Muddy Waters – Can’t Get No Grindin (1973)

FrontCover1.jpgBy the time Muddy Waters reached the 1970s, it seemed as though the fuzzed-out blend of Chicago Blues he pioneered, and the electric British blues he inspired had surpassed him. The 1970s would also see the release of his final albums with Chess Records, and would prove that Waters hadn’t lost step in spite of his age. Fresh off his acclaimed London Sessions, (Which saw the Mississippi native work alongside Steve Winwood of Traffic & Mitch Mitchell of the Jimi Hendrix Experience) 1973 brought Can’t Get No Grindin’ which was a welcome return to the rugged, slide-guitar blues that originally defined the bluesman, after experimenting with psychedelia, brass blow-outs, and other forays.

Can’t Get No Grindin’ is a classic showcase of Waters’ raw power as a musician, and is every bit as sharp and edgy as the primal blues he became famous for in the 1950s. Whether remakes of classics like “Mother’s Bad Luck Child”, newer compositions such as “Love Weapon” or the often-covered “Garbage Man”, or instrumental jams like “After Hours”, Waters dominates each track without resorting to electronic studio gimmickry or celebrity guest appearances. (by undergroundhiphop.com)

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Can’t Get No Grindin’ is, surprisingly, the only Muddy Waters album in the Hall of Fame that was actually recorded as an album, not a compilation of singles and older material. Chess veteran Ralph Bass produced the set in Chicago during the period after the company had been sold to GRT of New York but while the last Chess building and studio still stood at 320 E. 21st Street. Most of Muddy’s working band, joined by alumnus James Cotton on harp, backed him on a quickly recorded session (Bass preferred live spontaneity to perfected multiple takes when producing blues) that found the master and his crew in fine form, delivering the kind of blues that made Muddy famous back in the 1950s. Chess had tried to take him in more contemporary directions on other albums of the ’60s and ’70s but ended up with a classic by just letting Muddy cut a straight-ahead, no-frills, no-rock-stars album. The title track, parenthetically subtitled What’s the Matter With the Meal, is actually a rendition of Memphis Minnie’s What’s the Matter With the Mill. (blues.org)

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Muddy’s next-to-last Chess album, Can’t Get No Grindin’ marked a return to working with a band of his own after several experimental line-ups and recordings — Pinetop Perkins took over the piano spot from the late Otis Spann, with Chess veteran harpist James Cotton aboard, and PeeWee Madison, and Sammy Lawhorn handling the guitars (apart from Muddy’s axe, natch). The music is raw, hard-edged, and sharp (the guitars slash and cut), more like a successor to Muddy’s classic 1950’s sides (he rethinks a bunch ’50s numbers here) than to the London Sessions, Super Blues, brass blow-outs, and psychedelic albums that he’d been doing. It’s also easy to hear Muddy’s heart in this release — he fairly oozes soul out of every note he sings. The title track, “Sad Letter,” and “Mother’s Bad Luck Child” are all killer tracks, and most of the rest isn’t far behind, though “Garbage Man” is the best known of the newer tracks, thanks to subsequent covers. (by Bruce Eder)

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Personnel:
James Cotton (harmonica)
Calvin Jones (bass)
Sam Lawhorn (guitar)
(Pee Wee Madison (guitar)
Pinetop Perkins (piano, harpsichord)
Willie Smith (drums)
Muddy Waters (vocals, guitar)

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Tracklist:
01. Can’t Get No Grindin’ (What’s The Matter With The Meal) (Morganfield) 2.46
02. Mother’s Bad Luck Child (Morganfield) 4.56
03. Funky Butt (McKinley Morganfield) 2.53
04. Sad Letter (Morganfield) 4.15
05. Someday I’m Gonna Ketch You (Morganfield) 3.14
06. Love Weapon (Morganfield) 4.05
07. Garbage Man (Hammond) 2.39
08. After Hours (Parrish/Feyne/Bruce) 3.50
09. Whiskey Ain’t No Good (Morganfield) 4.35
10. Muddy Waters’ Shuffle (Morganfield) 2.20

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Lightnin’ Hopkins – A Legend In His Own Time (1969)

FrontCover1.JPGSamuel John “Lightnin'” Hopkins (March 15, 1912 – January 30, 1982) was an American country blues singer, songwriter, guitarist and occasional pianist, from Centerville, Texas. Rolling Stone magazine ranked him number 71 on its list of the 100 greatest guitarists of all time.

