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|Eric Clapton - One More Car One More Rider
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Brand: WEA-DES MOINES VIDEO
Eric Clapton performs some of his classic tracks live on location at the Staples Center in Los Angeles.
|Fever For The Bayou
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In truth, Benoit is one of the hottest properties on the contemporary blues scene. His latest Telarc release, 'Fever for the Bayou', embodies the rich history and multicultural spirit of the Louisiana Delta-the small corner of the world that spawned some of the greatest music ever made. 2005.
Houma homeboy Tab Benoit may have snuck up on some blues fans, but his status as the best and brightest of modern Louisiana bluesmen is now too obvious for any to ignore. His swamp-saturated sound and incisive Telecaster attack, also heard on the Whiskey Store and Whiskey Store Live dueling-guitar albums with Jimmy Thackery, easily personalizes classics, such as Elmore James's "I Can't Hold Out," featured here with saxist Jimmy Carpenter. But Benoit's at his best with the bayou beat. As on 2003's The Sea Saint Sessions, Benoit spotlights the musical heritage of New Orleans by using two guest vocalists who are Crescent City icons: Mardi Gras Indian "Big Chief" Monk Boudreaux and dynastic percussionist/vocalist/composer Cyrille Neville. Boudreaux vocally parades through "Golden Crown" at a fittingly funky Mardi Gras tempo, while Neville provides two songs: the percussion-embellished "Little Girl Blues" and the history lesson "The Blues Is Here to Stay," on which he vocally duets with Benoit between some of the album's best guitar work.
Buddy Guy's "I Smell a Rat" is the album's longest track as Benoit, beginning with a tasty intro, takes his most extended guitar workout, conjuring up a late-night blues club feel in the process. Benoit also contributes three originals, including the zydeco-tinged title track, an anthem of Cajun pride that serves him well as a signature song. Also his is the swamp stomper "Night Train," the album opener. At the other end is a surprise finale, a sublime front-porch, finger-picking acoustic rendition of "My Bucket's Got a Hole in It". --Michael Point
|From the Cradle
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Certified at 3 million units by the RIAA. (3/95)
The full-tilt blues album that Clapton had been promising for years, From the Cradle proves the guitarist's enduring devotion to a form he had long relegated to merely a flavor in his music rather than the main ingredient. Clapton's singing on the album is somewhat mannered; he tries to compete with original versions of these songs by Muddy Waters, Charles Brown, and others, and there's no way he's going to win that battle. Still, you can feel the emotional connection Clapton has with these songs, and guitar aficionados will swoon over his fretwork on songs such as "Third Degree," "Someday After a While," and the incendiary "Groanin' the Blues." --Daniel Durchholz
- Eric Clapton - From The Craddle Brazil Import
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NEW Combo BLUWAVS CD and FLAC FILE
|The Definitive Collection
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Robert Cray was widely anointed as a blues savior early on, and it would be hard to imagine a better candidate for the job. Since beginning his recording career in 1980, the versatile singer/ guitarist has consistently demonstrated the raw talent to carry the electric blues tradition forward, as well as the flexibility and artistic vision to expand the form. Both a subtly soulful singer and a sublime guitarist with a knack for concise, expressive solos, Cray played a crucial role in popularizing the blues for new generations of rock-weaned listeners. This collection includes the legendary Blues guitarists 16 career-spanning hits.
|Bad News Is Coming [Remastered]
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One of the greatest modern electric blues albums of the 1970's.
Roots music wasn't exactly a hot prospect in 1972, which might be why the blistering guitar-centered blues on Luther Allison's debut record didn't garner the respect it deserved at the time. Though it's unfortunate that he's no longer around to appreciate it, it's good to see that Allison is finally being recognized for the Chicago West Side master that he was, as a single spin of Bad News Is Coming surely enough proves. Things get started with a hard-stompin', guitar-squealin' rendition of the classic Willie Dixon tune "Little Red Rooster," followed up with the riff-rooted "Evil Is Going On," also by Dixon. Another standout is the title track, a slow, moody piece with a perfectly bittersweet inflection. Then there's the considerably upbeat version of "Dust My Broom," which manages to dust off a hoary standard and make it sound brand-spanking-new, all while showing off guitar pyrotechnics worthy of Jimi Hendrix. This issue of Allison's debut also includes some worthy tracks that weren't on the original release. All four merit a listen, but particular attention should be paid to Allison's take on Freddy King's classic instrumental "The Stumble," which also features some admirable piano courtesy of Paul White. --Genevieve Williams
|Stevie Ray Vaughan and Double Trouble - Live at Montreux 1982 & 1985
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By the summer of 1982, Stevie Ray Vaughan, desparately searching for his big break, was asked to play "Blues Night" at the annual Montreux Jazz Festival in Montreux, Switzerland. Stevie put on a fiery performance - full of future SRV classics like "Pride
If you have even a passing interest in Stevie Ray Vaughan's peerless mastery of urban blues guitar, you must own Live at Montreux 1982 & 1985. Spaced almost exactly three years apart, these concerts (60 and 93 minutes, respectively) represent the Texan blues god at his fiery best, with Double Trouble (drummer Chris Layton and bassist Tommy Shannon) laying the solid foundation upon which SRV built a Fender-driven sound as fierce as it was perfectly refined. The '82 show was truly "success in disguise," because despite booing from a festival audience lulled by a day of acoustic blues, and the stunned dejection that SRV felt after persevering through a uncompromising set, this was the turning point in SRV's career, leading to post-show encounters with Jackson Browne and David Bowie, who proved instrumental in bringing Stevie's music to an appreciative global audience.
