Jon Chappell – Blues Guitar For Dummies (2006)

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Do you wish you could play your favorite blues music on guitar? Even if you don’t read music, it’s not difficult with Blues Guitar for Dummies.
With this hands-on guide, you’ll pick up the fundamentals instantly and start jamming like your favorite blues artists!
Blues Guitar for Dummies covers all aspects of blues guitar, showing you how to play scales, chords, progressions, riffs, solos, and more!
It’s packed with musical examples, chords charts, and photos that let you explore the genre and play the songs of the great blues musicians. This accessible guide will give you the skills you need to:

Choose the right guitar, equipment, and strings
Hold, tune, and get situated with your guitar
Play barre chords and strum to the rhythm
Recognize the structure of a blues song
Tackle musical riffs
Master melodies and solos
Make your guitar sing, cry, and wail
Jam to any type of blues

Jon Chappell is a multistyle guitarist, arranger, and author. He grew up in Chicago, attended Carnegie-Mellon University, and earned his master’s degree in composition from DePaul University. He was Editor-in-Chief of Guitar magazine and played and recorded with artists such as Big Walter Horton, Billy Branch, Pat Benatar, Judy Collins, Graham Nash, and Gunther Schuller. Jon has also contributed numerous musical pieces to TV and film.
Jon served as Associate Music Director of Cherry Lane Music, where he transcribed, edited, and arranged the music of Joe Satriani, Steve Vai, Steve Morse, Bonnie Raitt, and Eddie Van Halen, among others. He has more than a dozen method books to his name and is the author of Guitar For Dummies, 2nd Edition, and Rock Guitar For Dummies (both published by Wiley), Blues Rock Riffs for Guitar (Cherry Lane), as well as the textbook The Recording Guitarist — A Guide for Home and Studio (Hal Leonard).
Table of Contents:
Introduction.
Part I: You Got a Right to Play the Blues.
Chapter 1: Every Day I Have the Blues . . . Hallelujah!
Chapter 2: Blues Meets Guitar: A Match Made in Musical Heaven.
Chapter 3: Grab Hold, Tune Up, Play On!
Part II: Setting Up to Play the Blues.
Chapter 4: Getting a Grip on Left-Hand Chords.
Chapter 5: Positioning the Right Hand for Rhythm and Lead.
Chapter 6: Blues Progressions, Song Forms, and Moves.
Chapter 7: Musical Riffs: Bedrock of the Blues.
Part III: Beyond the Basics: Playing Like a Pro.
Chapter 8: Playing Lead: Soaring Melodies and Searing Solos.
Chapter 9: Playing Up the Neck.
Chapter 10: Express Yourself: Making the Guitar Sing, Cry, and Wail.
Part IV: Sounding Like the Masters: Blues Styles through the Ages.
Chapter 11: Acoustic Roots: Delta Blues and Its Country Cousins.
Chapter 12: The Birth and Growth of Classic Electric Blues.
Chapter 13: Blues Rock: The Infusion of Ol’ Rock ’n’ Roll.
Part V: Gearing Up: Outfitting Your Arsenal.
Chapter 14: Shop Till You Drop: Buying the Right Guitar for You.
Chapter 15: Choosing Your Amp and Effects.
Chapter 16: Changing Strings.
Part VI: The Part of Tens.
Chapter 17: Ten Blues Guitar Giants.
Chapter 18: Ten Great Blues Guitars.
Chapter 19: Ten (Plus One) Must-Have Blues Guitar Albums.
Part VII: Appendixes.
Appendix A: How to Read Music.
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The Allman Brothers Band – Live From A&R Studios, New York, August 26, 1971 (1971)

