Otis Rush - I Can't Quit You Baby: The Complete Cobra Sessions CD

I Can't Quit You Baby: The Complete Cobra Sessions CD music It's taken Sam Myers fully 50 years to make his first solo album. But he's no stranger to either stage or studio, having worked with Elmore James and Anson Funderburgh. For his debut he's assembled a top-notch band, led by guitarist Mel Brown, to work not so much behind him as with him. Brown is a standout as an accompanist, offering wonderful decoration to "I Got the Blues" and "Burning Fire." But understandably, it's Myers who's the star of the show, and his driving harmonica playing carries its own momentum, as on his version of Rice Miller's "Ninety Nine." But there's also a very pleasing grit to his singing, whether on the slow and deeply soulful"After Hours When the Joint Is Closed," or "Waitin' On Your Mama," which could have come directly from the Chicago school of blues. It might have taken him five decades to get to this, but from the music on the disc, not a single minute was wasted. ~ Chris Nickson Blues legend Sam Myers got a second chance at the brass ring, and he's happily made the most of it. As frontman for Anson Funderburgh & the Rockets, the legally blind Myers's booming voice and succinct harp work have enjoyed a higher profile recently tha Liner Note Author: Andrew Galloway. Recording information: Liquid, Toronto, Ontario, Canada (01/12/2004-01/14/2004). Photographer: Gary Collver. Personnel: Sam Myers (vocals, harmonica); Sam Myers; Alec Fraser (acoustic bass, electric bass); Alex Fraser (bass guitar); Mel Brown (guitar, piano); Jack de Keyzer (guitar); Pat Carey (saxophone); Michael Fonfara (piano, ...

I Can't Quit You Baby: The Complete Cobra Sessions album for sale You could say that Chris Beard likes to play guitar -- the nine minutes of fretboard pyrotechnics that make up the opening "Born to Play the Blues" make that all too apparent. This is a full-on electric blues (mostly) live disc, full of scintillating lead guitar (check out the inspired "Tribute to Luther Allison"), backed by a top-notch band, whose players also get a good workout, like keyboardist Alan Murphy on "It's About Time." But the inevitable focus is on Beard's massive skills. He's a good singer, if not outstanding, but he's a dynamic, inventive guitarist who seems to be at his happiest when dazzling an audience. Those cuts have an immediacy and energy that's missing on the three final studio tracks -- even the aching "Lock My Dreams," where he makes his guitar cry, lacks that energy. Having already established his reputation with his previous work, Beard cements his stature with this record, and sets himself up to take a place among the contemporary blues guitar greats. ~ Chris Nickson Liner Note Author: Art Tipaldi. Recording information: Blues At The Mall, Grand Rapids, MI; Kingston Mines, Chicago, IL; Memories And Music, Village Gate, Rochester, NY. Photographer: Jennifer Taylor. Personnel: Chris Beard (vocals, guitar); Chris Beard; Steve Grills, Brother Wilson (guitar); Quinn Lawrence (horns); George Snell (keyboards); Darren Robinson, Tony Jackson, Marvin Parker (bass guitar); Buddy Honeycutt (drums); Alan Murphy (keyboards). Audio Mixers: Chris Beard; David Lawrence.

I Can't Quit You Baby: The Complete Cobra Sessions buy CD music Before it finally saw the light of day, this 1976 album had to undergo some overdubbing touchups a full decade later that replaced certain guitar tracks with Pinetop Perkins's keyboards. Not the best way to make an album, but the results are nevertheless pretty decent, as Butler dishes up a set of his own material, a couple of Willie Dixon copyrights, and Lightnin' Slim's "Rooster Blues." ~ Bill Dahl Principally recorded at The Music Factory Ltd., Mequon, Wisconsin on June 2, 1976 and PS Recording Studio, Chicago, Illinois on June 4, 1976. Includes liner notes by Geoffrey Himes. Personnel: George "Wild Child" Butler (vocals, harmonica); Sammy Lawhorn (guitars); Lee Thomas "Earnest" Johnson (electric bass); Nate Applewhite (drums). Personnel: George "Wild Child" Butler (vocals, harmonica); Sammy Lawhorn, Joe Kelly, Joe Zaklan, Wild Boar Moore, Jimmy Rogers (guitar); Pinetop Perkins (piano); Lee Thomas "Earnest" Johnson, Aaron Burton (bass); Nate Applewhite, Sam Lay (drums).

