| | Boogie Woogie Vol. 3 CD - Import
third and final issue in the series w. Will Bradley, Bob Crosby, Tommy Dorsey, Woody Herman, Teddy Powell, Bob Zurke. Gene Krupa+, 21 tracks, 1937-44
Liner Note Author: Paul Pelletier.
Recording information: Chicago IL (1937-1944); New York City NY (1937-1944); Southgate CA (1937-1944). Boogie Woogie Vol. 3 Music Boogie Woogie Vol. 3 Songs Boogie Woogie Vol. 3 Review
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Liner Note Author: Jeff Hannusch.
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Also available in a 3-pack with SECOND WINTER and CAPTURED LIVE.
Among white blues singers of the 1960s, there were some who studied the music so intently they amazed even the genre's creators with their technical mastery. A select few, however, seemed to be born oozing authenticity, sounding just as soulful as the greatest black bluesmen while forging a completely new sound. Johnny Winter belonged in the second category. A long-haired hippie albino, he astounded initially skeptical listeners with his Howlin' Wolf-like vocals and wild Johnny Guitar Watson-esque guitar stylings. THE WOODSTOCK EXPERIENCE showcases Winter's first taste of national exposure, first with his 1969 self-titled debut album, and then with his set at the ...
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The companion piece to director Tony Palmer's documentary of the same name, Irish Tour 1974 was recorded ...
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On These Chains, renowned instrumentalist Tony Furtado has turned the tables on his own career. Long heralded as one of the finest banjoists progressive bluegrass ever spawned, and highly regarded for his inventive, dizzying, slide guitar playing as well, he's added "singer/songwriter" to his resume on this set. Sure, he's written songs before, and he's no stranger to singing. But until now, Furtado has been regarded primarily as an instrumentalist who indulged other muses. Furtado wrote nine of the 13 tracks here, and collaborated on three others. In addition, there is only one instrumental on the record. Producer and bassist Dusty Wakeman (Lucinda Williams, Dwight Yoakam) assembled a smoking band for the sessions, including drummer Jim Christie, Skip Edwards on keyboards, drummer/percussionist Michael Tempo of the Bonedaddys, and Williams' guitarist Doug Pettibone. Vocalist Gia Ciambotti from Badly Drawn Boy adds backing touches here, as do Kat Maslich and Peter Adams from Eastmountainsouth. The number of styles here is dizzying. The set opens with the title track, a burning electric blues rocker. The cut time shuffle and snarling blend of electric and acoustic guitars underscores the protagonist's tale of terror and darkness. Furtado's banjo enters the fray on "Good Stuff," a rumbling, bass heavy rocker that walks the line between country, bluegrass, and explosive hard rock. But there are introspective moments here too, such as the beautiful "Standing in the Rain," a collaboration with Jules Shear. Driven by an organic weave of acoustic and electric guitars, it's a vulnerable testament of acceptance and redemption wrapped in a love song. "The Prisoner," written with NRBQ's Al Anderson, is a simple, moving country tune; it's wide open and sunny and moving and could be covered by virtually any of the hat kids on CMT, but the restless soul in Furtado's and Anderson's tune is captured in the singer's yearning tenor. The album closes with a moving version of Bob Dylan's "One Too Many Mornings." ...
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