frontcover1Live from A&R Studios is an album by the Allman Brothers Band. It was recorded on August 26, 1971, at A&R Studios in New York City for a live radio broadcast.
A bootleg recording of this concert had been circulated for years, and coveted by many fans. Originally, “You Don’t Love Me” / “Soul Serenade” was released on the box set Dreams.
On Jambands.com, Larson Sutton said, “The nine-song program was inspired work, showcasing the conflagration of six musicians focused as one… The A&R show, presumably taped in droves by home stereos, was widely bootlegged, and in the following decades considered quite a treasure of both performance and historical context. To have it officially released, cleaned up and remastered to a high polish from the original broadcast tapes, is to put it finally in the proper place for all to hear; the magnificence of the Allman Brothers Band in one of its finest hours of its finest year of 1971.”
In American Songwriter, Hal Horowitz wrote, “As those who already own this heavily bootlegged concert, recorded in front of a small audience at the titular studio can attest, the sextet was on fire this evening. And even though there were few surprises in the songs played (they had stayed pretty similar for about a year), the group charged through the material like they had everything to prove…. Moderate Brothers admirers can stick with the already released versions, but for those digging deeper into Duane’s sadly limited well of professionally recorded work with the band, this is absolutely essential listening.” (by wikipedia)
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We were reminded of this great show from the old European bootleg label, Gold Standard, when a fan shared his on the net earlier this month. It’s a killer show from the Allmans, at the peak of their career.
They had recorded their seminal live album, At Fillmore East, in March 1971, and continued to tour relentlessly. In July, At Fillmore East was released to critical acclaim. It was back on the road again to promote that album. One important stop was at New York’s A&R Studios. The show was broadcast live on FM.
This show was broadcast two weeks after the death of King Curtis. This article from Hittin’ The Note by Tim Hoover details Curtis’ influence on Duane Allman.
During the broadcast, Duane pauses to reflect on his fallen friend: “About King Curtis – that was one of the finest cats there ever was. He was just right on top of getting next to young people, you know? It’s a shame. If y’all get the chance, listen to that album he made out at Fillmore West… Boy, it’s incredible, it’s unbelievable, the power and the emotional stature the man had. He’s an incredible human being.
“At the funeral, boy, Aretha sang and Stevie Wonder played… they played ‘Soul Serenade.’ Duane breaks off into the melody of Curtis’ signature song, and a few in the audience respond with polite applause of recognition.
“Y’all probably a little bit young. It’s fantastic. We’ll do some of that… yeah, I know where we’ll do it…”
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“Duane and the band jump into the intro for ‘You Don’t Love Me.’ A little over eight minutes into the song, Duane slows the band, reaching an achingly slow transitional phase, gradually leading everyone into his own version of ‘Soul Serenade’. When Duane plays the melody of the song again, the audience immediately begins clapping along to the sweet melodic tune. Suddenly, Duane jumps in and absolutely cuts the melody to shreds with one of the most moving, heart-felt solos you will ever hear, taking it right up into the stratosphere. Mirroring his words for Curtis, the ‘power and emotional stature’ of Duane’s own very personal and passionate eulogy for his lost friend is delivered as only he can do it – powerfully, lovingly, and gracefully.
Tragically, the Allman Brothers Band lost their founder and leader when Duane Allman was killed in a motorcycle crash in Macon on October 29, just two months after this show.
Allman’s influences were varied as they were all-encompassing. You can hear it in his playing, spacious, inventive, intense and always entertaining. Although he was a virtuoso musician, he was also a team player and his interplay with Dickey Betts was complex and masterful. At this point, the Allmans had a superb rhythm section of Berry Oakley, Butch Trucks and Jaimoe Johanson.
Back then, a broad outlook was important. Nobody liked being typecast or placed in boxes. The music had to be interesting. It’s almost four decades since Duane passed on, so this one’s in his Memory.
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Personnel:
Duane Allman (guitar, slide guitar)
Gregg Allman  (keyboards, vocals)
Dickey Betts (guitar)
Berry Oakley (bass)
Butch Trucks (drums)
Jai Johanny Johanson (Jaimoe) (drums, percussion)
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Tracklist:
01. Statesboro Blues (McTell) 4.30
02. Trouble No More (Morganfield) 4.04
03. Don’t Keep Me Wonderin’ (G.Allman) 3.39
04. Done Somebody Wrong (Lewis/James/Levy) 3.43
05. One Way Out (Sehorn/James) 4.48
06. In Memory Of Elizabeth Reed (Betts) 11.23
07. Stormy Monday (Walker) 8.48
08. Medley:
08.1. You Don’t Love Me (Cobbs)
08.2. Soul Serenade (Ousley/Dixon) 19.32
09. Hot ‘Lanta (G.Allman/D.Allman/Betts/Trucks/Oakley,Jai Johanny Johanson) 6.46
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This is just so shocking and sad. Butch Trucks, a founding member of the legendary Allman Brothers Band, allegedly shot himself in the head on Jan. 24, 2017 as his wife watched, according to a Jan. 26 report. Here’s what we know.
Butch Trucks has died at the age of 69 after suffering from a gun shot to the head, according to police reports obtained by Daily Mail. He was in his condo in West Palm Beach, FL, and his wife Melinda allegedly witnessed Butch pull the trigger. So awful.
What a tragedy …

