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The 20 tracks on GOOD MORNING BLUES mostly date from the relatively early days of Huddie "Leadbelly" Ledbetter's professional career, after the mid-'30s Library of Congress recordings that made his name. Though he's been primarily thought of as a blues player, Leadbelly from the beginning fused acoustic Delta blues with traditional folk music, jazz, and then-current pop, creating something entirely unique in the process. Besides the well-known title track, GOOD MORNING BLUES features such Leadbelly standouts as his hit "Goodnight Irene," the trad-folk "Gallis Pole," the guitar showcase "Rock Island Line," and the pointedly political anti-racist "Bourgeois Blues." There are many multi-volume Leadbelly retrospectives, but for a good one-disc introduction to one of the 20th century's most unique artists, GOOD MORNING BLUES is tough to beat.
Includes liner notes by Les Fancourt. Leadbelly Good Morning Blues Songs Good Morning Blues Review
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Purchase Good Morning Blues CD To buy, Click on price to add to cart | Blues Breakers With Eric Clapton CD (1966) Gold
Good Morning Blues album
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John Mayall & The Bluesbreakers: John Mayall (vocals, piano, organ, harmonica); Eric Clapton (vocals, guitar); John McVie (bass); Hughie Flint (drums).
Includes original release ...
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| | Joe Bonamassa Blues Deluxe CD (2003)
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As the electric guitar ace Joe Bonamassa was so strongly inspired by blues and blues-oriented six-stringers (i.e., Clapton, ...
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| | Johnny Winter Still Alive And Well CD (1973)
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You might mistake this for a live record, but this is actually a 1973 studio release by the Texas blues guitar master. Winter's first release after a brief retirement/drying-out period, STILL ALIVE AND WELL, from the title on down, has the feeling of a major comeback, although Winter really hadn't been gone for very long. Looking hale and hearty on the cover--or as hale and hearty as a rail-thin albino can look, anyway--Winter sounds equally fit on the songs themselves. Produced by his longtime collaborator Rick Derringer, who also leads the tight and flashy band with his rhythm and second lead playing, the album is possibly the most pop-oriented release of Winter's tenure at Columbia. The band, which features Todd Rundgren on synthesizers and Mellotron (on a Johnny Winter album???) and Rundgren's associate Mark "Moogy" Klingman on piano, is probably mostly responsible for this, but Winter's amiable versions of the Stones' "Silver Train" and "Let It Bleed," along ...
| | Buddy's Baddest: The Best Of Buddy Guy CD (1999)
Good Morning Blues CD music
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In 1991 Buddy Guy teamed up with Silvertone Records, doubtless hoping for a piece of the action being enjoyed by John Lee Hooker following his career-reviving THE HEALER. Featuring a crack selection of backing musicians, DAMN RIGHT, I'VE GOT THE BLUES was liberally spiced with big name rock artists. The formula worked and Buddy Guy won many new fans. On the next two albums, FEELS LIKE RAIN and SLIPPIN' IN, the heavy friends were gradually phased out in favour of fine ensemble work.
Tellingly, of the four tracks chosen from DAMN RIGHT, only "Mustang Sally" has a stellar contribution (from Jeff Beck). The three songs selected from FEELS LIKE RAIN include the lovely title track, written by John Hiatt and featuring Bonnie Raitt on slide guitar. SLIPPIN IN' benefited from the presence of veteran pianist Johnnie Johnson, who also crops up on "My Time After Awhile" from LIVE! THE REAL DEAL. A fourth studio set HEAVY LOVE yields "Midnight Train," a mid-pace scorcher on which Guy and guest Jonny Lang trade guitar ...
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| | Redd Holt Other Side Of The Moon CD (1975) Import
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This 1975 slab by drummer Redd Holt was his second outing after the disintegration of the Young-Holt Unlimited rhythm team. Tighter and more adventurous than Isaac, Isaac, Isaac, its predecessor, Holt goes for the heart of rhythm here, letting it flower over the top of all the other arrangements. As a way of signifying this, he opens the set with a short but deeply funky and soulful rendition of Bob Marley's "I Shot the Sheriff." With less than two-and-a-half minutes of clock time, it's get out and go or nothing and Holt makes his tom-toms pop like snares, keeping only the slamming guitaristry of Randy Ford on top with him. Elsewhere, as on "Gimme Some Mo," Holt intertwines with keyboardist Eugene Curry to allow bassist Jose Holmes to cut the groove fast and deep, popping it all over the sonic spectrum like Bootsy Collins but with more finesse. One of the album's standouts is the spaced-out jazz-funk of the title track, with Curry's B-3 offering huge chords that are vamped on by Holt, who carries the beat into the stratosphere and is responded to by some truly inspired single-string playing from Ford. The phase shifters on the drums are a bit annoying and date the track and the album, but it's a small complaint with music that's this hot. There's also a bit of smooth Latin groove on "Tica Chita" and a killer cover of Billy ...
| | Supersystem Always Never Again CD (2005)
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Formerly El Guapo on Dischord Records, Supersystem offers up electro-dance-funk on Always Never Again, their debut full length on Touch & Go Records. Where El Guapo explored the areas of free jazz and post-rock leanings, Supersystem dives into the depths of electronic beats and keyboards with talk-rap rants with some organics attached. The first half of Always Never Again seems to lean more toward extended electro-dance tracks, laying down a heavy dance vibe with steady repetitive parts. The last half of the record is where Supersystem seems to hit their stride and let the musicians flex their ...
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| | Righteous Brothers Silver Collection CD (2008)
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| | Disney 25 Anniversary CD (2008) (Import)
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