Wendy O. Williams – Kommander Of Kaos (1986)

FrontCover1Wendy Orlean Williams (28 May 1949 – 6 April 1998) was an American singer, songwriter, and actress. Born in Webster, New York, she came to prominence as the lead singer of the punk rock band Plasmatics. Her onstage theatrics included partial nudity, exploding equipment, firing a shotgun, and chainsawing guitars. Dubbed the “Queen of Shock Rock” and the “Metal Priestess”, Williams was considered the most controversial and radical female singer of her time. Performing her own stunts in videos, she often sported a mohawk hairstyle. In 1985, during the height of her popularity as a solo artist, she was nominated for Best Female Rock Vocal Performance.

Leaving home at 16, Williams hitchhiked to Colorado, earning money by crocheting string bikinis. She travelled to Florida and Europe landing various jobs such as lifeguard, stripper, macrobiotic cook, and server at Dunkin’ Donuts. After arriving in New York City in 1976, she began performing in live sex shows, and in 1979 appeared in the porno WendyOWilliams01Candy Goes to Hollywood. That year manager Rod Swenson recruited her to the Plasmatics and the two became romantically involved. The band quickly became known on the local underground scene, performing at clubs such as CBGB.

Three albums with Plasmatics later, Williams embarked on a solo career and released her debut album, WOW, in 1984. Albums Kommander of Kaos (1986) and Deffest! and Baddest! (1988) followed, before her retirement from the music industry. Williams made her non-adult screen debut in Tom DeSimone’s film Reform School Girls (1986), for which she recorded the title song. She also appeared in the 1989 comedy Pucker Up and Bark Like a Dog, television series The New Adventures of Beans Baxter, and MacGyver. On 6 April 1998, Williams committed suicide near her home in Storrs, Connecticut by gunshot; she had attempted to kill herself twice in the years leading up to her death, allegedly she had also been struggling with deep depression.

Kommander of Kaos is the second solo studio album released by Wendy O. Williams after her group, the Plasmatics, went on hiatus. The album was recorded in 1984 but not released until 1986. A live version of the Gene Simmons-penned “Ain’t None of Your Business” appears on this album (the song previously appeared on her debut album).

The album has been re-released by several independent labels in recent years (such as WendyOWilliams02Plasmatics Media and Powerage). (by wikipedia)

Although best known as the death-defying leader of the Plasmatics, Wendy O. Williams issued several albums on her own during the 1980s. And while her earlier band was a certified punk outfit, by this stage of her career, Williams was zeroing in on the heavy metal audience — Gene Simmons had produced an earlier album, while the singer was spotted hosting a heavy metal video show on the USA cable channel. So by the time of 1986’s Kommander of Kaos, Williams was knee-deep in metal. Once more, Simmons’ name makes an appearance on a Williams record (not as a producer this time, but as a songwriter — “Ain’t None of Your Business”), while Williams covers Motörhead’s “Jailbait,” and the main riff of the album’s opening “Hey Hey (Live to Rock)” is quite reminiscent of Mötley Crüe’s “Live Wire.” While Kommander of Kaos was probably just as good as just about anything else that theatrical-minded metallists were putting out that year (W.A.S.P., Lizzy Borden, etc.), Williams was much more convincing as a Mohawk-ed punker. (by Greg Prato)

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Personnel:
Wes Beech (guitar)
Michael Ray (guitar, background vocals)
Greg Smith (bass, background vocals)
T.C. Tolliver (drums)
Wendy O. Williams (vocals)

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Tracklist:
01. Hoy Hey (Live To Rock) (Ray/Swenson) 3.47
02. Pedal To The Metal (Ray/Smith/Swenson) 3.29
03. Goin’ Wild (Ray/Swenson) 4.13
04. Ain’t None Of Your Business (live) (Simmons/Carr/Vincent) 5.36
05. Party (Beech/Swenson) 3.38
06. Jailbait (Kilmister/Taylor/Clarke) 3.25
07. Bad Girl (Bunyard/Beech/Swenson) 3.36
08. Fight For The Right (Ray/Swenson) 3.11
09. (Work That Muscle) F*ck That Booty (Ray/Swenson) 3.31

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Wendy Orlean Williams (28 May 1949 – 6 April 1998)

Cause of death‎: ‎Suicide by gunshot

Her suicide note regarding her decision:

I don’t believe that people should take their own lives without deep and thoughtful reflection over a considerable period of time. I do believe strongly, however, that the right to do so is one of the most fundamental rights that anyone in a free society should have. For me, much of the world makes no sense, but my feelings about what I am doing ring loud and clear to an inner ear and a place where there is no self, only calm.