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Goodbye Butch … RIP !

Mott The Hoople – Live At HMV Hammersmith Apollo (2009)

frontcover1“Mott the Hoople storm back to London for a dazzling night at the Hammersmith Apollo.

The stakes in heritage rock reunions are getting so high that, soon, only the exhumation of some demised old stager will up the ante. This latest one, however, was pretty far-fetched.

Mott the Hoople were titans of mid-Seventies glam. In their early career, they struggled as unreconstructed rockers, until David Bowie, no less, remodelled them in satin suits and platform boots. He donated them a fabulously dissolute glam anthem, ‘All the Young Dudes’, and thus began their tenure in the Top Five.

This, however, was a band destined to fail. They didn’t handle whirlwind fame well at all, and quickly disintegrated, only to be championed retrospectively by fans such as Morrissey, for their raunchy, wry take on the rock ‘n’ roll life.

Forty years on from their inception, and thirty years since some of the members had concertposteractually spoken to each other, Mott stormed back into London for the first of five sold-out nights at the Apollo. Their singer, Ian Hunter, agelessly shrouded in corkscrew curls and face-blotting sunglasses, led straight into a ballad, ‘Hymn For the Dudes’, his gnarly, Dylan-esque voice roaring at the high notes. This was not to be a half-hearted canter through the hits.

The first hour was mostly devoted to the band’s pre-Bowie, high-voltage rock ‘n’ roll material. Hunter, a busy solo artist for more than three decades, and the silver-topped lead guitarist, Mick Ralphs, riffed vigorously, in active defiance of Time’s subsequent intervention. The partisan crowd — at least eighty percent of whom, gloriously, unrepentantly, were old enough to remember it all from the turn of the Seventies — responded with commensurate enthusiasm.

The electricity crackled to a new intensity, however, when Hunter moved to a piano stage-left, and finally unleashed a dazzling run of glam classics — songs about little more than rock itself. Glam, originally, existed purely to overturn prog-rock’s tedious virtuosity, to revive the raw, sexy thrill of Fifties rock’s simple, thumping beats and clanging riffs.

Perhaps it was daft, witnessing a seventy-year old man with a blond afro singing, “I get my kicks from guitar licks”, but also fabulously empowering, given his heedless dedication to the cause.

The sense of lifelong commitment was heightened during the encore, when the band’s original drummer, Dale Griffin, entered the fray.

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Martin Chambers with Ian Hunter and his daughter Tracy Hunter

Griffin has Alzheimer’s, and had to be led by the hand to a drum kit alongside his substitute for the evening, the Pretenders’ Martin Chambers. Soon, he was pounding away the rhythm to ‘Roll Away the Stone’, grinning from ear to ear. ‘All the Young Dudes’, then, was simply breath-taking, with Def Leppard’s Joe Elliott joining in for a verse.

And the rockin’ went on, unrestrainable, deafening, totally life-affirming.”(by Andrew Perry; The Telegraph, 02 October, 2009)

Okay, most of th time, Mott Te Hoople sounds like a “Mott The Hoople Revival Band” … but it´s still a very important document of one of the finest bands from the Seventies.