The musicologist Robert “Mack” McCormick opined that Hopkins is “the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act”.

Hopkins was born in Centerville, Texas, and as a child was immersed in the sounds of the blues. He developed a deep appreciation for this music at the age of 8, when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas. That day, Hopkins felt the blues was “in him”. He went on to learn from his older (distant) cousin, the country blues singer Alger “Texas” Alexander. (Hopkins had another cousin, the Texas electric blues guitarist Frankie Lee Sims, with whom he later recorded.) Hopkins began accompanying Jefferson on guitar at informal church gatherings. Jefferson reputedly never let anyone play with him except young Hopkins, and Hopkins learned much from Jefferson at these gatherings.

In the mid-1930s, Hopkins was sent to Houston County Prison Farm; the offense for which he was imprisoned is unknown. In the late 1930s, he moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s, he was back in Centerville, working as a farm hand.

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Gold Star Records promotional photograph, 1948

Hopkins took a second shot at Houston in 1946. While singing on Dowling Street in Houston’s Third Ward (which would become his home base), he was discovered by Lola Anne Cullum of Aladdin Records, based in Los Angeles. She convinced Hopkins to travel to Los Angeles, where he accompanied the pianist Wilson Smith. The duo recorded twelve tracks in their first sessions in 1946. An Aladdin executive decided the pair needed more dynamism in their names and dubbed Hopkins “Lightnin'” and Wilson “Thunder”.

Hopkins recorded more sides for Aladdin in 1947. He returned to Houston and began recording for Gold Star Records. In the late 1940s and 1950s he rarely performed outside Texas, only occasionally traveling to the Midwest and the East for recording sessions and concert appearances. It has been estimated that he recorded between eight hundred and a thousand songs in his career. He performed regularly at nightclubs in and around Houston, particularly on Dowling Street, where he had been discovered by Aladdin. He recorded the hit records “T-Model Blues” and “Tim Moore’s Farm” at SugarHill Recording Studios in Houston. By the mid- to late 1950s, his prodigious output of high-quality recordings had gained him a following among African Americans and blues aficionados.

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In 1959, the blues researcher Mack McCormick contacted Hopkins, hoping to bring him to the attention of a broader musical audience engaged in the folk revival. McCormack presented Hopkins to integrated audiences first in Houston and then in California. He made his debut at Carnegie Hall on October 14, 1960, alongside Joan Baez and Pete Seeger, performing the spiritual “Mary Don’t You Weep”. In 1960, he signed with Tradition Records. The recordings which followed included his song “Mojo Hand” in 1960.

In 1968, Hopkins recorded the album Free Form Patterns, backed by the rhythm section of the psychedelic rock band 13th Floor Elevators. Through the 1960s and into the 1970s, he released one or sometimes two albums a year and toured, playing at major folk music festivals and at folk clubs and on college campuses in the U.S. and internationally. He toured extensively in the United States and played a six-city tour of Japan in 1978.

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Hopkins was Houston’s poet-in-residence for 35 years. He recorded more albums than any other bluesman.

Hopkins died of esophageal cancer in Houston on January 30, 1982, at the age of 69. His obituary in the New York Times described him as “one of the great country blues singers and perhaps the greatest single influence on rock guitar players.”

His Gibson J-160e “hollowbox” is on display at the Rock Hall of Fame in Cleveland, and his Guild Starfire at the National Museum of African American History and Culture in DC, both on loan from the Joe Kessler collection.

Hopkins’s style was born from spending many hours playing informally without a backing band. His distinctive fingerstyle technique often included playing, in effect, bass, rhythm, lead, and percussion at the same time.[citation needed] He played both “alternating” and “monotonic” bass styles incorporating imaginative, often chromatic turnarounds and single-note lead lines. Tapping or slapping the body of his guitar added rhythmic accompaniment.

