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John Hammond, Jr. - Live In Greece CD Cover Art
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John Hammond, Jr Live In Greece CD

 John Hammond, Jr Discography of CDs

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Bluesman John Hammond Jr. has a recording career that is now stretching into its fifth decade, which started in 1963 with his Vanguard debut. This set is drawn from the concerts given by Hammond at the Orfeas Cinema in Athens, Greece, on the 18th, 19th,

Recording information: Orfeas Cinema, Athens, Greece (02/18/1983-02/20/1983).
Live In Greece Music


Detailed Live In Greece Music Information



List Price $17.99 (You save $2.24)
Category Rock/Pop Albums, Jazz CDs, Blues, Live Performances, Contemporary Blues
Label Dynamic
Orig Year 2006
All Time Sales Rank   166075  
CD Universe Part number 7257584
Discs 1
Release Date Sep 19, 2006
Studio/Live Live
Mono/Stereo Stereo
John Hammond, Jr Live In Greece Songs


John Hammond, Jr Live In Greece Album Track Listing



1.Honest I Do
2.Statesboro Blues
3.No Money Down
4.Steady Rolling Man
5.Spoonful
6.Big Star Falling or Taint Long for Day
7.You Can't Judge a Book by Looking at the Cover
8.See That My Grave Is Kept Clean
9.Tell Me Mama
10.Low Down Dog Blues
11.Who Do You Love
Live In Greece Music


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Covers Ray Charles & B.Dylan + Classic Blues Covers+2 Originl Personnel: John Hammond (vocals, guitar, harmonica); Marty Ballou (double bass, bass guitar); Stephen Hodges (drums, percussion).
John Hammond, Jr. fell in love with country blues in the early '60s, and he has never shaken it out of his system. Over time he has developed into a gritty guitar and harp player, and while his voice still feels like someone imitating a rustic Southern blues singer rather than actually being one (Hammond is a lifetime New Yorker, after all), he has learned to temper the hoarse overstatement in his vocals to some degree -- or maybe, after 40-plus years of albums, listeners have just gotten used to his delivery. In Your Arms Again finds Hammond working in a trio format with bassist Marty ...

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On PUSH COMES TO SHOVE, the 33rd album from this veteran bluesman, John Hammond updates his sound a bit by teaming with hip-hop/blues/pop artist G. Love. G. Love produces and contributes several songs to the album, which fit nicely alongside Hammond's originals and covers of tunes by Junior Wells and Little Walter. Yet G. Love's presence doesn't dilute Hammond's classic sound--quite the contrary. Taken mostly from live-in-the-studio performances, PUSH COMES TO SHOVE has a raw, fierce, and hard-grooving sound, placing it among Hammond's most exciting and vital releases.
John Hammond has been releasing records for over 40 years. He's stayed stubbornly true to his vision of the blues for the entire run. Some of those recordings have, understandably, been better than others, but as a live performer -- whether playing in a roadhouse or on a festival stage -- he's burned the house down. Unfortunately for him, that fiery wandering spirit has not always been captured on tape. That said, Hammond rings in 2007 with Push Comes to Shove, an album of originals and covers done his own way, recorded with his traveling band that includes bassist Marty Ballou, pianist/organist Bruce Katz, and drummer Stephen Hodges. There is a new twist in the offing, however. His producer this time out is someone who gets it. In Garrett Dutton (aka G. Love), Hammond has found the ...

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Complete Sessions 1971-72 gathers together all of Fraternity's recordings, most of which feature Bon Scott, who would later gain fame as the lead singer of AC/DC. Fans of that hard-rocking group will be disappointed if looking to find kindred spirits here though, as Fraternity was a hippie band inspired by rock of the prog, country, and boogie variety. And while Scott's vocal is unmistakable, there is a vibrato present that was ultimately shaved off for the stripped-down AC/DC. Oftentimes Fraternity sounds like a group unable to decide if they wanted to be the next Procol Harum or Australia's version of the Band, resulting in an unusual hybrid of prog rock and country-rock. They would also delve into the blues on occasion, which is when the closest comparisons to AC/DC can be made. This double-disc collection also includes Fraternity's first single (recorded before Scott joined), previously unreleased tracks, and two excerpts from Bon Scott radio interviews conducted during the late '70s. ~ Bart Bealmear Before he found his way into AC/DC in 1974, Bon had been the lead vocalist with two leading Australian bands. The first, dispensing crisp bubble-pop, was The Valentines. The second, turning out expansive, intriguing, underground ...
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Wynonie Harris' masculine brand of jump-blues has long been a favorite with blues & R&B collectors, as well as the jive dance fraternity. This 26 track release is devoted to his 1950s King recordings (with the majority new to CD), and features the big R& Personnel includes: Wynonie Harris, Syd Nathan.
Includes liner notes by Tony Collins.
This is a companion disc to Ace's earlier compilation, Women, Whiskey and Fish Tails, and likewise hones in on his 1950s output for King Records, the 26 tracks hailing from 1951-1957. Though the early part of that stretch found him continuing to land some R&B smashes with "Lovin' Machine" and his cover of Hank Penny's "Bloodshot Eyes" (both included on the disc), generally it marked the point at which he began his absence from the charts. Actually there's not much difference between this body of work and his salad days, other than the lack of many obvious hits from the git-go like "Good Rockin' Tonight." Harris' problem was that his brand of jump blues-cum-R&B had itself passed its peak, though he continued to be one of its best practitioners. This isn't recommended for those who just want one or two Harris anthologies; his most well-known sides from the late '40s, like "Good Rockin' Tonight," are not represented, and Rhino's Bloodshot Eyes best-of collection takes a chronologically wider and more selective view of his top work. Also, to be honest, Harris worked the same approaches over and over, and it's too much at once if mid-20th century jump blues/R&B isn't your main dish. All that said, it's a good roundup of sides that aren't ...

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