Note: This show was recorded and transferred to CD on the night. This means you hear a CD-R rather than factory-pressed CDs.

Recorded live at the first Mott The Hoople re-union show
at HMV Hammersmith Apollo 1st October 2009.

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Personnel:
Verden Allen (keyboards)
Martin Chambers (drums)
Ian Hunter (vocals, guitar, piano, bass on 11.)
Mick Ralphs (guitar, background vocals)
Overend Watts (bass, vocals on 11.)
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Joe Elliott (vocals on 20.)
Dale Griffin (drums on 21. + 22.)
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background vocals:
Maggie Ronson – Tracy Hunter

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Tracklist:

CD 1:
01. Jupitor Intro  (Holst) 1.12
02. Hymm For The Dudes (Allen/Hunter) 5.34
03. Rock & Roll Queen (Ralphs) 4.44
04. Sweet Jane (Reed) 4.51
05. One Of The Boys (Hunter/Ralphs) 6.15
06. Sucker (Hunter/Ralphs/Watts) 5.15
07. Moon Upstairs (Hunter/Ralphs) 6.32
08. The Original Mixed Up Kid (Hunter) 4.41
09. I Wish I Was Your Mother (Hunter) 6.36
10. Ready For Love (Ralphs) 8.13
11. Born Late ’58 (Watts) 4.33
12. Ballad Of Mott The Hoople (GriffinHunter/Ralphs/Watts) 6.18

CD 2:
13. Walking With A Mountain (Hunter) / Jumpin Jack Flash (Jagger/Richards) 5.56
14. Like A Rolling Stone (Dylan) / Laugh At Me (Bono) /The Journey (Hunter) 9.02
15. Golden Age Of Rock & Roll (Hunter) 3.35
17. Honaloochie Boogie (Hunter) 3.43
18. All The Way From Memphis (Hunter) 9.46
19. Roll Away The Stone (Hunter) 4.41
20. All The Young Dudes (Bowie) 4.52
21. Keep A Knockin’  (Penniman) 3.53
22. Saturday Gigs (Hunter) 6.28

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Return To Forever feat. Chick Corea – Where Have I Known You Before (1974)

lpfrontcover1Where Have I Known You Before is the fourth album by jazz-rock fusion band Return to Forever, the second since leader Chick Corea had “revamped” the line-up and moved towards electric instrumentation, playing jazz fusion with clear influences from progressive rock.

While the style of music did not change much since the previous album, Hymn of the Seventh Galaxy (1973), important changes took place in the band’s sound and line-up. Chick Corea, for instance, had started to use synthesizers (most notably the Moog Minimoog and ARP Odyssey synthesizers), developing the distinctive sound he became known for. An equally important change in the band was the replacement of guitarist Bill Connors with the then 20-year-old virtuoso Al Di Meola. Connors left the band before the recording of this album to concentrate on his acoustic solo career. Overall, the band developed a clearer, more focused sound and style. This was due in part to the personnel changes, the implementation of new technology, and new playing techniques, but it was also a product of more careful recording and production in the studio.

Between the album’s longer tracks are three of Corea’s short piano improvisations that all bear a title that begins “Where Have I…”. The first track is Stanley Clarke’s “Vulcan Worlds”, which features some melodic motifs that would also appear on Clarke’s self-titled second solo album Stanley Clarke the same year. The song proved Clarke “one of the fastest and most facile electric bassists around”. Each player except for drummer Lenny White takes long solos. The next long track is Lenny White’s composition “The Shadow of Lo”, a complex piece with many changes in mood. The last track on Side A is Corea’s “Beyond the Seventh Galaxy”, a sequel to his “Hymn of the Seventh Galaxy”, the title track from the group’s previous album.

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Side B begins with the collective jam “Earth Juice”. Most of Side B is taken up by Corea’s 14-minute epic “Song to the Pharaoh Kings”, a song notable for its use of the harmonic minor scale. The track has a long keyboard intro, after which Chick Corea is joined by the full band, and an “eastern” theme appears. Each member of the band plays a long solo.

