Blues Encore

Blues Interaction - Live In Japan 1986 Is a 1986 live album by blues singer and guitarist Otis Rush. Recorded with local Japanese band Break Down, the album has been panned by many critics because of what was considered to be the backing band's rudimentary knowledge of blues music.[citation needed] Ironically, Rush has dual citizenship in the United States and Japan.[citation needed] His current wife is a native of the country. Originally the album was released in Japan only by P-Vine Records but was subsequently released in 1996 in the United Kingdom by Sequel Records.

Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today. Few major postwar blues guitarists come to mind that don't owe T-Bone Walker an unpayable debt of gratitude. B.B. King has long cited him as a primary influence, marveling at Walker's penchant for holding the body of his guitar outward while he played it. Gatemouth Brown, Pee Wee Crayton, Goree Carter, Pete Mayes, and a wealth of other prominent Texas-bred axemen came stylistically right out of Walker during the late '40s and early '50s.

Recorded live between 1973 & 1976. The title of this CD should actually be called "Steve Miller Band Live". As for the quality of these live performances, they aren't bad, and credit should be given for the inclusion of early Miller material like "Going to Mexico," "Going to the Country,"and "Seasons," making this of interest to Miller fans.

Stingingly sweet slide guitar and barrelhouse piano come to life on this spontaneously authentic and passionate recording from these seasoned blues veterans. "This recording contains thirteen of those songs just as they sounded that Sunday when they were recorded live at Mojo Boneyard Studios. This is how the band sounds at any number of clubs in and around the Pittsburgh area. These are all first takes and a fair representation of the energy and spontaneous creativity that the band exhibits when we’re swinging out in the clubs. I had a good time making music with these fine musicians and I'm glad we captured some of it on this recording. It’s been a long time comin" ~ Jimmy Adler

An outstanding artiste on the Chicago musical scene, Carey, in addition to guiding his sons Lurrie, Steve and James towards the blues, did not fossilise his style into the urban one, but often enjoyed leaving the electric cage to perform acoustically in a duo. Although the results have been late in arriving, in spite of the occasional presence of famous musicians such as Louisiana Red, everything has changed after the issue of this CD. First of all the work is almost free of the usual standards, with the exception of ‘'Good Morning Little Schoolgirl’’ and ‘Stop Breaking Down’, and the parts between Bell and the guitarist/singer Spike Ravenswood (a linear and expressive partner, without instrumental egocentricities which are useless in the economy of work), are equally divided…

The Moody Blues classic 1967 album Days Of Future Passed is regarded as one of the foundation stones of the progressive rock genre. In 2017, the band headed out on the album's 50th Anniversary Tour including the wonderful show captured at the Sony Centre For The Performing Arts in Toronto accompanied by a full orchestra. The concert begins with the band by themselves performing a selection of classic Moody Blues tracks before they are joined by the orchestra to perform Days Of Future Passed in its entirety plus a couple of fantastic encore tracks. This is without doubt the definitive live version of this much loved album and will be treasured by fans of The Moody Blues for years to come.

This highly touted vocalist/guitarist originally hails from Ottawa, Canada, although her home base shifted to Austin, Texas, when she signed with Antone's Records and cut her debut set, Young Girl Blues, in 1992 (an encore, Without a Warning, quickly followed). Foley's wicked lead guitar makes her a rarity among blueswomen. When she was a child in Ottawa, Foley listened to rock & roll and blues-rock groups like the Rolling Stones. Although these bands sowed the seeds of her affection for the blues, her love for the music didn't blossom until she witnessed James Cotton in concert when she was 15 years old. Cotton inspired Foley to pick up the electric guitar. During her late teens and early twenties, she jammed with local Ottawa bar bands. She didn't form her own group until she moved to Vancouver in the mid-'80s.

An integral member of the nonpareil Muddy Waters band of the 1950s and '60s, pianist Otis Spann took his sweet time in launching a full-fledged solo career. But his own discography is a satisfying one nonetheless, offering ample proof as to why so many aficionados considered him then and now Chicago's leading post-war blues pianist.

Back before the electric guitar became the primary focal instrument of the blues, two-fisted piano players dominated the genre, and record companies flocked to record them. Chess Records was no exception, and this two-disc, 45-track anthology shines the spotlight on four of the best who ever sat on the piano stool at the Chess studios. The first disc begins with 20 tracks from Eddie Boyd (eight of them previously unissued in the U.S.), full of introspective reflection and the darkest of moods. Kicking off with one of his big hits, "24 Hours," and the dourness of Boyd's work reaches epic proportions on tunes like "I Began to Sing the Blues," "Third Degree," and "Blues for Baby," the latter featuring stellar jazz guitar runs and chordal work from Robert Jr. Lockwood…