Dr Feelgood – Mad Man Blues (1986)

FrontCover1.JPGDr. Feelgood are an English pub rock band formed in 1971. Hailing from Canvey Island, Essex, the group are best known for early singles such as “She Does It Right”, “Roxette”, “Back in the Night” and “Milk and Alcohol” . The group’s original distinctively British R&B sound was centred on Wilko Johnson’s choppy guitar style. Along with Johnson, the original band line-up included singer Lee Brilleaux and the rhythm section of John B. Sparks, known as “Sparko”, on bass guitar and John Martin, known as “The Big Figure”, on drums. Although their most commercially productive years were the early to mid-1970s, and in spite of Brilleaux’s death in 1994 of lymphoma, a version of the band (featuring none of the original members) continues to tour and record to this day. (by wikipedia)

1985 was bringing in some musical surprises, some of them good, some not so, but with the advent of the musical video, things were all about the “forward look,” so it goes without saying that many great rock n’ roll bands, bands who should have been receiving countless amounts of air time, saw none. You can count Dr. Feelgood in that category of “none,” and that’s a loss this world will never bounce back from.

There are people out there who are gonna tell you that Dr. Feelgood was a working man’s R&B, Rockin’ Blues band, and while that’s sort of true, it’s like saying that Gram Parsons was a working man. Gram wasn’t any more a working man then Dr. Feelgood, the Doctor [or should I say Doctors] had no choice, the music was in them, and if it didn’t get out, they were gonna explode … which is pretty much what happened whenever the took the stage. You need to feel this music, you need to turn the speakers up loud … that “Blown Away Guy” sitting in the Le Corbusier armed chair facing a JBL L100 speaker for the Maxell tape ad back in the 70’s, well hands down he was listin’ to Dr. Feelgood for sure.

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Go ahead, dismiss this album if you wish, wave off this review if you must … but just for one minute, open any window in your house and take a listen to what’s blasting from mine, and you might just change your thinking. And that’s a fact, Jack! (streetmouse)

Lee Brilleaux and Dr. Feelgood sound positively revitalized on Mad Man Blues, a collection of raw versions of blues standards that is their best album since 1977’s Be Seeing You. (by Stephen Thomas Erlewine)

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Personnel:
Lee Brilleaux (guitar, harmonica, slide-guitar, vocals)
Phil H. Mitchell (bass, vocals)
Kevin Morris (drums, percussion, background vocals)
Gordon Russell (guitar)

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Tracklist:
01. Dust My Broom (James) 2.57
02. Something You Got (Cropper/Floyd) 2.40
03. Dimples (Hooker) 2.59
04. Living On The Highway (Nix/Russell) 3.37
05. Tore Down (King) 2.41
06. Mad Man Blues (Hooker) 2.25
07. I’ve Got News For You (Brilleaux/Morris/Russell/Vernon) 3.57
08. My Babe (Dixon) 2.23
09. Can’t Find The Lady (Wallis) 3.31
10. Rock Me Baby (Bihari/King) 4.30

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Lee Brilleaux

Lee Brilleaux (born Lee John Collinson, 10 May 1952 – 7 April 1994)

Larry Carlton – Alone/But Never Alone (1986)

FrontCover1.jpgLarry Eugene Carlton (born March 2, 1948) is an American guitarist who built his career as a studio musician in the 1970s and ’80s for acts such as Steely Dan and Joni Mitchell. He has participated in thousands of recording sessions, recorded on hundreds of albums in many genres, for television and movies, and on more than 100 gold records. He has been a member of the jazz fusion groups The Crusaders and Fourplay and has maintained a long solo career. (by wikipedia)

One of the few smooth jazz artists of the ’80s to make music that’s simultaneously melodically substantial and sonically contemplative, Larry Carlton hit a career high on 1986’s Alone/But Never Alone. Playing only acoustic guitar (with electric bass, drums, and synthesizers on most tracks), Carlton neatly sidesteps the twin pitfalls of new age mush and smooth jazz showboating, playing neatly phrased, well-thought solo lines against a variety of melodic and rhythmic backgrounds.