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Much of Hopkins’s music follows the standard 12-bar blues template, but his phrasing was free and loose. Many of his songs were in the talking blues style, but he was a powerful and confident singer.[citation needed] Lyrically, his songs expressed the problems of life in the segregated South, bad luck in love and other subjects common in the blues idiom. He dealt with these subjects with humor and good nature. Many of his songs are filled with double entendres, and he was known for his humorous introductions to songs.(by wikipedia)

And here´s an album with previously unreleased recordings from 150/1951 published in the “Anthology Of The Blues – Archive Series”:

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More albums from the “Anthology Of The Blues – Archive Series”

Initial a series launched approximately September 1970 by the Kent label. It includes 12 releases with sometimes a couple of unissued tracks, so not always clear whether this are compilations. Early releases still show the orange label design with white spot. The early versions had a gatefold cover with sometimes different colored background at later releases. It is still not clear how many releases were initial release with the orange label design. At least the later one was initial released with the hexagonal successor label design. Later reissues wear the purple United Records label design and have different covers. In the late 70s the label changed once more to the yellow Kent labels. Please state at least clear notes for the label design and the innerspread, possibly provides images.
Due to the linked Wirz-page the French reissues were released in 1976 throughout. The cover was very similar to the US releases and mention Musidisc-Europe as the distributor.

Without any question: Lightnin Hopkins was a legend of these early acoustic Blues … listen to all his guitar licks, listen to the voice of a man who knew what he is singing about.

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Personnel:
Lightnin’ Hopkins (vocals, guitar, piano on

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Tracklist:
01. War News Blues 2:45
02. Black Cat 2:28
03. Bad Luck And Trouble 2:33
04. Mistreated Blues 2:38
05. Candy Kitchen 2:41
06. Needed Time 2:50
07. Appetite Blues 2:28
08. One Kind Favor 2:47
09. House Upon The Hill 2:33
10. Everyday I Have The Blues 2:20
11. Someday Baby 2:30
12. Ticket Agent 2:37

All songs credited to Lightnin’ Hopkins, but as we all know … most of the songs were Traditionals

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“Lightnin'” Hopkins (March 15, 1912 – January 30, 1982)

Some of his songs were of warning and sour prediction, such as “Fast Life Woman”:

You may see a fast life woman sittin’ round a whiskey joint,
Yes, you know, she’ll be sittin’ there smilin’,
‘Cause she knows some man gonna buy her half a pint,
Take it easy, fast life woman, ’cause you ain’t gon’ live always…

Hot Tuna – Splashdown (1984)

FrontCover1.JPGSplashdown is a Hot Tuna album released in 1984 containing the tracks from a previously unreleased live acoustic performance that had been played on the short-lived radio station WQIV in the mid-1970s. During the recording, news of the Apollo-Soyuz mission returning to Earth after the first USA-USSR rendezvous in space reached the station, and the astronauts’ radio transmissions were played at the same time as Jorma and Jack continued with “Police Dog Blues.” The transmissions mixed with the song were preserved for this release as the last track of side 1. The album was Hot Tuna’s first release on Relix Records, and one of the first Relix releases. Jorma Kaukonen was signed on as a solo artist to the label as well. In 1997 an expanded version of the album was released as Splashdown Two. (by wikipedia)

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This archival release is taken from a broadcast on New York radio station WQIV-FM on July 25, 1975, and features the duo of guitarist Jorma Kaukonen playing acoustic and bassist Jack Casady performing at the station. At the time, Hot Tuna recently had released its America’s Choice album, but this set harks back to the group’s 1970 debut album, Hot Tuna, both in its acoustic format and in the selection of mostly folk-blues standards. The performance also has an informality and intimacy that rivals the debut. Casual fans are likely to find the album redundant, but more fervent followers rejoiced when this album appeared nine years after the broadcast occurred and five years after the group’s apparent demise. The album’s title is derived from the re-entry of an Apollo spacecraft during the broadcast, which is mixed in with the performance of “Police Dog Blues.” (by William Ruhlmann)