This Return to Forever set finds guitarist Al DiMeola debuting with the pacesetting fusion quartet, an influential unit that also featured keyboardist Chick Corea, electric bassist Stanley Clarke and drummer Lenny White. On this high energy set, short interludes separate the main pieces: “Vulcan Worlds,” “The Shadow of Lo,” “Beyond the Seventh Galaxy,” “Earth Juice” and the lengthy “Song to the Pharoah Kings.” Acoustic purists are advised to avoid this music, but listeners who grew up on rock and wish to explore jazz will find this stimulating music quite accessible. (by Scott Yanow)

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Personnel:
Stanley Clarke (bass, organ, bell tree, chimes)
Chick Corea (keyboards, synthesizers, percussion)
Al Di Meola (guitar)
Lenny White (drums, percussion)

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Tracklist:
01. Vulcan Worlds (Clarke) 7.51
02. Where Have I Loved You Before (Corea) 1.02
03. The Shadow of Lo (White) 7.32
04. Where Have I Danced With You Before (Corea) 1.14
05. Beyond The Seventh Galaxy (Corea) 3.13
06. Earth Juice (Corea/Clarke/White/Di Meola) 3.46
07. Where Have I Known You Before (Corea) 2.20
08. Song To The Pharoah Kings (Corea) 14.21

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Deep Purple – Live In Graz 1975 (2014)

frontcover1Recorded live at the Liebenaur ice rink in Graz, Austria, ‘Graz 1975′ captures the Mark III Deep Purple lineup in one of its very last performances. However, this is hardly the sound of a band in its final hours.

Instead, it is that of a band charged and ready to take on the world. This show is often regarded as the “holy grail” of this lineup, and has been frequently traded in bootleg form by fans for years prior to this, its first official release.

Several shows on what turned out to be this lineup’s final tour were recorded using the fabled Rolling Stones mobile studio. Shortly after these concerts, guitarist Ritchie Blackmore would split to form Rainbow, and Purple would bring in Tommy Bolin to try and keep things rolling. ‘Graz 1975′ is a wall to wall feast, and may be the definitive portrait of this version of the band.

Deep Purple waste no time getting to the point here, kicking things off with the almighty ‘Burn.’ Without question it’s one of the greatest of all the band’s songs, and this version is absolutely captivating. The energy level goes right off the rails once that mighty riff kicks in.

labelSinger David Coverdale had clearly settled into his place in the band by this point. While he may never have captured the role with the brilliance that Ian Gillian had, he more than holds his own here. Newer recruit and bassist Glenn Hughes has also found a home here, adding his own personality to the mix both in playing and presentation.

Three tracks from the band’s then-current album ‘Stormbringer’ turn up here — ‘The Gypsy,’ ‘Lady Double Dealer’ and the title cut. All three are high octane stuff, surpassing the studio versions — with ‘Lady Double Dealer’ particularly killing. ‘Mistreated’ from the ‘Burn’ album gets a lengthy workout here, allowing Blackmore to show off with a bluesy but high energy solo. ‘You Fool No One,’ also from ‘Burn,’ maintains that same energy and surge for over 12 minutes.

There’s also a rock solid rendition of the all-time classic ‘Smoke On The Water.‘ One interesting thing about this version is the vocal harmonies provided by bassist Glenn Hughes during the second verse. His addition here adds a nice change up, taking the song somewhere else entirely.

blackmoreNow, time to nitpick. Do we really need another 20-minute-plus version of ‘Space Truckin’? Probably not. It’s noodle central for both Lord and Blackmore on this one. Thankfully, Mr. Paice holds down the fort, keeping the whole mess from blowing off into the wind.

That is the one main problem with any live Deep Purple outing, their tendency to go on and on. When they tighten it up, which is actually the case for most of the songs here, they are a force of nature. But when they meander, they get lost. As for the overall performance, it’s pretty damn amazing, and as for the sound quality, it’s all aces. This set was produced by the legendary Martin Birch, the man responsible for countless great hard rock records from Fleetwood Mac and Black Sabbath to Iron Maiden and beyond. His sharp approach on the initial recording, coupled with some tasty remixing and mastering from Martin Pullan shine this monster up just right.