When Stevie, Chris, and Tommy returned to Switzerland three years later, with organist Reese Wynans adding rich new dimension to the Double Trouble sound, the Montreux crowd was primed for a rip-snorting set, and SRV's jubilant response is a joyous thing to witness. One of SRV's favorite bluesmen, Johnny Copeland, appears for a three-song triumph in a set that's uniformly superior and ecstatically energized. Basic three-camera coverage is all you need, although guitar students--for whom this DVD is a godsend--will surely wish for more emphasis on SRV's picking and fretwork. Recording quality is superb in the Montreux tradition, with 5.1-channel remixes that surpass the original masters. A splendid 23-minute documentary features retrospective interviews with Layton, Shannon, Browne, and John Mayer, and the accompanying booklet includes a heartfelt reminiscence from Bowie. Stevie Ray may be gone, but Live at Montreux ensures that his gold-standard legacy will endure. --Jeff Shannon
|The Best Of Taj Mahal
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includes live tracks
Taj Mahal's been chasing the blues around the world for years, but rarely with the passion, energy, and clarity he brought to his first three albums. Taj Mahal, The Natch'l Blues and The Real Thing are the sound of the artist, who was born in 1942, defining himself and his music. On his self-titled 1967 debut, he not only honors the sound of the Delta masters with his driving National steel guitar and hard vocal shout, but ladles in elements of rock and country with the help of guitarists Ry Cooder and the late Jessie Ed Davis. This approach is reinforced and broadened by The Natch'l Blues. What's most striking is Mahal's way of making even the oldest themes sound as if they're part of a new era. Not just through the vigor of his playing--relentlessly propulsive, yet stripped down compared with the six-string ornamentations of the original masters of country blues--but through his singing, which possesses a knowing insouciance distinct to post-Woodstock counterculture hipsters. It's the voice of an informed young man who knows he's offering something deep to an equally hip and receptive audience.
Soon, Mahal turned his multicultural vision of the blues even further outward. The live 1971 set, The Real Thing, finds him still carrying the Mississippi torch, while adding overt elements of jazz and Afro-Caribbean music to its flame. But it's overreaching. His band sounds under-rehearsed, and the arrangements seem more like rough outlines. Nonetheless, these albums set the stage for Mahal's career. (For a condensed version, try the fine The Best of Taj Mahal.) Today, he continues to make fine fusion albums, like 1999's Kulanjan, with Malian kora master Toumani Diabate, and less exciting but still eclectic recordings with his Phantom Blues Band. --Ted Drozdowski
|The Definitive Collection
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Blues, R&B and country have laid claim to Delbert-who wouldn't want such a soulful singer on their team? This four-decade retrospective has his hits I Received a Letter (Delbert & Glen) and Giving It Up for Your Love plus Take It Easy; You Were Never Mine ; his harmonica debut on Bruce Channel's Hey Baby 22 tracks!
Lowest new price: $5.14
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Brand: King, Albert
In Session by Albert King, Stevie Ray Vaughan
When sold by Amazon.com, this product will be manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.
Recorded for a television program of the same name back in 1983, In Session bills itself as the only known recording of Stevie Ray Vaughan and Albert King, who was Vaughan's idol and mentor, playing together. That leads to some heavy expectations, which fortunately aren't disappointed, at least if you aren't expecting the customary over-the-top performances Vaughan was famous for. His playing here is much more laid-back and controlled, which is actually a recommendation--the stylistic similarities between teacher and student are that much more pronounced. The songs are mostly King concert staples, with the exception of "Pride and Joy"; highlights include the T-Bone Walker classic "Call It Stormy Monday" and one of King's own, "Overall Junction," which features some excellent guitar solo work. The snippets of recorded conversation between songs are interesting curiosities as well. --Genevieve Williams
- Albert King & Stevie Ray Vaughan - In Session
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