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Freddie King - Tore Down
One of the best!
He & Marty owe each other a lot, cap.
Got it cap.
I'll watch it this morning
Trade for 16 Persuasions
Live in The Whispering Gallery?
'talkin' about his old man.
From what I recall,
she had little nice to say about Beyonce, particularly
for not letting her sing her classic composition, At Last, in the movie that
Beyonce produced and starred in as Etta.
Charles Brown - Please Come Home For Christmas
Yes, she did. She was a co-writer;
Beyonce cashed in many years later.
Etta James - I'd Rather Go Blind
I think it's a deserving list,
for a change.
Honestly man, I appreciated his song writing.
I must have played Brown Eyed Girl a thousand times in a hundred bars.
But as a student of the instrument, it's my considered opinion that he cldn't play
the saxophone worth a shit!
(No disrespect intended)
Ooops! I don't hear it in
that recording but it must be his line 'cause Conn never rode that bus line
I always imagined V.M. waiting in the Port Authority Bus Terminal on 8th Ave.
Update! He says he got it from a bootleg.
I always loved the "Mick's" reference
to the Adirondack Trails Bus Line. On his way to Woodstock, no doubt.
aw shucks, myth.
Here's another "cover" from that same session
Good, Myth......
you pass.
I never saw him again. RIP.
I'm told there's a documentary floating around about him.
He always labored under the fact that he replaced Little Walter in Muddy's band, IMO.
I was very fortunate to have played with him once, and to have him in the studio was a tremendous
treat. At the end of that recording, as he was entering the control room, he can be heard saying "Play
that one back for me!"
You're TOO kind! At the time (1984),
Cotton was signed to Alligator Records.For contractual reasons,
I had to give him a pseudonym,which was "Jack Rabbit Ears."
About 15 years later, I saw a fellow in the Miami airport wearing an
Alligator Records jacket. I assumed it was Bruce Iglauer, the owner of the label.
I went up to him and after a brief introduction, I confessed what I'd done.
He snickered, and without saying much more, said he "understood."
Yeah, cap, it goes back like rockin' chairs!
It's been covered by lots of people, including me.
Bonamassa's ten guitar players we should know better
https://www.loudersound.com/features/10-unsung-guitar-heroes
Charles Brown - Driftin Blues
Back then Boulder had a very active
music scene. Proximity to Jim Guercio's Caribou Ranch brought lots
of stars into the bars and restaurants after they were done for the day recording.
Kenny Passarelli was a local bass player in town when Elton John put out an urgent call for someone
to play on one of his recordings at the "Ranch." He was brought up there, and incredibly was playing
with Elton a couple of weeks later at The Hollywood Bowl!
I had a number of opportunities to work there, myself, owing to Jimmy's kindness. On
occasion he referred some lesser acts to me, for which I was very grateful.
Sadly, the studio, being 5 miles from the volunteer fire dept in Nederland, was a victim of
what some suggested was "immaculate lightning," when it burned to the ground before
the firemen could get there.
Howard Tate - Get It While You Can
We lived in Boulder
at the same time. He's talented on a few instruments.
It was a wild place, back then. If I'm not mistaken, he & Tommy Bolin
were in Zephyr together.
Now THERE was a guitar player. Poor Tommy
was a victim of fame & jealousy.
https://www.loudersound.com/features/the-high-times-and-fast-life-of-tommy-bolin
Yeah, they tossed him
out of his role at the R&R Hall of Fame.
Jim Pepper - Comin' & Goin'
Elmore James - The Sky Is Cryin'
Otis Redding - That's How Strong My Love Is
No. There was NO crowd.
Our band had done one of these live radio broadcasts two weeks prior.
There wasn't a concert audience per se, but some of us had been invited to attend Johnny's performance.
I doubt I was sitting more that 20 feet from his piano, Little Esther, Shuggie & a pisser of a band!
I was VERY fortunate to see
"The Johnny Otis Show" in 1971. A few of us
had front row seats at a live broadcast by KFML in Denver.
Seeing those lifelong professionals play was inspirational and revealing to me.