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The acoustic focus gives the album a timeless quality, even though a few tracks feature synthesizer lines that betray their mid-’80s origins, and the obviously spiritual quality of the music (song titles include not only the higher-power-oriented title track, but “Smiles and Smiles to Go” and “Perfect Peace,” and the centerpiece track is an instrumental setting of a common tune for “The Lord’s Prayer”) is becalming without being drippy or pillow-soft. This is not an album that will change the mind of those dead-set against smooth jazz, but it’s a small masterpiece of the genre. (by Stewart Mason)

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Personnel:
Larry Carlton (guitar, bass, keyboards)
Michael Fisher (percussion)
Abraham Laboriel (bass on 01., 05. + 07.)
Rick Marotta (drums)
Terry Trotter (keyboards on 05. + 08., synthesizer on 01.)

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Tracklist:
01. Smiles And Smiles To Go (Carlton) 5.48
02. Perfect Peace (Carlton) 4.28
03. Carrying You (Carlton) 4.00
04. The Lord’s Prayer (Malotte) 5.10
05. High Steppin’ (Carlton) 5.44
06. Whatever Happens (Withers/Carlton) 4.28
07. Pure Delight (Carlton) 5.33
08. Alone/But Never Alone (Carlton) 3.34

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Marc Johnson – Bass Desires (1986)

LPFrontCover1Bass Desires is a 1985 studio album by jazz bassist Marc Johnson released on the ECM label.

The pairing of electric guitarists Bill Frisell and John Scofield had to be one of the most auspicious since John McLaughlin and Carlos Santana. Acoustic bassist Marc Johnson’s stroke of genius in bringing the two together on Bass Desires resulted in a sound that demonstrated both compatibility between the guitarists and the distinctiveness of the two when heard in combination. Add drummer Peter Erskine and you had a bona fide supergroup, albeit in retrospect a short-lived one, before Frisell and Scofield would establish their own substantial careers as leaders. The guitarists revealed symmetry, spaciousness, and a soaring stance, buoyed by the simplicity of their rhythm mates. This is immediately achieved on the introductory track, “Samurai Hee-Haw,” as hummable, head-swimming, and memorable a melody as there ever has been, and a definite signature sound. A perfect country & eastern fusion, the guitarists lope along on wafting white clouds of resonant twang, singing to themselves while also playing stinging notes, supported by the insistent two-note funk of Johnson and the rolling thunder of Erskine.

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The title track is a one-note ostinato from the bassist with a popping, driven drum rhythm and the guitars more unified in their lines, but broadening their individualistic voices. The light reggae funk of “Mojo Highway” sounds more conversational and jam-like, while “Thanks Again” is a relaxed, unforced waltz, again eschewing Asian-Missouri folkloric alchemy fired by Frisell’s wah-wah and Scofield’s stairstep strums. Ethereal and effusive sky church inflections lead to loose associations, especially from Frisell’s moon-walking guitar synthesizer on “A Wishing Doll.” There are three covers: a take on Elmer Bernstein’s “A Wishing Doll;” “Resolution,” the second movement from John Coltrane’s A Love Supreme suite, with a more spiky bass and spacy lead melody played only once; and the standard “Black Is the Color of My True Love’s Hair,” floating and eerie, held together by silk and lace threads. One of two Bass Desires albums, this debut has stood the test of time — it is priceless, timeless, and still far from being dated. (by Michael G. Nastos)

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Personnel:
Peter Erskine (drums)
Bill Frisell (guitar, guitar synthesizer)
Marc Johnson (bass)
John Scofield (guitar)

Tracklist:
01. Samurai Hee-Haw (Johnson) 7.45
02. Resolution (Coltrane) 10.31
03. Black Is the Color of My True Love’s Hair (Traditional) 7.10
04. Bass Desires (Erskine) 6.12
05. A Wishing Doll (Bernstein/David) 6.17
“Mojo Highway” (Johnson) – 8:44
“Thanks Again” (Scofield) – 7:15

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Sting – Bring On The Night (1986)

FrontCover1.jpgBring on the Night is a 1986 live album by Sting recorded over the course of several live shows in 1985 and released in 1986. The title is taken from a song by The Police from their 1979 album Reggatta de Blanc. The songs performed include Sting’s early solo material from the studio album The Dream of the Blue Turtles, and from his time with The Police, with a few of the performances played as medleys of the two. The touring band features the prominent jazz musicians Branford Marsalis, Darryl Jones, Kenny Kirkland, and Omar Hakim.