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Personnel:
Jack Casady (bass)
Jorma Kaukonen (guitar, vocals)

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Tracklist:
01. Death Don’t Have No Mercy (Davis) 6.49
02. I Am the Light Of This World (Davis) 4.17
03. Embryonic Journey (Kaukonen) 2.07
04. Police Dog Blues (Blake) / Splashdown” (U. S. Astronauts) 4.23
05. Keep Your Lamps Trimmed And Burning (Davis) 3.03
06. I Know You Rider (Traditional) 5.19
07. Keep On Truckin’ (Carleton) 4.16
08. Candy Man (Davis) 6.01

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Big Apple Blues – Brooklyn Blues (2010)

FrontCover1.jpgBig Apple Blues came by this vintage sound honestly. They put down tracks for Brooklyn Blues in an old hometown studio, Excello Recording, playing live before analog equipment on throwback instruments. Then they picked out a series of cuts by giants of the genre.

Included on this Stone Tone release are covers of songs by Chess Records legends like Howlin’ Wolf and Willie Dixon, as well as tracks by a pair of former Muddy Waters harmonica-playing sidemen in Little Walter and Junior Wells. Big Apple Blues also tosses in a couple of Big Easy classics by Dave Bartholomew, including the Fats Domino staple “Whole Lotta Lovin,’” and songs by Big Joe Turner and Paul Butterfield, as well.

That gives this warm vibrancy to Brooklyn Blues, which smartly mimics the densely spacious sound of those original masters. You quickly sense that this group’s high fidelity goes beyond the studio technology; Big Apple Blues displays a lasting faith in the music’s tradition.

Guitarist Zach Zunis opens the record with a dirty, barstool-rattling guitar groove on “Too Many Drivers,” while Anthony Kane (pictured at left) puts on a shimmying show with his harmonica. Kane’s gravelly growl is perfect for Butterfield’s well-crafted lyric on betrayal. A saddle-buck cool surrounds their rollicking interpretation of Turner’s largely ad-libbed 1953 Top 25 hit “Honey Hush,” which swings along like a lost Sun Records side. Christine Santelli and Matt Mousseau join in the raucous sing-along at the end.

Big Apple Blues doesn’t often move off script but, when they do, it’s a wonder: For instance, they brilliantly rework “Whole Lotta Lovin,” originally an up-tempo 1958 pop parfait by Fats Domino, into a loping shout. They go even deeper into the brown-bottle blues on “I Hear You Knockin,’” initially sent to No. 2 on the R&B charts in 1955 by Gale Storm.

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On the original “Brooklyn Swamp,” written by Zunis, Big Apple Blues jukes expectations with a New Orleans vibe. Zunis explores a mercurial, echoing sound while drummer Barry “The Baron of the Blues” Harrison (Shemekia Copeland) underscores everything with a second-line beat.

More typical, however, is “Who’s On Third (Duvel),” this album’s only other original. The track, locomotive but instantly familiar, finds author Kane trading licks with guest pianist Brian Mitchell (Bob Dylan, Al Green, B.B. King, Levon Helm, Allen Toussaint), who also appears on “Whole Lotta Lovin.’” Kane’s aching vocal on Howlin’ Wolf’s seminal 1951 Chess classic “How Many More Years” opens the door for a sizzling, explorative solo turn by Zunis.

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Kane then retakes center stage during a trio of showcase opportunities that arrive back to back to back on Brooklyn Blues. First, there’s Wells’ “It’s My Life Baby” and then Little Walter’s “Hate to See You Go,” both from the late 1960s, followed by Walter’s determined 1959 Top 25 R&B hit “Everything is Gonna Be Alright.” Kane completely inhabits Little Walter’s style, this crisp, cocksure sound that shaped the modern vocabulary for harmonica. Then Kane neatly approximates Junior Well’s randy growl on “It’s My Life Baby.”

Big Apple Blues closes with the Diddley wallop of Dixon’s ironically named 1954 side “Mellow Down Easy,” eventually made famous by Little Walter, as well.

