and Jazz Blues Fusion, that showcased veteran blues and jazz players including Harvey Mandel, Jesse Ed Davis, Larry Taylor, and Blue Mitchell.


During the ’80s, Mayall sold out houses across the globe, recorded for several labels, and employed top-shelf guitar slingers including Walter Trout, Sonny Landreth, and Coco Montoya. Mayall issued a series of memorable recordings for Silvertone in the ’90s including Wake Up Call, Spinning Coin, and Blues for the Lost Days. He was appointed OBE (Order of the British Empire) by Queen Elizabeth II in 2005. In 2016, he was inducted into the Blues Hall of Fame. In 2019, age 85, Mayall issued Nobody Told Me, a diverse set that garnered massive acclaim for his choice of guests, including Joe Bonamassa. In 2021 Mayall announced his retirement from touring. In 2022, two months after his 88th birthday, he released the star-studded The Sun Is Shining Down. (by Thom Jurek)


And here´s a rare and pretty good sampler from Italy …

… his album is identical with the compilation “The World Of John Mayall Vol.2” (Decca) released in 1970.

But this version has a wonderful booklet (includin many informations about John Mayall, unfortunately only written in italian) with many great and rare pictures of John Mayall live – some of them from an Italy tour with John Mayall and Mick Taylor in 1982)


It´s time to discover one of the most important British Blues musician of all time !

Enjoy the Blues power of John Mayall !


John Mayall (vocals,guitar, harmonica, keyboards)
many, many studio musicians (I guess you know them all …)


01. Checkin’ Up On My Baby (Williamson) 4.00
02. Broken Wings (Mayall) 4.19
03. My Time After Awhile (Geddins/Badger) 5.13
04. Ready To Ride (Mayall) 3.34
05. Double Crossin’ Time (Mayall/Clapton) 3.05
06. Leaping Christine (Mayall) 2.26
07. Killing Time (Mayall) 4.48
08. Brand New Start (Mayall) 3.27
09. 2401 (Mayall) 3.47
10. Someday After A While (King/Thompson) 3.04
11. She Is Too Young (Mayall) 2.19
12. I Can Quit You Baby (Dixon) 4.34





More from John Mayall:

The official website:

Various Artists – 2th Blues Festival Bonn 1987 (1988)

FrontCover1As everyone here probably knows, I am a great lover of blues music (regardless of whether it is black or white blues music).

And here is a very special rarity, recorded live at the 2th Blues Festival in Bonn/Germany.

I guess this album was only released in Germany.

So, This are one of the hardest recordings of bands like Canned Heat, Chicken Shack, Man (they were of course not a blues band) and Dr. Feelgood … all bands I like very much …

… and I m guess there are still many fans of these bands and their music.


So enjoy this album (including the jam session as an encore… !) … I call it: Excellent stuff and you should not miss it !

Recorded live at the Biskuithalle, Bonn/Germany, September, 27, 1987



Chicken Shack:
Bev Smith (drums)
Wayne Terry (bass)
Stan Webb (guitar, vocals)
David Wilkie (keyboards)

Dr. Feelgood:
Lee Brilleaux (vocals, guitar)
Philipp Mitchell (bass, vocals)
Drums, Vocals – Kevin Morris (drums, vocals)
Gordon Russell (guitar)

Martin Ace (bass, vocals)
Micky Jones (guitar, vocals)
Deke Leonard (guitar, vocals)
Terry Williams (drums, vocals)

Canned Heat:
Adolpho „Fito“ De LaParra (drums)
Larry Taylor (bass, vocals)
James Thornberry (guitar, vocals, flute)
Henry Vestine (guitar)



Chicken Shack:
01. The Thrill Has Gone (Darnell/Hawkins) 7.52
02. Have You Ever Loved A Woman (Myles) 10.57
03. I’d Rather Go Blind (Jordan) 6.44

Dr. Feelgood:
04. Down At The Doctors (Jupp) 4.13
05. See You Later Alligator (Guidry) 3.27
06. Back In The Night (Johnson) 4.06
05. Milk And Alcohol (May/Lowe) 2.47

