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블루스 명곡모음 앨범 전곡듣기 Feel the Blues Vol.Ⅴ-1
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[참 조] ▒ ▒ ▒ Freddie King - Biography ▒ ▒ ▒ |
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Getting Ready...[1971년] |
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1 Same Old Blues 3:57 
2 Dust My Broom 3:10
3 Worried Life Blues 2:50
4 Five Long Years 4:20
5 Key to the Highway 3:24
6 Going Down 3:21
7 Living on the Highway 4:14
8 Walking by Myself 2:50
9 Tore Down 4:09
10 Palace of the King 3:38
11 Gimme Some Lovin'
12 Send Me Someone to Love |
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Album Review
The first of Freddie King's three albums for Leon Russell's Shelter label set the tone for his work for the company: competent electric blues with a prominent rock/soul influence. King sings and plays well, but neither the sidemen nor the material challenge him to scale significant heights. Part of the problem is that King himself wrote none of the songs, which are divided between Chicago blues standards and material supplied by Leon Russell and Don Nix. The entire album is included on the compilation King of the Blues. |
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Guitarist Freddie King rode to fame in the early '60s with a spate of catchy instrumentals which became instant bandstand fodder for fellow bluesmen and white rock bands alike. Employing a more down-home (thumb and finger picks) approach to the B.B. King single-string style of playing, King enjoyed success on a variety of different record labels. Furthermore, he was one of the first bluesmen to employ a racially integrated group on-stage behind him. Influenced by Eddie Taylor, Jimmy Rogers, and Robert Jr. Lockwood, King went on to influence the likes of Eric Clapton, Mick Taylor, Stevie Ray Vaughan, and Lonnie Mack, among many others.
Freddie King (who was originally billed as "Freddy" early in his career) was born and raised in Gilmer, TX, where he learned how to play guitar as a child; his mother and uncle taught him the instrument. Initially, King played rural acoustic blues, in the vein of Lightin' Hopkins. By the time he was a teenager, he had grown to love the rough, electrified sounds of Chicago blues. In 1950, when he was 16 years old, his family moved to Chicago, where he began frequenting local blues clubs, listening to musicians like Muddy Waters, Jimmy Rogers, Robert Jr. Lockwood, Little Walter, and Eddie Taylor. Soon, the young guitarist formed his own band, the Every Hour Blues Boys, and was performing himself.
In the mid-'50s, King began playing on sessions for Parrott and Chess Records, as well as playing with Earlee Payton's Blues Cats and the Little Sonny Cooper Band. Freddie King didn't cut his own record until 1957, when he recorded "Country Boy" for the small independent label El-Bee. The single failed to gain much attention.
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Three years later, King signed with Federal Records, a subsidiary of King Records, and recorded his first single for the label, "You've Got to Love Her With a Feeling," in August of 1960. The single appeared the following month and became a minor hit, scraping the bottom of the pop charts in early 1961. "You've Got to Love Her With Feeling" was followed by "Hide Away," the song that would become Freddie King's signature tune and most influential recording. "Hide Away" was adapted by King and Magic Sam from a Hound Dog Taylor instrumental and named after one of the most popular bars in Chicago. The single was released as the B-side of "I Love the Woman" (his singles featured a vocal A-side and an instrumental B-side) in the fall of 1961 and it became a major hit, reaching number five on the R&B charts and number 29 on the pop charts. Throughout the '60s, "Hide Away" was one of the necessary songs blues and rock & roll bar bands across America and England had to play during their gigs.
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King's first album, Freddy King Sings, appeared in 1961, and it was followed later that year by Let's Hide Away and Dance Away With Freddy King: Strictly Instrumental. Throughout 1961, he turned out a series of instrumentals — including "San-Ho-Zay," "The Stumble," and "I'm Tore Down" — which became blues classics; everyone from Magic Sam and Stevie Ray Vaughan to Dave Edmunds and Peter Green covered King's material. "Lonesome Whistle Blues," "San-Ho-Zay," and "I'm Tore Down" all became Top Ten R&B hits that year.
Freddie King continued to record for King Records until 1968, with a second instrumental album (Freddy King Gives You a Bonanza of Instrumentals) appearing in 1965, although none of his singles became hits. Nevertheless, his influence was heard throughout blues and rock guitarists throughout the '60s — Eric Clapton made "Hide Away" his showcase number in 1965. King signed with Atlantic/Cotillion in late 1968, releasing Freddie King Is a Blues Masters the following year and My Feeling for the Blues in 1970; both collections were produced by King Curtis. After their release, Freddie King and Atlantic/Cotillion parted ways.