Of course, carefully carrying forward those signature sounds sometimes sets up Big Apple Blues for uncomfortable comparisons. These classic sides are famous for very good reasons.

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For instance, “Killing Floor,” a roadhouse staple since redefining Chicago blues in 1964, doesn’t quite have the muscular danger of Howlin’ Wolf’s initial version. Nobody, not even a player as gifted as Zunis, can touch Hubert Sumlin’s towering original riff.

Even so, Hugh Pool acquits himself well on the lyric, pushing his vocal through a series of painful epiphanies about how a relationship has gone terribly wrong. There remain new places for these songs to go, not to mention a new audience unlikely to dig through dusty stacks at the local vinyl shop.

Sure, Big Apple Blues does the old stuff the old way, but in a too-polished world so very far removed from the days when these songs were on the radio, maybe that’s not such a bad thing. (by Nick DeRiso)

Indeed … one of the finest blues albums of the last decade … hot & dirty … loud & proud !

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Personnel:
Joe Bencomo (drums)
Sonny Charles (vocals, harmonica)
Eddie St. Clair (bass)
Spider Ingram (guitar, slide-guitar, vocals)
Little Johnny Walter (guitar, background vocals)

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Tracklist:
01. Too Many Drivers (Butterfield) 4.06
02. Killing Floor (Burnett) 3.57
03. Brooklyn Swamp (Bencomo/Charles/Clair/Ingram/Walter/Zunis) 3.47
04. Honey Hush (Turner) 2.58
05. Whole Lotta Lovin (Bartholomew/Domino) 4.07
06. I Hear You Knocking (Bartholomew) 3.03
07. How Many More Years (Burnett) 4.09
08. Who’s On Third (Duvel)? (Bencomo/Charles/Clair/Ingram/Walter/Kane) 6.19
09. It’s My Life Baby (Wells) 4.27
10. Hate To See You Go (Jacobs) 3.22
11. Everything Is Gonna Be All Right (Jacobs) 5.23
12. Mellow Down Easy (Dixon) 3.56

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John Mayall – New Year, New Band, New Company (1975)

FrontCover1.JPGBy the start of the 1970s Mayall had relocated in the USA where he spent most of the next 15 years, recording with local musicians for various labels. In August 1971, Mayall produced a jazz-oriented session for bluesman Albert King[16] and a few months later took on tour the musicians present in the studio.

A live album Jazz Blues Fusion was released in the following year, with Mayall on harmonica, guitar and piano, Blue Mitchell on trumpet, Clifford Solomon and Ernie Watts on saxophones, Larry Taylor on bass, Ron Selico on drums and Freddy Robinson on guitar. A few personnel changes are noted at the release of a similar album in 1973, the live Moving On. During the next decade Mayall continued shifting musicians and switching labels and released a score of albums. Tom Wilson, Don Nix and Allen Toussaint occasionally served as producers. At this stage of his career most of Mayall’s music was rather different from electric blues played by rock musicians, incorporating jazz, funk or pop elements and even adding female vocals. A notable exception is The Last of the British Blues (1978), a live album excused apparently by its title for the brief return to this type of music. (by wikipedia)

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And here´s is one of this unsucessful albums of this decade.

But even such an unsucessful album ist a good album … featuring Rick Vito and Larry Taylor !

On the 1975 release New Year new Band New Company John Mayall turns a new leaf, from blues-rock to Southern hippie country funk-rock. He enlists Dee McKinnie for female co-lead vocals, which blend nicely with Mayall’s nasal tone for the wild in the woods effect. Also on board for the session is Don “Sugarcane” Harris, whose psych-funk fiddle fills out the mix nicely! (Lou Hinkhouse)

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Personnel:
Don “Sugarcane” Harris (violin, vocals)
John Mayall (vocals, piano, guitar, harmonica, slide-guitar)
Dee McKinnie (vocals)
Soko Richardson (drums)
Jay Spell (piano, clavinet)
Larry Taylor (bass)
Rick Vito (guitar)