In the burgeoning hippy era of "it's all cool" i.e. undisciplined, I was reminded of what I'd
seen when I was 17 at The Apollo Theater. Looking and acting "professional" creates the gap between
audience and showmen that makes for a greater entertainment experience, IMO.
Yeah nelson.....
when Blues was a lifestyle,
and not just a genre.
John Coltrane - Naima
The back story on Rock Steady
No doubt many of you are familiar with Criteria Recording Studios in Miami.
It was there that Aretha Franklin's classic album "Young Gifted & Black," was recorded
for Atlantic Records.
Jerry Wexler had assembled several of NY's finest musicians to accompany the Queen of Soul for these sessions.
Among them was guitarist Cornell Dupree and the dynamic rhythm combination of Bernard Purdie & Chuck Rainey.
Aretha was the piano player and Billy Preston played the Hammond B-3.
The musicians were assembled and sound checked by Gene Paul, who was the son of Les Paul, and served as Tom Dowd's
assistant engineer. Wexler & Dowd had yet to arrive, and to warm things up Aretha introduced some lyrics to the players and they
started to create the template for what was to become "Rock Steady." By the time the two Atlantic honchos arrived, the band had
created and recorded what today is known as the basic track for that classic.
After hearing the playback, Wexler thought of it as a demo that they were now going to cut as a master with his right hand man, Dowd at the board.
From my own experience I can honestly say that many times the first take or even the initial take to get recording levels of a song surpasses in spirit
the following attempts at creating the finished track. That was exactly the case with Rock Steady. After a number of tries It was decided that the track recorded
by the band & Aretha surpassed what the great producer & engineer could do to improve it..
Thelonious Monk - Crepuscule With Nellie
I really don't know dookie doo
about guitar makers, but Paul Reed Smith is a well respected name
among my friends.
Aretha Franklin - Rock Steady
I made my first recording with him
in 1978. Many since.
Keep learnin' cap.
Yes, I've seen that one.
He's done a lot of these interviews and despite the
many nuances in his career, the interviewers always seem to ask the same questions.
He & I did a three camera interview at DW Drums some years ago for their "Drum Channel"
subscription service. The focus, obviously, was to have Chuck talk about drummers and how he
related to them. It was a lot of fun and he told some interesting tales.
I have the almost three hours of audio, but I was never able to unpack the video file they sent me.
Just as well because I was 30 pounds over weight then, and it didn't play well on the tape, IMO!
Yoko's Japanese Restaurant
is several blocks from my house in Southeast Portland. It's a gem of a neighborhood spot for dinner, and it has become somewhat of a destination for fanciers of fresh, high quality sushi. My friend, Chuck Rainey was staying with me for a few days while we were recording locally, and on several occasions we enjoyed walking down the hill to eat there. We had just concluded our meal. I was putting on my jacket, and Chuck had gone to the rest room. A woman who'd been seated at a nearby table with a gentleman got up and approached me. "Pardon me," she said, "but is the man who was sitting with you a musician?" "He is," I replied, wondering where this might be going. "Is he Chuck Rainey; the bass player?" "Yes, he is," I told her. " My God, you have no idea what this means to my husband," and turning to the table where he was seated, she said "You're right, it's him." "We're just now returning from my husband's father's funeral in Oregon City. Tom is a bass player, and Chuck is his idol! He has followed his career closely and you have no idea what it would mean to him to be able to say hello." I asked her name and when Chuck returned, I introduced them. By this time her husband had joined us. I suggested we go outside, and after settling their check, we left as a group.
Every time I get to this part of the story I begin to tear-up, and it becomes difficult, for a moment at least, to continue. I stepped away from where they were standing on the sidewalk. The convergence of these events; her story about the funeral, the dinner, and the remarkable chance meeting that I was observing was a very emotional experience. Certainly, the conversation was about their shared instrument, but more than that, I saw this fellow go from profound sadness to a moment of pure elation.When they parted, Chuck and I walked back up the hill. Undoubtedly affected by the experience, I chose not to inquire what they talked about. We were both silent, reflecting on what had just happened at this unexpected place and moment. It remains a vivid memory for me
Dwight Yoakam - Alright, I'm Wrong