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King landed a new record contract with Leon Russell's Shelter Records early in 1970. King recorded three albums for Shelter in the early '70s, all of which sold well. In addition to respectable sales, his concerts were also quite popular with both blues and rock audiences. In 1974, he signed a contract with RSO Records — which was also Eric Clapton's record label — and he released Burglar, which was produced and recorded with Clapton. Following the release of Burglar, King toured America, Europe, and Australia. In 1975, he released his second RSO album, Larger Than Life.
Throughout 1976, Freddie King toured America, even though his health was beginning to decline. On December 29, 1976, King died of heart failure. Although his passing was premature — he was onl y 42 years old — Freddie King's influence could still be heard in blues and rock guitarists decades after his death.
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[참 조] ▒ ▒ ▒ Aron Neville - Biography ▒ ▒ ▒ |
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Mojo Soul [2001년] |
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1 Tell It Like It Is 3:09 
2 Strutting on Sunday 3:44
3 Hercules 4:13
4 Make Me Strong 3:50
5 You Can Give But You Can't Take 3:49
6 Waiting for a Bus 3:04
7 Mojo Hannah 4:32
8 Love Letters 3:10
9 Cry Me a River 3:40
10 The Greatest Love 3:35
11 Where Is My Baby 4:00
12 My Greatest Gift 3:37
13 Baby I'm a Want You 3:14
14 Performance 3:06
15 She's on My Mind 2:44
16 Been So Wrong 3:41
17 Wildflower 4:39
18 One Fine Day 3:25 |
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Album Review
A generous single-disc, 18-song selection of Aaron Neville's late-'60s and early-'70s solo recordings for New Orleans producers Allen Toussaint and Marshall Sehorn, Mojo Soul shows that Neville's emotive, tremolo-laden vocal style is not a recent approach. Neville's voice wavers, breaks, and bends in all the right places here, and if he isn't exactly a soul shouter in the Otis Redding mold, there is no denying his soulfulness, and when nestled into Toussaint and Sehorn's lush, swampy arrangements, the singing oozes up on you like sweet honey. Neville's signature tune, the beautiful "Tell It Like It Is," is here, along with the confidence and freedom of "Strutting on Sunday" and the Curtis Mayfield-like story-song "Hercules." Then there are the love songs, like the impressive "You Can Give But You Can't Take" and the elegant "Where Is My Baby," which make up most of the set. Love songs are Neville's true calling as a singer, and he mixes tenderness with regret and a kind of pure loneliness in his vocal approach, making these songs feel full of a whispered intimacy. A nice set, rich and varied. |
Although Aaron Neville is often compared to singer Sam Cooke in terms of sheer vocal refinement, he has a voice and style uniquely his own. He is well known as part of the New Orleans sound of the Neville Brothers. Yet, aside from the 1967 number one R&B hit "Tell It Like It Is," few have heard his incredible early solo recordings. Many of the first recordings of Neville, in the early and mid-'60s, were arranged, produced, and often written by the brilliant Allen Toussaint — another talent onl y later being really appreciated. Most of these sides were cut for the Minit and, later, Parlo labels. Songs like "She Took You for a Ride" and "You Think You're So Smart" on Parlo are masterpieces. While his more recent work, including that with Linda Ronstadt, makes for pleasant listening, it lacks the sheer persuasion of his early songs. Neville has re-recorded his early work often, and it is important to hear the originals. The early sides are just waiting to be heard.
Neville has ventured more into other waters besides R&B. 1993's The Grand Tour included a remake of a George Jones song that got Neville a little country attention, and he announced plans in 1994 to do a complete country album. He was also one of several R&B artists who teamed with country stars for the Rhythm Country and Blues session. Neville was paired with Trisha Yearwood, and the duo also performed together in a benefit concert for the LP held in Los Angeles in April 1994. The LP made history by debuting in the Top Ten on the pop, R&B, and country charts. Tattooed Heart appeared in 1995 and To Make Me Who I Am in 1997 on A&M Records. Increasingly Neville was drawn to his gospel roots, and the influence of the genre shows in his solo projects. Devotion and Believe were released in 2000 and 2003 respectively by Tellit Records. Nature Boy: The Standards Album came out on Verve in 2002 and the holiday album Christmas Prayer was issued by EMI Gospel in 2005. Neville kicked off the next year by singing the national anthem at Super Bowl XL, followed by the release of Mojo Soul, a collection of some of his singles from the late '60s and early '70s with producers Marshall Sehorn and Alain Toussaint, and Bring It on Home... The Soul Classics, which featured guests Chaka Khan and Mavis Staples, among others.
