| | George Thorogood Bad To The Bone CD George Thorogood Discography of CDs
(1 Customer Review)
George Thorogood's first album for a major label became his commercial breakthrough precisely because it was business as usual. Again, it's a brash, rowdy take on the blues that owes as much to '60s garage bands and punk as it does to Muddy Waters. That connection is made particularly explicit here via a stomping take on the Human Beinz' '60s punk classic "Nobody But Me," itself a radical deconstruction of the Isely Brothers' original.
The title tune, of course, has become Hollywood's leading signifier of a character's toughness--pretty funny if you've ever seen the transparently goofy Thorogood mugging his way through the song on MTV. Elsewhere on the album, he renders buzz-saw homage to Chuck Berry and John Lee Hooker. But the album's most interesting moment comes on the sleazy sounding, dirge-like "As the Years Go Passing By." The group suddenly recalls John Lennon's one-time backing band, Elephants Memory, which had cut its musical teeth playing in strip joints--and sounded like it.
George Thoroughgood first released BAD TO THE BONE in 1982. The disc was his major label debut, but little had changed from his previous approach: the album was still full of the straight-ahead hard-hitting blues-based rock his following had come to expect. Not surprisingly, little about that approach has changed in the decades following, which is one of the reasons the 2007 reissue still sounds relevant. The sound of his band, the Destroyers, can still peel paint, and the covers of Albert King, Jimmy Reed, and John Lee Hooker are full of bar-band bravado. Naturally, the title track, which has grown into an FM radio classic over the years, still shines, as does Thoroughgood's stinging slide work.
Personnel: George Thorogood (vocals, guitar); Hank Carter (saxophone); Jeff Simon (drums).
George Thorogood Bad To The Bone Songs | 1. | Back to Wentzville |
| 2. | Blue Highway |
| 3. | Nobody But Me |
| 4. | It's a Sin |
| 5. | New Boogie Chillun |
| 6. | Bad to the Bone |
| 7. | Miss Luann |
| 8. | As the Years Go Passing By |
| 9. | No Particular Place to Go |
| 10. | Wanted Man |
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| | Dan Penn Do Right Man CD (1994)
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$6.09 In an age of wretched excess, listening to DO RIGHT MAN is like receiving a postcard from a long lost friend. A legendary figure from the golden age of soul who first emerged in the late '50s, Dan Penn is best known as a songwriter, having penned such classics as "Cry Like A Baby," "I'm Your Puppet" and "Do Right Woman, Do Right Man." Here, on ten superb arrangements, Dan Penn demonstrates that there's a world of difference between celebrating sensuality and writing something truly sexy, between dropping beats and laying down a collective groove, between screaming histrionics and subtle, soulful expression.
Penn's voice is a gruff malleable instrument, capable of tremendous emotional twists and turns, but it's the depth of his sincerity that stands out on confessional tunes such as "Cry Like A Man," "It Tears Me Up" and "You Left The Water Running." And on ...
| | Lou Ann Barton Read My Lips CD (1989)
Bad To The Bone album
$10.79 Lou Ann Barton didn't have the best of luck in her early career. Incongruously signed to a major label for 1982's Old Enough, she delivered a fine debut that was utterly out of step with the times. Shunted to a tiny indie in her adopted hometown of Austin, she recorded 1986's oddly poppy Forbidden Tones, an album of John Hiatt and Beatles covers that recalled Marti Jones' albums from the same period; it was a fine record, but it was a complete stylistic aberration. Barton returned to her blues-rock roots for 1989's Read My Lips. Cutting out the synthesizers and pop gloss of Forbidden Tones for a more traditional sound and recording with longtime friends like the Fabulous Thunderbirds' Kim Wilson and Jimmie Vaughan, Barton delivers ...
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| | Suzanne Langille 1987-1989 CD (2000)
Bad To The Bone music CDs
$12.15 Principally recorded at Mica Bunker Studios, New York, New York between 1987 and 1989. Includes liner notes by Suzanne Langille and Loren Mazzacane Connors.
This collection of blues, gospel, folk, and even rock standards (Chuck Berry's "In the Wee Hours") is actually a compilation of material from live gigs, a track from the In Pittsburgh album, and various other home-studio recordings and live gigs. They have several things in common: First, they are all from a period where Loren Mazzacane Connors returned to playing music after a four-year hiatus and discovered the electric guitar as the means for his expression -- though he hadn't yet abandoned the acoustic entirely -- and second, before he discovered his now-trademark multi-tracking system of performance. Third is that this disc is a complete collaboration between Suzanne Langille and Connors. Each musician has a trademark style and a way of slowing things to a near dead stop, and filling it with a maximum emotional tension. Take, for example, the pair's reading of Berry's tune: Langille turned the fire down so low that the simmer is barely visible. But each word, each syllable, is enunciated in such a sensual, smoky way that the tune becomes a potboiler. Connors covers her with a blanket of singled-out notes and sparse phrasing that would never have occurred to Berry in a million years. In other words, they make the tune a different song. In their reading of Jimmie Rodgers' "TB Blues," Connors takes his time winding the tune into a recognizable melody. He plays with it, stretching time and traditional blues harmony, and allowing other things to fall into the cracks. He drifts and drones ...
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