I Can't Quit You Baby: The Complete Cobra Sessions songs A quick listen to Turquoise with no knowledge of their background will surely bring two names immediately to mind: the Kinks and the Who. So, it should be no surprise that Turquoise were not only influenced by their British peers but were close associates, friends of Ray and Dave Davies, produced by Dave for their first demos -- when the band was still known as "the Brood" -- and produced by Keith Moon and John Entwistle for their second round of pre-professional recordings. Turquoise released two singles for Decca in 1968 before disbanding and those two singles, like much British pop-psych, earned them a cult of some size, eventually leading to Rev-Ola's 2006 release of The Further Adventures of Flossie Fillett: The Complete Recordings which collects both sides of those two singles -- "53 Summer Street"/"The Tales of Flossie Fillett" and "Woodstock"/"Saynia" -- along with all the other demos, unreleased cuts and alternate takes the group left behind. More than any other band from the late '60s, Turquoise modeled themselves after mid-period Kinks, circa Something Else and Village Green Preservation Society to the extent that singer/songwriter Jeff Peters (who wrote almost all of the band's recorded work, usually in collaboration with Ewan Stephens) even penned his own tune called "Village Green." Like the Kinks, Turquoise were distinctly, defiantly British in subject matter and approach -- among their unreleased items is a knees-up stomp-along called "Sunday Best" reminiscent of the Small Faces (and oddly prescient of Blur's "Sunday Sunday") -- often sounding fey and campy yet managing to stay away from being overtly twee, and even if their melodies could sigh and swirl in psychedelic colors, they never were that trippy: they were grounded by acoustic guitars that jangled like Ray Davies' on Something Else and they had ragged harmonies and a pop sense reminiscent of the brothers Davies. And when Turquoise broke free of the Kinks -- as on the absolutely terrific "Woodstock" which barrels forward on a moddish Motown beat and has a wicked Dylan impression on the chorus -- they're quite terrific, but when they were close to the Kinks, which they were for most of their career, they're merely good, even if not especially memorable. But for fans of British pop of the '60s that was obsessed with being British -- whether that means the Kinks, the Small Faces, mod-era Who or parts of the Move -- The Further Adventures of Flossie Fillett provides just enough unheard gems to be worthwhile. ~ Stephen Thomas Erlewine 2010 collection that brings together every surviving recording made by The Brood and Turquoise between 1966 and 1969, including a virtual album's worth of prime 1968 Pop in a Kinks/Who/Small Faces/Move style as well as alternate versions and demos. Includes the much-loved singles '53 Summer Street', 'Tales Of Flossie Fillett', 'Woodstock' and 'Saynia'. Features liner notes by noted Psych/Apple authority Stefan Granados and brand new in-depth interview material with Turquoise main man Jeff Peters. Rev-Ola. Liner Note Authors: Stefan Granadoe; Stefan Granados.

I Can't Quit You Baby: The Complete Cobra Sessions buy CD music Recorded live at the Marquee, London, England in 1967. Includes liner notes by Bob Brunning. Recorded in the same hall where fellow British blues act John Mayall recorded his own live record, Peter Green's Fleetwood Mac's LIVE AT THE MARQUEE features 12 tunes that were standard in Fleetwood Mac's set at the time. Howlin' Wolf's driving "No Place To Go," Sonny Boy Williamson's "My Baby's Sweet"--which features some terrific slide guitar playing--and a rousing version of Robert Johnson's "Dust My Broom" (re-titled "Dust My Blues" on this recording) are all played with grit, passion, and energy. LIVE AT THE MARQUEE also includes three of Green's compositions, "Watch Out for Me Woman," "Looking for Somebody," and the slow-burning "Evil Woman Blues," which showcases Green an Jeremy Spencer's astounding guitar abilities. While Green and Spencer would eventually part ways, recordings such as this one should help re-establish the belief among the band's fans that, in their earlier years, Fleetwood Mac's dual guitar sound was as powerful as any white blues band--including the Rolling Stones of that same era. While the recording quality is solid but unremarkable, the performances on LIVE AT THE MARQUEE are first-rate. Recorded live at The Marquee Club, London, England. Fleetwood Mac: Peter Green (vocals, guitar, harmonica); Jeremy Spencer (vocals, guitar); Bob Brunning (bass); Mick Fleetwood (drums, percussion). Personnel: Peter Green (vocals, guitar, harmonica); Jeremy Spencer (vocals, guitar); Bob Brunning (electric bass); Mick Fleetwood (drums). Liner Note Author: Dave Thompson. Recording information: Marquee Club, London, England. Arranger: Elmore James.