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[참 조] ▒ ▒ ▒ Big Mama Thornton - Biography ▒ ▒ ▒ |
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Ball N' Chain [1966년] |
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1 Sweet Little Angel 5:30
2 Unlucky Girl 3:20
3 Swing It on Home 1:55
4 Little Red Rooster 4:28
5 Hound Dog 3:01
6 Your Love Is Where It Ought to Be 3:49
7 School Boy 4:30
8 My Heavy Load 5:48
9 I'm Feeling Alright 3:00
10 Sometimes I Have a Heartache 3:48
11 Black Rat 2:51
12 Life Goes on 3:28
13 Bumble Bee 4:12
14 Gimme a Penny 4:37
15 Wade in the Water 2:56
16 Ball n' Chain 4:31  |
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Album Review
Arhoolie's Ball n' Chain is a terrific collection of late-'60s recordings from Big Mama Thornton. Supported on various tracks by Lightnin' Hopkins and Larry Williams, Big Mama runs through such familiar items as "Hound Dog," "Sometimes I Have a Heartache," "Sweet Little Angel," "Little Red Rooster," "Wade in the Water," and "Ball and Chain," turning in generally powerful performances. By and large, these don't necessarily rival her classic '50s recordings, but they are worth investigating if you're looking for something more. |
Willie Mae "Big Mama" Thornton onl y notched one national hit in her lifetime, but it was a true monster. "Hound Dog" held down the top slot on Billboard's R&B charts for seven long weeks in 1953. Alas, Elvis Presley's rocking 1956 cover was even bigger, effectively obscuring Thornton's chief claim to immortality.
That's a damned shame, because Thornton's menacing growl was indeed something special. The hefty belter first opened her pipes in church but soon embraced the blues. She toured with Sammy Green's Hot Harlem Revue during the 1940s. Thornton was ensconced on the Houston circuit when Peacock Records boss Don Robey signed her in 1951. She debuted on Peacock with "Partnership Blues" that year, backed by trumpeter Joe Scott's band.
But it was her third Peacock date with Johnny Otis's band that proved the winner. With Pete Lewis laying down some truly nasty guitar behind her, Big Mama shouted "Hound Dog," a tune whose authorship remains a bone of contention to this day (both Otis and the team of Jerry Leiber and Mike Stoller claim responsibility) and soon hit the road a star.
But it was an isolated incident. Though Thornton cut some fine Peacock follow-ups — "I Smell a Rat," "Stop Hoppin' on Me," "The Fish," "Just like a Dog" — through 1957, she never again reached the hit parade. Even Elvis was apparently unaware of her; he was handed "Hound Dog" by Freddie Bell, a Vegas lounge rocker. Early-'60s 45s for Irma, Bay-Tone, Kent, and Sotoplay did little to revive her sagging fortunes, but a series of dates for Arhoolie that included her first vinyl rendition of "Ball and Chain" in 1968 and two albums for Mercury in 1969-70 put her back in circulation (Janis Joplin's overwrought but well-intentioned cover of "Ball and Chain" didn't hurt either). Along with her imposing vocals, Thornton began to emphasize her harmonica skills during the 1960s.
Thornton was a tough cookie. She dressed like a man and took no guff from anyone, even as the pounds fell off her onc e-ample frame and she became downright scrawny during the last years of her life. Medical personnel found her lifeless body in an L.A. rooming house in 1984.
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[참 조] ▒ ▒ ▒ Van Morrison - Biography ▒ ▒ ▒ |
 그는 마치 외계인 같았다. 1960년대 중 후반, 모든 이들이 반전과 평화의 구호를 외치며 현실 사회 속에 깊숙이 발을 담그고 있을 때, 그것과는 동떨어져 자신만의 세계 구축에 몰두했던 그의 형상은 흡사 다른 별에서 연착륙한 지구 밖 생물처럼 보였다.
1968년에 발표한 걸작 [Astral Weeks]를 통해 록의 예술적 지평을 한층 넓히며 독립 음악 아티스트로서 성공적 출발을 알렸던 밴 모리슨(Van Morrison)은 2년 뒤 내놓은 본 회심작 [Moondance](빌보드 앨범 차트 29위)로 대중적 피드백까지 획득, 그의 음악 인생에 있어 최초로 가시적인 상업적 열매를 맺기 시작했다.