06. What A Night (Roger/Leonard) 3.26
07. Jumping Like A Kangaroo (Ace) 4.58
08. Bananas (John/Jones/Ryan/Williams) 8.31

Canned Heat:
09. Going Up The Country (Wilson) 3.01
10. Rollin’ And Tumblin’ (Morganfield) 4.19
11. Amphetamine Annie (Wilson/Hite/Parra/Vestine/Taylor) 4.22

All Star Jam Session:
12. Dust My Broom (James) 8.53




Alternate frontcover:

Alexis Korner’s Blues Incorporated – Red Hot From Alex (1964)

FrontCover1Alexis Andrew Nicholas Koerner (19 April 1928 – 1 January 1984), known professionally as Alexis Korner, was a British blues musician and radio broadcaster, who has sometimes been referred to as “a founding father of British blues”. A major influence on the sound of the British music scene in the 1960s, Korner was instrumental in the formation of several notable British bands including The Rolling Stones and Free.

After the war, Korner played piano and guitar (his first guitar was built by friend and author Sydney Hopkins, who wrote Mister God, This Is Anna) and in 1949 joined Chris Barber’s Jazz Band[8] where he met blues harmonica player Cyril Davies. They started playing together as a duo, started the influential London Blues and Barrelhouse Club in 1955 and made their first record together in 1957. Korner made his first official record on Decca Records DFE 6286 in the company of Ken Colyer’s Skiffle Group. His talent extended to playing mandolin on one of the tracks of this rare British EP, recorded in London on 28 July Alexis Korner011955. Korner encouraged many American blues artists, previously virtually unknown in Britain, to perform at the London Blues and Barrelhouse Club, which he established with Davies at the Round House pub in Soho.

Alexis Korner’s Blues Incorporated, or simply Blues Incorporated, were an English blues band formed in London in 1961, led by Alexis Korner and including at various times Jack Bruce, Charlie Watts, Terry Cox, Davy Graham, Ginger Baker, Art Wood, Long John Baldry, Ronnie Jones, Danny Thompson, Graham Bond, Cyril Davies, Malcolm Cecil, Dick Heckstall-Smith and Mick Jagger.

Korner (1928–1984) was a member of Chris Barber’s Jazz Band in the 1950s, and met up with Cyril Davies (1932–1964) who shared his passion for American blues. In 1954 they teamed up as a duo, began playing blues in London jazz clubs, and opened their own club, the London Blues and Barrelhouse Club, where they featured visiting bluesmen from America. The club embraced aspiring young musicians, including in its early days Charlie Watts, Long John Baldry, and Jack Bruce.

In 1961 Korner and Davies formed Blues Incorporated, the first amplified R&B band in Britain, and brought in singer Baldry (sometimes replaced by Art Wood), drummer Watts, bassist Bruce, and saxophonist Dick Heckstall-Smith. It was an informal band: its membership was intended to be fluid.

On 17 March 1962, Korner and Davies established a regular “Rhythm and Blues Night” at the Ealing Jazz Club. This brought together many more fans of blues and R&B music including Mick Jagger, Keith Richards, Brian Jones, Eric Clapton, Rod Stewart, Paul Jones, John Mayall, Zoot Money, and Jimmy Page, some of whom would occasionally sit in on Blues Incorporated performances. Watts left the group around this time to join the Rolling Stones and suggested Ginger Baker as his replacement.

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From 3 May 1962, Blues Incorporated secured a Thursday-night residency at the Marquee Club, which brought them to the attention of record producer and promoter Jack Good who arranged a recording contract with Decca Records resulting in the LP R&B from the Marquee, released in late 1962. The album was actually recorded in the Decca studio and featured Baldry as lead singer with songs by Muddy Waters, Jimmy Witherspoon and Leroy Carr.

Late in 1962 Davies disagreed with Korner’s intention to add a brass section to the band and turn more towards jazz than blues, so left to form his own group, the Cyril Davies All-Stars, and was replaced by Graham Bond. Blues Incorporated found a new residency at the Flamingo club but, shortly afterwards, Bond, Bruce and Baker left to form the Graham Bond Organisation.