I Can't Quit You Baby: The Complete Cobra Sessions songs This is a 1999 album by French singer and pianist Veronique Sanson, in memory to the late songwriter Michel Berger. 1999 album from French pianist/diva Veronique Sanson who pays a tribute to the late singer Michel Berger covering his most beautiful songs.

I Can't Quit You Baby: The Complete Cobra Sessions album for sale A letter to you, the LISTENER: During the last 2 years, I have spent a good portion of my time here on Earth preparing for what you have in your hands. And for 2 days in June of 2008, I got together with Tigran, Harvie, Tyshawn, and the staff at the recording studio to document the music. Sal Mormando and I mixed the music in August; in September, I finally mastered it and Tim Song designed the album cover. Now, it is time for you, the listener to be a part of the musical process. This piece of work will come alive and the process completed only with you listening AND HEARING it! This artistic experience has fulfilled me greatly as a human being. I hope it prompts you on your own journey, where we can meet as souls again and again. The album is titled "Modes of Limited Transcendence" and is dedicated to all who strive to transcend the "horrors of humanity" and to live a heroic and magical life in spite of it all. A great philosopher said "we all live in the same horror but some of us are looking up". Indeed, this is very true. "Ryo's First Flight" - This piece was written for my son. As I have seen him grow and strive to become a vibrant and beautiful 5 year old, it is my humble Thank You to him. He has brought so much happiness and wonder to both my wife and myself. "Discovery in Three" - Discovery has been a constant in my life. I find it immensely satisfying to discover new things I did not know, musical and otherwise. I am very drawn to physics, philosophy, electricity, math, music, astronomy, and everything to do with human spirituality and the quest that is required of the individual. "Trance Chant" - The main theme is a 12-tone row. For the musically inclined, you will hear how the "chant" swings from major to minor. Most of the music is in 7 meter and for me, it creates a trance-like drive with the piano motif/pattern. I wrote this thinking no matter what your beliefs may be, spirituality is an important part to transcendence. "Art of Nothingness" - Nothing is everything. Everything is nothing. "Hero to Wizard" - Nowadays, becoming a "hero" is accepted as the epitome of greatness. I believe this to be an infantile stage of thought; we need to evolve beyond just being great on an individual level. Hence, the wizard. To make ourselves able to help others and make magical things happen for others. To help heroes become wizards! Be the "Yoda" instead of "Luke", know what I mean? "Messiaen Shuffle" - This piece is in both 4 and 5 simultaneously. A blues type of music with some interesting "sounds" surrounding it. Dedicated to Olivier Messiaen. "Gagaku Dreams" - Gagaku is the Japanese classical music performed in Imperial Courts. It literally means "elegant music". One night I dreamt that I was to perform with my jazz group along with an ensemble of Gagaku musicians. So here it is, my take on my Japanese heritage and music in 2008. "Sufficient Reason" - My musical expression of the "principle of sufficient reason," to which great thinkers like Gottfried Leibniz have made great contributions. It tries to answer the question "why it should be rather than not be". Love, learning, spirituality, knowledge, evolution, fellow men, dreams/other world, reason. These are the 8 modes I have depicted musically as I continue on my path. I call it "Modes of Limited Transcendence" as I think full transcendence is only attained when we cross to the other side whenever/wherever that may be for all of us. Finally, thank you for listening. Gene Ess9/21/2008 Queens, NYC "The artist alone sees spirits. But after he has told of their appearing to him, everybody sees them." ~ Johann Wolfgang von Goethe

I Can't Quit You Baby: The Complete Cobra Sessions CD music Track Listing of songs: Happy Birthday Princess; It's Your Birthday; Way To Bake, The; Belle's Adventure; Musical Chairs; Ariel's Sing Along Song: the Crab Song; Mulan's Trip; My Birthday Wish; [Cd-Rom Track];

I Can't Quit You Baby: The Complete Cobra Sessions buy CD music Track Listing of songs: Gamme; Two For Funk; Lovesong For Ka; Fritze Blues; Indian Love Call; Like Don; Preuaische Elegie; Shuffle To Wh; Es Fiel Ein Reif; Lament For J. B.; La Paloma;