Despite not featuring any hit singles, the album reached number 16 on the UK Album Charts[3] and won Sting a Grammy Award in 1988 for Best Pop Vocal Performance, Male.

Bring on the Night is also a 1985 documentary directed by Michael Apted covering the formative stages of Sting’s solo career—released as DVD in 2005. (by wikipedia)

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Sting really got carried away with the idea that his supporting crew for Dream of the Blue Turtles was a real jazz band, and technically, he was kind of right. He did pluck them straight out of Wynton Marsalis’ backing band (thereby angering Wynton and emboldening his anti-rock stance, while flaring up a sibling rivalry between the trumpeter and his saxophonist brother Branford — a veritable hat trick, that), and since he was initially a jazz bassist, it seemed like a good fit. At the very least, it seemed like a monumental occasion because he documented the entire development of the band and making of Dream with a documentary called Bring on the Night, releasing a double live album as its soundtrack just a year after the debut hit the stores. This could be called hubris (and it will be called that here), especially because the appearance of the live album feels like a way of showcasing Sting’s jazz band and jazz chops. Most of the songs run around five minutes long and there are no less than three medleys, two of which marry an old Police number with a tune from Dream. Arriving as a second solo album, it can’t help but feel a little unnecessary, even if the loose, rather infectious performances show what Sting was trying to achieve with his debut. Even so, this is a record for the cult, and while it will satisfy them, to others it will seem like, well, hubris. (by Stephen Thomas Erlewine)

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Personnel:
Omar Hakim (drums, background vocals, electronic percussion)
Darryl Jones (bass)
Kenny Kirkland (keyboards)
Branford Marsalis (saxophone, clarinet, rap, percussion)
Sting (bass, guitar, vocals, keyboards)
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background vocals:
Janice Pendarvis – Dolette McDonald

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Tracklist:

CD 1:
01. Bring On the Night/When the World Is Running Down, You Make the Best of What’s Still Around (Sting) 11.46
02. Consider Me Gone (Sting) 4.52
03. Low Life (Sting) 4.07
04. We Work The Black Seam (Sting) 7.01
05. Driven To Tears (Sting) 6.59
06. Dream Of The Blue Turtles/Demolition Man (Sting) 5.55

CD 2:
01. One World (Not Three)/Love Is The Seventh Wave (Sting)  11.13
02. Moon Over Bourbon Street (Sting)  4.25
03. I Burn For You (Sting) 5.26
04. Another Day (Sting) 4.45
05. Children’s Crusade (Sting) 5.30
06. Down So Long (Atkins/Lenoir) 4.37
07. Tea In The Sahara (Sting) 6.26

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Various Artists – NPR New Year’s Jazz Concert (1986/1987)

FrontCover1.jpgNational Public Radio (usually shortened to NPR, stylized as npr) is an American privately and publicly funded non-profit membership media organization based in Washington, D.C. NPR differs from other non-profit membership media organizations, such as AP, in that it was established by an act of Congress  and most of its member stations are owned by government entities (often public universities). It serves as a national syndicator to a network of over 1,000 public radio stations in the United States.

NPR produces and distributes news and cultural programming. Individual public radio stations are not required to broadcast all NPR programs; most broadcast a mix of NPR programs, content from American Public Media, Public Radio International, Public Radio Exchange and WNYC Studios, and locally produced programs. The organisation’s flagship shows are two drive-time news broadcasts, Morning Edition and the afternoon All Things Considered; both are carried by most NPR member stations, and are among the most popular radio programs in the country. As of March 2018, the drive time programs attract an audience of 14.9 million and 14.7 million respectively.

NPR manages the Public Radio Satellite System, which distributes NPR programs and other programming from independent producers and networks such as American Public Media and Public Radio International. Its content is also available on-demand online, on mobile networks, and, in many cases, as podcasts. (by wikipedia)

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And here´s their New Years live concerts 1986/87 with a lot of great Jazz musicians… look to personnel section in this entry.

I can´t imagine a better way to start this year (except the classical New Years concerts in Vienna) !

Recorded ive at The Caravan of Dreams, Fort Worh, Texas and Donte’s Jazz Club, North Hollywood, Los Angeles, CA. December 31, 1986 – January 1, 1987.
Very good WBUR-FM Boston/NPR broadcast.