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Tracklist:
01. Sitting On The Outside 6.07
02. Can’t Get Home 4.09
03. Step In The Sun 3.17
04 To Match The Wind 4.36
05. Sweet Scorpio 3.21
06. Driving On 2.29
07. Taxman Blues 3.16
08. So Much To Do 6.30
09. My Train Time 4.48
10. Respectfully Yours 5.25

All songs written by John Mayall

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More John Mayall:

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Walter Shakey Horton – With Hot Cottage (1974)

FrontCover1.JPGWalter Horton, better known as Big Walter (Horton) or Walter “Shakey” Horton (April 6, 1921 – December 8, 1981) was an American blues harmonica player. A quiet, unassuming, shy man, he is remembered as one of the premier harmonica players in the history of blues. Willie Dixon once called Horton “the best harmonica player I ever heard.”

Horton was born in Horn Lake, Mississippi. He was playing the harmonica by the time he was five years old.[3] In his early teens, he lived in Memphis, Tennessee. He claimed that his earliest recordings were done there in the late 1920s with the Memphis Jug Band,[3] but there is no documentation of them, and some blues researchers have stated that this story was likely to have been fabricated by Horton. (He also claimed to have taught some harmonica techniques to Little Walter and Sonny Boy Williamson I, but these claims are unsubstantiated and, in the case of Williamson, who was older than Horton, dubious.)

Like many of his peers, he lived on a meager income during much of his career and endured racial discrimination in the racially segregated United States. In the 1930s he played with numerous blues performers in the Mississippi Delta region. It is generally accepted that he was first recorded in Memphis, backing the guitarist Little Buddy Doyle WalterHorton01.jpgon Doyle’s recordings for Okeh Records and Vocalion Records in 1939. These recordings were acoustic duets, in a style popularized by Sleepy John Estes and his harmonicist Hammie Nixon, among others. On these recordings, Horton’s style was not yet fully realized, but there are clear hints of what was to come. He eventually stopped playing the harmonica for a living, because of poor health, and worked mainly outside the music industry in the 1940s. By the early 1950s, he was playing music again. He was among the first to be recorded by Sam Phillips, at Sun Records in Memphis, who later recorded Elvis Presley, Carl Perkins, and Johnny Cash. For his recordings for Sun, Horton was accompanied by the young pianist Phineas Newborn, Jr., who later was a well-known jazz pianist. Horton’s instrumental track “Easy”, recorded around this time, was based on Ivory Joe Hunter’s “I Almost Lost My Mind”.

During the early 1950s he appeared on the Chicago blues scene, frequently playing with Memphis and Delta musicians who had also moved north, including the guitarists Eddie Taylor and Johnny Shines. When Junior Wells left the Muddy Waters band at the end of 1952, Horton replaced him long enough to play on one session, in January 1953.

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Also known as Mumbles and Shakey (because of his head motion while playing the harmonica), Horton was active in the Chicago blues scene during the 1960s, as blues music gained popularity with white audiences. From the early 1960s onward, he recorded and frequently performed as a sideman with Taylor, Shines, Johnny Young, Sunnyland Slim, Willie Dixon and many others. He toured extensively, usually as a backing musician, and in the 1970s he performed at blues and folk music festivals in the United States and Europe, frequently with Dixon’s Chicago All-Stars. He also performed on recordings by blues and rock stars, such as Fleetwood Mac and Johnny Winter.

walterhorton05In October 1968, while touring the United Kingdom, he recorded the album Southern Comfort with the guitarist Martin Stone (previously with the band Savoy Brown and later a member of the band Mighty Baby). In the late 1970s he toured the United States with Homesick James Williamson, Guido Sinclair, Eddie Taylor, Richard Molina, Bradley Pierce Smith and Paul Nebenzahl, and he performed on National Public Radio broadcasts. Two of the best compilation albums of his work are Mouth-Harp Maestro and Fine Cuts. Also notable is the album Big Walter Horton and Carey Bell, released by Alligator Records in 1972.

