Lou Rawls has had a long and commercially successful career mostly singing soul, R&B, and pop music. Originally a gospel singer, Rawls' first album as a leader features him performing soulful standards backed by the Les McCann Trio. Few of the songs have been under-recorded through the years, but they sound fresh and lively when sung by Rawls; highlights include "Stormy Monday," "In the Evening," and "I'd Rather Drink Muddy Water." Pianist McCann gets a generous amount of solo space, and the reissue has three bonus tracks. This is still Rawls' definitive recording in the jazz idiom, cut before he went on to more lucrative areas.
This is a great collection of rare and hard to find tunes compiled by Jeffrey Glenn. Hundreds of odds & ends by little known groups, famous singers, and famous singers before they became famous.
Recorded live at the New Daisy Theater with Bland's regular working road band, this captures him in fine form, bringing together old favorites with some other numbers for a heady blend. When called for, the old Joe Scott heavy horn-laden arrangements are summoned up on tunes like "St. James Infirmary," "Farther on Up the Road," "That's the Way Love Is," "I Pity the Fool," and "I'll Take Care of You" with consummate ease. But even more telling is how effortlessly and seamlessly material like Buddy Ace's "Love of Mine," "Members Only," "Soon as the Weather Breaks," and Bill Withers' "Ain't No Sunshine" and "Get Your Money Where You Spend Your Time" meshes with the old standbys. A lengthy slow blues medley brings guest appearances from Johnnie Taylor and Bobby Rush on "Stormy Monday," but the real star here is Bland himself. He's in good voice and good humor, and this makes a fine addition to his stack of latter-day recordings.
The Blue Jukebox is the twentieth studio album by Chris Rea, released in 2004. The cover artwork is inspired by Edward Hopper's Nighthawks painting.
Soul/blues singer whose style is characterized by a gritty, impassioned vocal style and precise, textured guitar playing.He may not be a household name, but die-hard blues fans know Little Milton as a superb all-around electric bluesman – a soulful singer, an evocative guitarist, an accomplished songwriter, and a skillful bandleader. He's often compared to the legendary B.B. King – as well as Bobby "Blue" Bland – for the way his signature style combines soul, blues, and R&B, a mixture that helped make him one of the biggest-selling bluesmen of the '60s (even if he's not as well-remembered as King). As time progressed, his music grew more and more orchestrated, with strings and horns galore. He maintained a steadily active recording career all the way from his 1953 debut on Sam Phillips' legendary Sun label, with his stunning longevity including notable stints at Chess (where he found his greatest commercial success), Stax, and Malaco.
An early jazz singer with a sweet voice, Mildred Bailey balanced a good deal of popular success with a hot jazz-slanted career that saw her billed as Mrs. Swing (her husband, Red Norvo, was Mr. Swing). Born Mildred Rinker in Washington state in 1907, Bailey began performing at an early age, playing piano and singing in movie theaters during the early '20s. By 1925, she was the headlining act at a club in Hollywood, doing a mixture of pop, early jazz tunes, and vaudeville standards. Influenced by Ethel Waters, Bessie Smith, and Connie Boswell, she developed a soft, swinging delivery that pleased all kinds of nightclub audiences in the area. After sending a demonstration disc in to Paul Whiteman in 1929, she gained a spot with one of the most popular dance orchestras of the day…