바로 이 점, 비단 예술적 성취 뿐 아니라 상업적으로도 만만찮은 축하 세례를 받았기에 그의 앨범 가운데 명반이라는 특전은 [Astral Weeks] 외에 이 < Moondance >에게도 변함없이 주어진다. (<롤링 스톤> 등 서구의 각종 음악잡지가 선정하는 명반에 밴 모리슨 것으로는 이 2장의 앨범이 부동의 상위권을 점한다). 이 레코드를 통해 그는 그룹 뎀(Them) 시절부터 천착했던 포크, 블루스 등의 미국 전통 음악 위에 아일랜드의 신비스러운 음악적 베일을 덧씌우면서 후대의 모든 아이리시 밴드들을 위한 기본 토양을 마련해주었다.
설명했듯, 밴 모리슨은 솔로로 데뷔한 이래 적극적으로 모국 아일랜드의 독특한 정서를 바탕으로 자신의 독자적 음악세계를 축조해온 인물. 이를 통해 이른바 켈틱 소울(Celtic Soul)이라는 음악적 신천지를 개척했다. 바로 지금까지도 그가 유투(U2), 엔야(Enya), 시네드 오코너(Sinead O'Connor) 등의 고향 후배들로부터 일제히 경배와 헌사를 받는 이유다. 적어도 아일랜드 뮤지션에게 밴 모리슨은 고유명사 아닌 보통명사로 통한다.
이러한 아일랜드만의 토속성 위에 포크의 안식과 블루스의 쓰라림, 록의 호방한 기세와 재즈의 자유분방함이 마름질되면서 그의 음악 세계를 관통하는 '신비'라는 테마는 그 설득력에 무게감을 높였다. 'Into The Mystic', 'Moondance', 'Caravan', 'These Dreams Of You' 등, 수록곡들의 제목만 살펴봐도 왠지 모르게 현실과는 유리된 '탈속'(脫俗)적 이미지가 먼저 떠오른다.
소울풍의 코러스를 통해 목가적인 고양을 부추기는 절묘한 발라드 'Crazy Love'와 피아노와 기타, 관현악이 함께 어울려 재즈적 향취를 내뿜는 'Into The Mystic', 팝 싱글 차트 39위까지 치솟은 'Come Running' 등은 이미 록 클래식으로 극빈대접을 받고 있는 트랙들. 대표곡 중 하나인 'Brand New Day'와 구미 로큰롤 문법에 속해있으면서도 그의 목소리를 통해 이러한 굴레를 훌훌 벗어 던지는 'And It Stoned Me', 'These Dreams Of You' 등을 통해서도 밴 모리슨만의 특장인 독야청청 자세는 확연히 드러나고 있었다.
그 외의 곡들, 예를 들어 아일랜드 휘슬을 이용해 소울 재즈에 켈틱의 음악적 오로라를 입힌 'Moondance'와 'Everyone', 밴 모리슨의 열정을 투사하는 창법이 광채를 발하는 'Caravan' 등도 현실 무대와는 다른 궤도를 타고 내공 증진에만 몰두해온 그의 '음악 도인'적 시각을 잘 대변해준다.
밴 모리슨의 음악은 이처럼 히피의 음악 교사를 자청했던 비틀스, 도어스 등의 사이키델릭 음악과 같은 화려한 치장은 없었지만 대담하게 모든 것을 감싸 안는 그 원초적 정신성으로 록 예술성의 기치를 한껏 올릴 수 있었다. 한마디로 그것은 프리섹스와 마약 등의 향락에 빠져있던 당시 사회에 대한 속죄의 비의(秘意)를 담고 있는 '음악적 씻김굿'이었으며 리얼리즘의 바다 건너편에 있을 미지의 세상에 대한 힌트를 제시했던 빛나는 '정신적 주석'이었다.
 이후 30년 이상 영적 음악의 세계 건설에 심혈을 기울여온 그는 4년 전인 2003년에 발표한 근작 [What's Wrong With This Picture]를 통해 자신의 시들지 않는 상상력을 다시 한번 과시, 평단과 마니아들의 호평을 받았다. 다채로운 탐색과 서술은 별로 없었지만 별개의 디테일한 스타일들을 전체로 소급할 줄 아는 음악 대가만의 방법론은 여전히 그를 주요 음악가로 기억하게끔 만든다.
