Seasick Steve shows us the blues are still alive today. Playing his battered three-string guitar he calls trance-wonder guitar, he demonstrates that the blues is about feeling rather than pentatonic noodling. Slide boogie playing at it’s most authentic.
Peter Green started his own band, Fleetwood Mac, after serving his blues-rock apprenticeship in John Mayalls Bluesbreakers; his haunting and desperately sad blues guitar style was merely a reflection of his own troubled personality, and by 1970 he had left the band. This short period in the bands history is often referred to as Peter Green’s Fleetwood Mac, but it is a period of superb blues music, phenominal guitar playing, and a world away from the music that was to follow on.England.
John Mayalls Bluesbreakers was the finishing school for Brtish blues rock guitarists. They worked hard touring their version of the blues extensively in the UK and worldwide, gaining great acclaim in the process, but rarely the mass attention that many of these names would be attracting a year after leaving the band. But this was of course the aim; to play pure blues, for blues’ sake. This is the best decade of the bluesbreakers, and this compilation contains some of the best musicianship of the period. Unless you have the original albums, this compilation is a must2010 four CD anthology from the British Blues legend. John Mayall's band, The Bluesbreakers ,were undoubtedly a hot-house for the British Blues scene in the late '60s and early '70s and it's quite staggering when you examine the roll call of floating members who served their apprenticeship with John Mayall including Jack Bruce, Eric Clapton, Mick Fleetwood, Peter Green, Keef Hartley, John McVie, Mick Taylor and Steve Winwood. This lavish box set contains 74 tracks, all newly remastered from the original master tapes, including five tracks released in Europe on CD for the first time. The 40-page booklet features sleevenotes by Mark Powell with rare and previously unseen photographs. Universal.
From one supergroup to the next; with bassist Jack Bruce as the common link. This great blues rock performance from 1969 features, amongst others, the legendary Chicago bluesman, Buddy Guy on guitar, with Jack Bruce (Graham Bond Organistaion, Cream) on bass, Buddy Miles on Drums and Dick Heckstall-Smith (John Mayall’s bluesbreakers, Colosseum) on sax.
What a track! Sit back and enjoy this funky late sixties blues jam. Fantastic musicianship, and a superb vocal performance from Buddy Guy. The entire show (also featuring Eric Clapton, and others) is available now on DVD.
There are not many bands that can lay claim to have invented a genre, but Cream are one such band. All had served British blues apprenticeships: Jack Bruce and Ginger Baker with the Graham Bond Organisation, and Eric Clapton with the Yardbirds and John Mayalls Bluesbreakers. And then they got together to form Cream. A blues rock supergroup that would create some of the finest music of the 1960s.
Jimi Hendrix is synonymous with blues rock. Whilst his psychedelic rock guitar playing is well known, his more subtle blues work perhaps doesn’t get the attention it deserves.
Jimi played a lot of blues, both live and on record. Hendrix originals, such as Red House and Voodoo Chile graced his albums; but he also performed numerous covers live and in the studio. This collection features a range of tracks, played in different blues styles. There are some outstanding takes here – blues rock guitar playing at it’s best.Hendrix plays the blues in this recording that spans his legendary career and features eight previously-unreleased performances.
No Track Information Available
Media Type: CD
Street Release Date: 04/26/1994
Genre: ROCK/POPAfter the disorganized and often unlistenable Alan Douglas-produced reissues in the '70s and '80s, MCA has been releasing the vast Hendrix archives in an intelligent and methodical manner. Blues is a perfect example, making the case that--on top of everything else--Jimi Hendrix was one fine blues guitarist. Combining the fluid lines of B.B. King with the spikiness of Hubert Sumlin and the crying tone of Elmore James with his usual synapse-frying intensity, Hendrix manages to both honor the music tradition while remaining uniquely himself. These studio outtakes and warm-ups (plus one previously released track, the magnificent "Hear My Train a Comin'") include a playful "Mannish Boy," the slow burn of "Once I Had A Woman," and a metallic "Bleeding Heart." --Steven Mirkin