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Personnel:

Nat Adderley’s BeBop All-Stars (CD 1):
Nat Adderley (trumpet)
Gail Allen (vocals)
Walter Booker (bass)
Jimmy Cobb (drums)
Junior Cook (saxophone)
Sonny Fortune (saxophone)
Bertha Hope (piano)

Jazz Allstar Ensemble (CD 2):
Chuck Berghofer (bass)
Dick Berk (drums)
Herb Ellis (guitar)
Plas Johnson (saxophone)
Jack Sheldon (trumpet)
Joanie Sommers (vocals)
Ross Tompkins (piano)
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Dave MacKay (piano on 09.)

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Tracklist:

CD 1: Nat Adderley’s BeBop All-Stars: Live at the Caravan of Dreams, Forth Worth:
01. I Must Try to Make the Girl Love Me 7.36
02. Book’s Bossa 15.18
03. intro 1.07
04. Corporate Ladder 4.39
05. DJ talk 1.33
06. What’s a Nice Guy Like You 3.32
07. intro 0.24
08. Nieta  6.34
09. My Funny Valentine 7.26

CD 2: Jazz Allstar Ensemble: Live at Donte’s Jazz Club, Los Angeles:
01. Intro 0.31
02. Slow Walkin’ Blues 6.55
03. intro/Secret Love 4.32
04. intro 1.57
05. Beginning to See the Light [Duke Ellington et al] 4.12
06. Things Ain’t What They Used To Be 8.37
07. I’ll Walk Alone 9.33
08. intro 1.04
09. Medley (including Lush Life) 8.53

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Otis Rush (& Friends) – Live At Montreux (1986)

FrontCover1.jpgOtis Rush Jr. (April 29, 1935 – September 29, 2018) was an American blues guitarist and singer-songwriter. His distinctive guitar style featured a slow-burning sound and long bent notes. With qualities similar to the styles of other 1950s artists Magic Sam and Buddy Guy, his sound became known as West Side Chicago blues and was an influence on many musicians, including Michael Bloomfield, Peter Green and Eric Clapton.

Rush was left-handed and strummed with his left hand while fretting with his right. However, his guitars were strung with the low E string at the bottom, in reverse or upside-down to typical guitarists. He often played with the little finger of his pick hand curled under the low E for positioning. It is widely believed that this contributed to his distinctive sound. He had a wide-ranging, powerful tenor voice.

The son of Julia Campbell Boyd and Otis C. Rush, he was born near Philadelphia, Mississippi, in 1935.

Rush moved to Chicago, Illinois, in 1949 and after being inspired by Muddy Waters made a name for himself playing in blues clubs on the South and West Side of the city. From 1956 to 1958, he recorded for independent label Cobra Records and released eight singles, some featuring Ike Turner or Jody Williams on guitar. His first single, “I Can’t Quit You Baby”, in 1956 reached number 6 on the Billboard R&B chart. During his tenure with Cobra, he recorded some of his best-known songs, such as “Double Trouble” and “All Your Love (I Miss Loving).”

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Cobra Records went bankrupt in 1959, and Rush signed a recording contract with Chess Records in 1960. He recorded eight tracks for the label, four of which were released on two singles that year. Six tracks, including the two singles, were later included on the album Door to Door in 1969, a compilation also featuring Chess recordings by Albert King. Rush went into the studio for Duke Records in 1962, but only one single, “Homework” backed with “I Have to Laugh”, was issued by the label. It was also released in Great Britain as Vocalion VP9260 in 1963. In 1965, he recorded for Vanguard; these recordings are included on the label’s compilation album Chicago/The Blues/Today! Vol. 2. Rush began playing in other cities in the United States and in Europe during the 1960s, notably with the American Folk Blues Festival.

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In 1969, his album Mourning in the Morning was released by Cotillion Records. Recorded at the FAME Studios in Muscle Shoals, Alabama, the album was produced by Michael Bloomfield and Nick Gravenites (then of the band Electric Flag). The sound incorporated soul music and rock, a new direction for Rush.

Otis Rush04In 1971, Rush recorded the album Right Place, Wrong Time in San Francisco for Capitol Records, but Capitol did not release it. The album was finally issued in 1976, when Rush purchased the master from Capitol and had it released by P-Vine Records in Japan. Bullfrog Records released it in the United States soon after. The album has since gained a reputation as one of his best works. He also released some albums for Delmark Records and for Sonet Records in Europe during the 1970s, but by the end of the decade he had stopped performing and recording.

Rush made a comeback in 1985 with a U.S. tour and the release of a live album, Tops, recorded at the San Francisco Blues Festival.