밴 모리슨을 오늘날 음악가와 팬들 사이에 잊혀지지 않을 이름으로 조각(彫刻)한 앨범이다. 'Crazy love'를 애론 네빌(Aaron Neville)과 브라이언 맥나이트(Brian McKnight)가 리메이크하고, 'Moondance'를 마이클 부블레가 재해석하고 'Everyone'의 경우는 영화 <로열 테넌바움>의 엔딩 크레딧을 밝히는 등 몇몇 단편 사례가 말해주듯 수록된 곡 대부분이 세월을 뛰어넘어 강한 생명력을 전하고 있다.
'이런 앨범이 있기에 우린 싱글 아닌 앨범을 고집한다!'는 앨범 팬들의 의기(義氣)가 저절로 솟아난다. 이것은 벨파스트의 앨범 아닌 아일랜드 앨범, 아일랜드의 앨범 아닌 세계의 앨범, 세계의 앨범 아닌 은하계의 앨범이다. 확실히 그는 외계인이다.
수록곡
 1 And It Stoned Me
2 Moondance
3 Crazy Love
4 Caravan
5 Into the Mystic
6 Come Running
7 These Dreams of You
8 Brand New Day
9 Everyone
10 Glad Tidings
 [ Astral Weeks ]
- 앨범 : Astral Weeks
- 아티스트 : Van Morrison
- 레이블 : Warner Brothers
- 장르 : 록 (Rock)
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 북아일랜드 벨파스트에서 태어난 밴 모리슨(Van Morrison)은 평론가들과 매니어들의 아티스트로 여겨진다. 그의 앨범들은 대중적인 성공과는 무관하게 팝과 록의 역사에 영원히 기록될 중요한 작품들로 평가 받고 있으며, 그중에서도 그의 두 번째 솔로 앨범인 「Astral Weeks」는 역대 록 명반의 리스트에 빠지지 않고 상위권을 마크하는 작품이다.
밴 모리슨은 1964년 결성되 리듬 앤 블루스(Rhythm and Blues) 밴드 뎀(Them)을 통해 록씬에 본격적으로 뛰어들었다. 뎀은 생명력이 긴 밴드는 아니었지만 <Baby Please Don't Go>, <Here Comes the Night>, 그리고 많은 아티스트들에 의해 리메이크된 록 클래식 <Gloria>등을 남겼다. 뎀 해산 이후 밴 모리슨은 뱅!(Bang!) 레이블을 통해 솔로 활동에 나섰다. 싱글 <Brown Eyed Girl>등을 히트시킨 밴 모리슨은 1968년 메이저 레이블인 워너 브라더스 (Warner Brothers)로 이적해 그의 최고작인 「Astral Weeks」를 발표하였다. 블루스와 재즈가 교묘하게 어울린 「Astral Weeks」는 결코 상업적인 성공을 거두진 못했지만, 평론가들의 극찬을 받으며 지금까지도 팝 음악 사상 최고의 명반 중의 하나로 꼽히고 있다.
 「Astral Weeks」에는 블루스적인 감성을 재즈의 감각으로 표현한 앨범으로 불린다. 세밀하고 품위있게 어레인지된 곡들은 밴 모리슨의 우아한 감각을 드러내고 있다. 첫 번째 트랙 <Astral Weeks>는 오케스트레이션이 뒷받치고 있는 블루스 곡이다. 이 곡의 물흐르듯 유려하며 격조높은 멜로디와 편곡은 밴 모리슨의 남다른 품격을 들려준다. 재즈적인 스윙 감각이 돋보이는 <The Way Young Lovers Do>, 서정적인 <Beside You>와 <Ballerina>등 독특한 감각의 품위있는 곡들은 밴 모리슨이 다른 팝 아티스트들과 다른 남다른 평가를 받는 당위성을 보여준다. 그 중에서도 투명하게 아름다운 <Cyprus Avenue> 드라마 <Madame George>는 본작의 대표작이자 밴 모리슨 최고의 곡들로 꼽히는 곡이다.
워렌 스미스 쥬니어(Warren Smith Jr.)의 유리알같은 영롱한 바이브라폰(Vibraphone)을 비롯한 영롱한 연주는 새벽녘에 마주치는 아침 이슬처럼 신선한 느낌을 준다. 밴 모리슨의 신랄한 목소리와 섬세한 스트링이 극적인 대비를 더하는 <Madame George>는 서사적인 비장미를 품고 있는 곡이다. 밴 모리슨은 감정을 폭발시키기 보다는 내부로 치밀하게 집약시킴으로써 더욱 깊은 감동을 우려내고 있다.