In short, if you love Deep Purple, you will love this album. Even if you’re one of those who swear only by the Mark II lineup, there is no denying the band’s power here. Turn it up loud and let it rock! (by Dave Swanson)

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Personnel:
Ritchie Blackmore (guitar)
David Coverdale (vocals)
Glenn Hughes (bass, background vocals)
Jon Lord (keyboards)
Ian Paice (drums, percussion)

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Tracklist:
01. Burn (Blackmore/Coverdale/Hughes/Lord/Paice) 7.51
02. Stormbringer (Blackmore/Coverdale) 5.08
03. The Gypsy (Blackmore/Coverdale/Hughes/Lord/Paice) 5.23
04. Lady Double Dealer (Blackmore/Coverdale) 4.31
05. Mistreated (Blackmore/Coverdale)  14.40
06. Smoke On The Water (Blackmore/Gillan/Glover/Lord/Paice) 9.43
07. You Fool No One (Blackmore/Coverdale/Hughes/Lord/Paice) 12.15
08. Space Truckin’ (Blackmore/Gillan/Glover/Lord/Paice) 20.22

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Rory Gallagher – Live In Europe (1972)

frontcover1Live in Europe is the third album by Irish blues guitarist Rory Gallagher, released in 1972. It is a series of live recordings made by Gallagher during his European tour. Unusual for a live album it contains only two previously released songs (“Laundromat” and “In Your Town”). All the other songs are either new Gallagher songs or Gallagher’s interpretation of traditional blues songs.

Live in Europe was released at the end of the British “blues boom” that began in the 1960s. Sparked by bands such as the Rolling Stones, Yardbirds, and Cream fans and musicians were fascinated by authentic Chicago blues artists such as Muddy Waters. Gallagher had an extensive knowledge of this kind of music. Although he tended to play down arguments about what was “pure” blues. In an interview at the time he said:

“If there was one fault with the boom in the 1960s, it was that it was very straight-faced and very pontificatory, or whatever the word is. It used to annoy me that there was an attitude of ‘Thou shalt not play the blues unless you know who played second acoustic guitar behind Sonny Boy Williamson the first on the B-side of whatever.’ That kind of thing gets music nowhere, it’s like collecting stamps. I mean, I buy books on the blues and I check out the B-sides and I know who plays on what records and that’s fine. But then you’ve got to open that up to the rest of the people. Because that kind of snobbery defeats the purpose; it kills the music.”

Rather than live versions of his most popular songs there are only two songs on the album that were previously recorded by Gallagher in the studio, “Laundromat” from his first album and “In Your Town” from his Deuce album. All the other songs are Gallagher’s versions of classic blues songs. The album starts with what was to become a signature song for Gallagher, Junior Wells’ “Messin’ With the Kid”. The song “I Could’ve Had Religion” was Gallagher’s salute to what he called the “redemption style blues” of the Robert Wilkins and Gary Davis. After hearing the song on this album Bob Dylan expressed interest in recording it and assumed it was a traditional blues number rather than an original song by Gallagher.

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Blind Boy Fuller’s “Pistol Slapper Blues” is next. Gallagher then shows his versatility, swapping his Stratocaster for a mandolin and performing the song “Going to My Home Town” with the audience stomping their feet and cheering in response as Gallagher sings “do you want to go?”. The finale is the straight ahead hard rocking “Bullfrog Blues” written by William Harris. Gallagher switches back to the electric guitar and the full band and gives bassist Gerry McAvoy and drummer Wilgar Campbell, a chance to solo. With the CD release two additional blues songs were added: “What in the World” and “Hoodoo Man”.

Most critics agree that Live in Europe is one of Gallagher’s finest albums. It was his highest charting album to date reaching 101 in the Billboard 200 for 1972. The album was his first major commercial success and provided his first solo top ten album. It won him his first Gold Disc. In the same year of 1972 he was Melody Maker’s Guitarist/Musician of the Year, winning out over Eric Clapton.