He released Ain’t Enough Comin’ In in 1994, his first studio album in 16 years.[3][6] Any Place I’m Goin’ followed in 1998, and he earned his first Grammy Award for Best Traditional Blues Album in 1999. Rush did not record a new studio album after 1998 but he continued to tour and perform until 2003, when he suffered a stroke. In 2002, he was featured on the Bo Diddley tribute album Hey Bo Diddley – A Tribute!, performing the song “I’m a Man”, produced by Carla Olson. Rush’s 2006 album Live…and in Concert from San Francisco, a live recording from 1999, was released by Blues Express Records. Video footage of the same show was released on the DVD Live Part 1 in 2003.

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In June 2016, Rush made a rare appearance at the Chicago Blues Festival in Grant Park. Chicago Mayor Rahm Emmanuel honored Rush’s appearance by declaring June 12 to be Otis Rush Day in Chicago. Due to his ongoing health problems Rush was unable to play, but celebrated on the sidelines with his family who stood around him.

Rush was elected to the Blues Hall of Fame in 1984.

In 2015, Rolling Stone ranked Rush number 53 on its 100 Greatest Guitarists list.

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The Jazz Foundation of America honored Rush with a Lifetime Achievement Award on April 20, 2018 “for a lifetime of genius and leaving an indelible mark in the world of blues and the universal language of music.”

Rush’s death on September 29, 2018, from complications arising from his stroke in 2003, was announced on his website by his wife Masaki.

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Gregg Parker, CEO and a founder of the Chicago Blues Museum said of Rush: “He was one of the last great blues guitar heroes. He was an electric god”. Writing in The New York Times, Bill Friskics-Warren said, “A richly emotive singer and a guitarist of great skill and imagination, Mr. Rush was in the vanguard of a small circle of late-1950s innovators, including Buddy Guy and Magic Sam, whose music, steeped in R&B, heralded a new era for Chicago blues.” (by wikipedia)

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And here´s an exciting performance at the Montreux Jazz Festival:

Southpaw guitarist Otis Rush made his debut in 1956 with a cover of Willie Dixon’s “I Can’t Quit You Baby”, charting his first Top Ten R&B hit. Over the course of his 50-year career, Rush has established himself as one of the premiere bluesmen on the Chicago circuit.

Often credited with being one of the architects of the West side guitar style, Rush’s esteemed status as a prime Chicago innovator is eternally assured by his trademark sound. Blues fans have said that his combination of ringing, vibrato-enhanced guitar work with an intense vocal delivery is powerful enough to force the hair on the backs of their necks upwards in silent salute.

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Otis Rush Live At Montreux 1986 features the Chicago blues legend at his spine-tingling best. For his first appearance at the Montreux Festival, Rush is joined on stage by fellow blues stars Eric Clapton and Luther Allison for a truly special show. The DVD features nearly an hour-and-a-half of performances of Rush classics, including “All Your Love (I Miss Loving)”, “Double Trouble” and many more. (amazon review)

This 1986 concert by Otis Rush was the first of four appeances that the legendary bluesman has made at the Montreux Festival to date. This particular night turned out to be a very special one when he was joined on stage by first Eric Clapton and then Luther Allison as they rockedtheir way through a set of Otis Rush classics and blues standards in a truly unforgettable performance.

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Personnel:
Fred Barnes (bass)
Professor Eddie Lusk (vocals, keyboards)
Anthony Palmer (guitar)
Otis Rush (guitar, vocals)
Eddie Turner (drums)
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Luther Allison (guitar, vocals on 12.)
Eric Clapton (guitar, vocals on 09. – 12.)

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Tracklist:
01. Tops (Rush) 4.37
02. I Wonder Why (Will My Man Be Home Tonight) (London) 7.09
03. Lonely Man (Campbell) 4.28
04. Gambler’s Blues (B.B.King/Pate) 8.58
05. Natural Ball (A.King) 5.37
06. Right Place, Wrong Time (Rush) 6.09
07. Mean Old World (Walker) 5.19
08. You Don’t Love Me (Cobb) 3.45
09. Crosscut Saw (Ford) 7.05
10. Double Trouble (Rush) 5.11
11. All Your Love (I Miss Loving) (Rush) 7.07
12. Every Day I Have The Blues (Chatman) 9.07

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Otis Rush Jr. (April 29, 1935 – September 29, 2018)
RIP and … thanks a lot !!!