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Blues Incorporated concentrated on live work rather than recording and the group only released two singles on Parlophone, “I Need Your Loving” / “Please Please Please Please” (1964) and “Little Baby” / “Roberta” (1965). In 1964 they released the LPs At The Cavern and Red Hot From Alex, with American Herbie Goins as lead singer and Danny Thompson, later of Pentangle, on bass. By the time of the group’s last album Sky High (credited to Alexis Korner’s Blues Incorporated) in 1965, the group included Duffy Power on vocals. Korner dissolved the group in 1966. (wikipedia)

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And here´s his second album with his Blues Incorporated:

One of Alexis Korner’s better and more obscure albums, Red Hot From Alex, features the 1964 version of Blues Incorporated, supported by alumnus Dick Heckstall-Smith on tenor sax on a handful of tracks, recreating their live sound in the studio. The results are reasonably successful, the group at times achieving a fairly intense, swinging ensemble sound that, at its best, carries an infectious level of excitement. This band’s sound is a lot slicker throughout than that of the version of Blues Incorporated that played the Marquee Club in 1962 and 1963 and left behind the album R&B From The Marquee. The opener, “Woke Up This Morning,” has a convincingly funky sound, driven by Herbie Goins’ vocals, and a fairly together rhythm section, though Dave Castle’s alto sax seems a little too lightweight to pull off the authenticity. The group leaps back to somewhat purer blues on “Skippin’,” featuring Heckstall-Smith’s tenor, Korner playing some suitably animated rhythm guitar, and Ron Edgeworth aggressively attacking his organ. The first minute of “Herbie’s Tune” offers a great showcase for Korner’s guitar, soon joined by Heckstall-Smith’s sax, and Edgeworth’s organ, while “Stormy Monday” throws a flute into an otherwise similar mix — one can easily imagine Brian Jones dueting with Korner on those cuts.

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The only real flaw in the album, apart from an over-reliance on jazz at the expense of blues, is the lack of any real charismatic presence within the band, vocally or instrumentally — “Stormy Monday” shows off the group to best advantage, with Korner in the spotlight playing some of the flashiest and most compelling blues licks of his career, and if the album could have had a few more tracks like that, it just might have found an audience not far from the listenership that John Mayall and Graham Bond were cultivating; a little too much of what surrounds the blues here, however, is significantly less exciting jazz, played well enough, but otherwise not really terribly diverting — “Roberta,” “It’s Happening,” and “Jones” probably went over big at the group’s club dates, but just don’t make for great moments on record, and Korner’s own “Cabbage Greens,” showcasing his low-wattage guitar pyrotechnics (which just might prove refreshing to those weary of, or only versed in, the Jimi Hendrix/Jimmy Page school of blues guitar) and Edgeworth’s organ playing, isn’t much more interesting. “Chicken Shack” is the track that best captures the group’s sound at its most engaging, and the album is a welcome document of their work, but it’s more of a historic curio than an essential acquisition, on a musical par with, say, John Mayall Plays John Mayall. (by Bruce Eder)


Dave Castle (saxophone)
Ron Edgeworth (keyboards)
Barry Howten (drums)
Alexis Korner (guitar)
Art Theman (saxophone)
Danny Thompson (bass)
Herbie Goins (vocals, percussion on 01., 04.,- 06. + 10.)
Dick Heckstall-Smith (saxophone on 02., 03. + 09.)

A German reissue:

01. Woke Up This Morning (King) 2.37
02. Skippin’ (Korner) 2.14
03. Herbie’s Tune (Korner) 4.00
04. Stormy Monday (Walker) 4.40
05. It’s Happening (Bond) 2.06
06. Roberta (Koprner) 2.26
07. Jones (Terry/Ellington) 3.52
08. Cabbage Greens (Korner) 2.10
09. Chicken Shack (Smith) 2.01
10. Haitian Fight Song (Mingus) 3.32



Alternate edition:

More from Alexis Korner:

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Etta James – Rocks The House (1963)

FrontCover1Jamesetta Hawkins (January 25, 1938 – January 20, 2012), known professionally as Etta James, was an American singer who performed in various genres, including blues, R&B, soul, rock and roll, jazz, and gospel. Starting her career in 1954, she gained fame with hits such as “The Wallflower”, “At Last”, “Tell Mama”, “Something’s Got a Hold on Me”, and “I’d Rather Go Blind”. She faced a number of personal problems, including heroin addiction, severe physical abuse, and incarceration, before making a musical comeback in the late 1980s with the album Seven Year Itch.