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The live album Live in Europe/Stage Struck captures Rory Gallagher at his finest, as he tears his way through many of his very best songs. Though the performance quality is a little uneven, there are gems scattered throughout the record, including smoking versions of “Messin’ with the Kid” and “Laundromat.” (by Thom Owens)

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Personnel:
Wilgar Campbell (drums)
Rory Gallagher (guitar, harmonica, mandolin, vocals)
Gerry McAvoy (bass)

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Tracklist:
01. Messin’ With The Kid (Wells) 6.25
02. Laundromat (Gallagher) 5.12
03. I Could’ve Had Religion (Traditional) 8.35
04. Pistol Slapper Blues (Fuller) 2.54
05. Going To My Hometown (Traditional) 5.46
06. In Your Town (Gallagher) 10.03
07. Bullfrog Blues (Traditional) 6.47
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08. What In The World (Traditional) 7.40
09. Hoodoo Man (Traditional) 6.02

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Karel Gott – Bílé Vánoce (White Christmas) (1982)

frontcover1Karel Gott (born July 14, 1939, in Plzeň) is a Czech Schlager singer, and an amateur painter. He is considered the most successful male singer in former Czechoslovakia and currently in the Czech Republic; he was elected the Most Favorite Male Singer in the annual national poll Český slavík (English: Czech Nightingale) a total of forty-one times, most recently in 2016. He also gained widespread fame in the German-speaking countries and is a fluent speaker of the language. Worldwide he has sold an estimated 50–100 million records with his songs, 23 million of them in the German-speaking market, and about 15 million in former Czechoslovakia and its successor states, the Czech Republic and Slovakia. Of his debut LP in Russia (Melodiya, 1977) there were sold over 5.5 million copies. (by wikipedia)

Czech singer and painter Karel Gott was born on July 14, 1939, in Pilson, Czechoslovakia, but has made his home in Prague since he was six years old. Fascinated by jazz, he first began singing in public in 1958, and in 1960 began studying opera and voice at Prague Conservatory. He released his first single, a duet with Vlasta Pruchova, on Supraphon Records in 1962. A year later his first solo single appeared, a Czech version of Henry Mancini’s “Moon River,” and Gott subsequently ended his official studies at the conservatory, quickly building an impressive career as a singer and composer. In 1967 he signed with Polydor/Deutsche Grammophon and has remained with the label ever since, releasing an astounding 125 albums and some 72 singles for the imprint between 1967 and 2000 alone. In the 1990s Gott began turning his attention to painting, mounting his first exhibition in 1992. (by Steve Leggett)

And this is his Christmus album for his country, Czech Republic and it´s a real crazy album, because Karel Gott sings the songs in Czech, English and German …

But … a nice addition to all these christmas albums, you can find in this blog.

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Personnel:
Karl Gott (vocals)
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Ladislav Štaidl Se Svým Orchestrem
Ivana Snopová (vocals on 06.)
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background vocals:
Bambini Di Praga – Sbor Pavla Kühna – Bohumil Kulínský

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Tracklist:
01. White Christmas 3.50
02. Oh Holy Night 3.46
03. Blue Christmas 2.13
04. Lightin’ The Candles (Pri vanocnich svickach) 4.16
05. Our First – Together Christmas Time (Nase prvni vanoce) 2.48
06. Shinin’ Shinin’ Christmas Tree (Zitra stromek zazari) 2.19
07. Dear Native Land (Navrat) 2.04
08. O, du frohliche (O sanctissimo) 1.34
09. Stedry vecer nastal 0.53
10. Nesem vam noviny 1.17
11. Ja bych rad k Betlemu 1.47
12. Pastyri, vstavejte 1.43
13. Bratri, ja jsem slysel 1.50
14. Jak jsi krasne, nevinatko 1.47
15. Gloria In Excelsis Deo 2.16
16. Lo, How A Rose E’er Blooming (Es ist ein Ros entsprungen) 4.05

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