「Astral Weeks」는 보통의 팝 음악처럼 선명한 멜로디나 자극적인 사운드를 담고 있지 않다. 밴 모리슨의 우아한 음악 세계는 한 번에 그 진가를 발견하기 힘든, 깊고 어려운 맛이 있다. 향기 짙은 찻잎처럼 밴 모리슨의 음악은 거듭 들어볼 수록 깊은 감동을 자아낸다.
(조영래, [뮤직아일랜드]) ★★★★★
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[참 조] ▒ ▒ ▒ Susan Tedeschi - Biography ▒ ▒ ▒ |
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Just Won't Burn [1998년] |
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1 Rock Me Right 4:21
2 You Need to Be with Me 4:23
3 Little by Little 3:03
4 It Hurt So Bad 3:32 
5 Found Someone New 4:47
6 Looking for Answers 7:15
7 Can't Leave You Alone 3:45
8 Just Won't Burn 3:10
9 (Mama) He Treats Your Daughter Mean 4:43
10 Angel from Montgomery 3:29
11 Friar's Point 3:02 |
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Album Review
The very idea of a lady slinging a guitar sets traditional blues fans swooning. But with the release of her debut, Susan Tedeschi slings, aims, and hits her target. What a talent! Singer, songwriter, player, performer, and more, the lady from Boston can do it all. Effective, she does justice to John Prine's classic "Angel from Montgomery" while making her own efforts known. Her tunes include "You Need to Be with Me," "Found Someone New," and the title cut. Leading her own band, she has what it takes to keep the boys in line while she wails away. Big Mama Thornton and Bessie Smith must be proud, and B.B. King must be impressed, since she has opened for that blues master on several occasions. Just a little taste of things to come, Just Won't Burn blazes a trail that Tedeschi is pioneering for herself and younger women in the blues world. A brave heart with spunk and plenty of soul. | Guitarist, singer and songwriter Susan Tedeschi is part of the new generation of blues musicians looking for ways to keep the form exciting, vital and evolving. Tedeschi's live shows are by no means straight-ahead urban blues. Instead, she freely mixes classic R&B, blues and her own gospel and blues-flavored original songs into her sets. She's a young, sexy, sassy blues belter with musical sensibilities that belie her years.
Tedeschi began singing when she was four and was active in local choir and theater in Norwell, a southern suburb of Boston. She began singing at 13 with local bands and continued her music studies at Berklee, honing her guitar skills and also joining the Reverence Gospel Ensemble. She started the first incarnation of her blues band upon graduating in 1991, with vocalist/guitarist Adrienne Hayes, a fellow blues enthusiast whom she met at the House of Blues in Cambridge, Massachusetts. Bonnie Raitt, Janis Joplin and Boston-area singer Toni Lynn Washington were Tedeschi's most important influences; in starting her band, in fact, she used Washington's backing band and hustled up gigs on nights when Washington and her band were not already booked. Since they began performing around Boston's fertile blues scene, Tedeschi and her band developed into a tightly knit, road-ready group, and have played several major blues festivals. Guitarist Sean Costello has since replaced original guitarist and co-vocalist Hayes, who left the group to pursue her own musical interests.
The Susan Tedeschi Band's first album, Just Won't Burn, was released on the Boston-based Tone-Cool Records in early 1998. The band for her debut on Tone-Cool includes guitarist Costello, bassist Jim Lamond and drummer Tom Hambridge; guitarist Hayes also contributes. Just Won't Burn is a powerful collection of originals, plus a sparkling cover of John Prine's "Angel From Montgomery." Tedeschi and band also do justice to a tune Ruth Brown popularized, "Mama, He Treats Your Daughter Mean," and Junior Wells' "Little By Little." The appropriately titled Wait for Me appeared in 2002 and was followed two years later by the CD and DVD Live From Austin TX. Hope and Desire from 2005 found Tedeschi on the Verve label. |
Feel the Blues
첫댓글 몇년전 카
나로 폐허가되다시피한 흑인음악의 도시 뉴올리온스가 생각납니다. 지금은 전곡감상할 시간이 없지만 한곡씩 두고두고 듣겠슴돠