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James’s deep and earthy voice bridged the gap between rhythm and blues and rock and roll. She won six Grammy Awards and 17 Blues Music Awards. She was inducted into the Rock and Roll Hall of Fame in 1993, the Grammy Hall of Fame in 1999, and the Blues Hall of Fame in 2001. Rolling Stone magazine ranked James number 22 on its list of the 100 Greatest Singers of All Time; she was also ranked number 62 on its list of the 100 Greatest Artists of All Time. Billboard’s 2015 list of The 35 Greatest R&B Artists Of All Time includes James, whose “gutsy, take-no-prisoner vocals colorfully interpreted everything from blues and R&B/soul to rock n’roll, jazz and gospel”.

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Etta James Rocks the House is the first live album by the American singer Etta James. It was recorded live on the nights of September 27 and 28, 1963, at the New Era Club in Nashville, Tennessee, and was released on December 13, 1963.

Hot with the releases of At Last! and The Second Time Around, Etta James Rocks the House became the artist’s first recorded live album under Argo Records. The concept was to catch James in a raw and fiery performance outside the recording studio. The album is among her finest live recordings. (wikipedia)

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Though the studio albums Etta James made for Chess in the 1960s usually had the blues singer surrounded by lush production and string-heavy arrangements, this live date finds her performing with only a rhythm section, organist, guitarist, and tenor saxophonist. The singer seems to respond to both the stripped-down setting and the enthusiastic audience with noticeable abandon. In fact, James the classy balladeer, a role she sometimes plays on her studio albums, is nowhere to be found on this blazing set. The only time the band slows down is on the tearjerker story-song “All I Could Do Is Cry” (though what the tune lacks in tempo it makes up for in emotional intensity).

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The rest of the set is straight-edged blues and R&B, including covers of some hits of the day, like “Money (That’s What I Want)” and Ray Charles’ “What’d I Say.” Jimmy Reed’s “Baby What You Want Me to Do” (on which James does a growling, harmonica-imitating vocal solo) steps up the blues quotient, as does the band’s finale of Willie Dixon’s “I Just Want to Make Love to You,” with James’ gospel-drenched pipes wailing all the while. Etta James Rocks the House indeed. (by Rovi Staff)


One of the most appropriately titled live albums of all time. Etta James’s Rocks the House ranks up there with James Brown’s Live at the Apollo, 1962 and Sam Cooke’s Live at the Harlem Square Club, 1963 as being one of 60’s soul music’s greatest ever live documents. These are albums that still kick with vitality and fun, gritty, danceable music decades after being recorded and Rocks the House is among them. Throughout this album, Etta shows us a different side of her that we don’t usually hear on her studio recordings, one of wild, gritty, energetic soul blues/blues soul (not unlike the Sam Cooke on Live at the Harlem Square Club, but with a much bluesier sound) by ripping through a series of frenetic, wild numbers like her revved up version of her hit Something’s Gotta Hold on Me and her covers of Ray Charles What’d I Say, Barrett Strong’s Money (That’s What I Want), and B.B. King’s Woke up this Morning among others. One has to wonder why this album isn’t on more “essential” and “must hear before you die” albums lists. (by R.S.)


Freeman Brown (drums)
Gavrell Cooper (saxophone)
Vonzell Cooper (organ)
Etta James (vocals)
David T. Walker (guitar)
Richard Waters (drums)
Marion Wright (bass)


01. Introduction/Something’s Got A Hold On Me (James/Kirkland/Woods) 5.03
02. Baby What You Want Me To Do (Reed) 4.14
03. What’d I Say (Charles) 3.15
04. Money (That’s What I Want) (Bradford/Gordy, Jr.) 3.22
05. Seven Day Fool (Davis/Gordy, Jr./Woods) 4.20
06. Sweet Little Angel (McCollum) 4.15
07. Ooh Poo Pah Doo (Hill) 4.05
08. Woke Up This Morning (King) 3.38
09. Ain’t That Loving You Baby (Reed) 2.52
10. All I Could Do Was Cry (Davis/Fuqua/Gordy, Jr.) 3.21
11. I Just Want To Make Love To You (Dixon) 3.40



More from Etta James:

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