He worked at blues festivals and often performed at the Maxwell Street market in Chicago. In 1977, he played on the Muddy Waters album I’m Ready, produced by Johnny Winter. He also recorded for Blind Pig Records during this period. Horton accompanied John Lee Hooker in the 1980 film The Blues Brothers. His final recordings were made in 1980.

Horton died of heart failure in Chicago in 1981, at the age of 60, and was buried in Restvale Cemetery, in Alsip, Illinois.

He was posthumously inducted into the Blues Hall of Fame in 1982. (by wikipedia)

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And here´s a very rare recording with this master of the blues harmonica from the early Seventies (recorded in 1972, published in 1974). He recorded this album with a totally unknown Canadian blues band called “Hot Cottage” (as far as I know this was their only studio album).

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And … this album is one of the lost pearls of Blues … not only because of this great version of “Hound Dog”(with a brilliant Nancy Nash on vocals … you can hear her great voice on “Worried,Worried (a la Chess 1952) ” once more) … but the whole album is a real treasure of the Blues … believe me …  !!!

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Personnel:
Walter Shakey Horton (vocals, harmonica)
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Hot Cottage:
Steve Boddington (guitar)
Bob Derkash (piano)
Brian Koehli (bass)
Nancy Nash (vocals)
Lyndsey Umrysh (drums)

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Tracklist:
01. Big Walter’s Boogie (Horton) 3.06
02. Hard Heated Woman (Horton) 3.53
03. John Henry (Traditional) 0.41
04. Hound Dog (Leiber/Stoller) 2.13
05. Interview (Horton) 1.13
06. They Call Me Big Walter (Horton/Boddington/Derkash/Koehli/Nash/Umrysh) 6.37
07. Looka Here (Miller) 2.34
08. Shakey’s Edmonton Blues (Horton/Boddington/Derkash/Koehli/Nash/Umrysh) 3.32
09. Sugar Mama (Burnett) 3.16
10. Joe Chicago (Horton/Boddington/Derkash/Koehli/Nash/Umrysh) 3.46
11. Worried,Worried (a la Chess 1952) (Horton/Boddington/Derkash/Koehli Nash/Umrysh) 5.35
12. Turkey In The Straw 0.37
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13. Hound Dog & Hard Hearted Woman (great video clip)

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Walter Horton (Big Walter Horton/Walter “Shakey” Horton
(April 6, 1921 – December 8, 1981)

Al Kooper – Live At Idiot’s Delight, New York (1996)

FrontCover1.jpgAl Kooper (born Alan Peter Kuperschmidt, February 5, 1944) is an American songwriter, record producer and musician, known for organizing Blood, Sweat & Tears (although he did not stay with the group long enough to share its popularity), providing studio support for Bob Dylan when he went electric in 1965, and bringing together guitarists Mike Bloomfield and Stephen Stills to record the Super Session album. In the 1970’s he was a successful manager and producer, notably recording Lynyrd Skynyrd’s first three albums. He’s also had a successful solo career, written music for film soundtracks, and has lectured in musical composition. He continues to perform live. (by wikipedia)

And here´s a very rare radio show from the Nineties … Al Kooper accoustic, no organ (!), but a handful of fine blues tunes together withe his old mate Danny Kalb and Jimmy Vivino.

Recorded live at Idiot’s Delight, WNEW-FM, New York; March 3, 1996
Fairly to very good FM broadcast

Thanks to the original uploader; and to bluebomber for keeping the show alive at Dime

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Personnel:
Danny Kalb (guitar, harmonica)
Al Kooper (mandolin, vocals)
Jimmy Vivino (steel guitar)

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Tracklist:
01. I Don’t Know When, But I Know I’ll Be There Soon (Kooper) 2.33
02. Talk 0,32
03. So Sweet (Traditional) 4.30
04. God Don’t Never Change (Johnson) 3.38
05. Am I Wrong (Moore) 3.55
06. I Can’t Be Satisfied (Morganfield) 4.23
07. Talk 0.24
08. The Mississippi Kid (Kooper/Burns /v.Zant) 3.24
09. Talk 0.27
10. How Am I Ever Gonna Get Over You (Kooper) 4.48

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