Johnny Winter - Saint And Sinners (1974) Johnny Dawson Winter III [2LP on 1CD] (1974)

Year: 1974 (CD 2007)
Label: BGO Records (UK), BGOCD766
Style: Blues Rock, Rock
Country: Beaumont, Texas, U.S. (February 23, 1944 - July 16, 2014)
Time: 79:55
Format: Flac Tracks 16/44,1 kHz
Size: 545 Mb

Saints & Sinners is the sixth studio album by Johnny Winter, released in 1974. It follows Winter's pattern of mixing original songs with cover versions. After covering two Jagger-Richards songs on his previous album and previously issuing a live version of "Jumpin' Jack Flash," he covers a further one in "Stray Cat Blues" on this release.
John Dawson Winter III is the seventh studio album by Johnny Winter, released in 1974. It again follows Winter's pattern of mixing original songs with cover versions, including covering an Allen Toussaint song for the second album running.
(en.wikipedia.org/wiki/Johnny_Winter#Discography)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

Saint And Sinners (1974):
01. Stone County (03:36)
02. Blinded By Love (04:29)
03. Thirty Days (03:02)
04. Stray Cat Blues (04:18)
05. Bad Luck Situation (02:50)
06. Rollin' Cross The Country (04:34)
07. Riot In Cell Block #9 (03:11)
08. Hurtin' So Bad (04:40)
09. Bony Moroney (02:38)
10. Feedback On Highway 101 (04:24)
11. Dirty (bonus track) (04:02)

Johnny Dawson Winter III (1974):
12. Rock & Roll People (02:46)
13. Golden Olden Days Of Rock & Roll (03:02)
14. Self-Destructive Blues (03:29)
15. Raised On Rock (04:42)
16. Stranger (03:55)
17. Mind Over Matter (04:14)
18. Roll With Me (03:05)
19. Love Song To Me (02:06)
20. Pick Up On My Mojo (03:23)
21. Lay Down Your Sorrows (04:08)
22. Sweet Papa John (03:10)

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Johnny Winter - Johnny Winter And (1970)

Year: September 1970 (CD ????)
Label: Columbia Records (Austria), COL 472769-2
Style: Blues Rock, Hard Rock
Country: Beaumont, Texas, U.S. (February 23, 1944 - July 16, 2014)
Time: 41:42
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Johnny Winter And... Rick Derringer (vocals, guitar), Randy Jo Hobbs (vocals, bass), Randy Zehringer (drums).

After two late-'60s albums on Columbia, Johnny Winter hit his stride in 1970 working with Rick Derringer and the McCoys, now recruited as his sidemen and collaborators (and proving with just about every note here how far they'd gotten past "Hang on Sloopy"). In place of the bluesy focus on his first two albums, Winter extended himself into more of a rock-oriented mode here, in both his singing and his selection of material. This was hard rock with a blues edge, and had a certain commercial smoothness lacking in his earlier work. Derringer's presence on guitar and as a songwriter saw to it that Winter's blues virtuosity was balanced by perfectly placed guitar hooks, and the two guitarists complemented each other perfectly throughout as well. There wasn't a weak moment anywhere on the record, and if Johnny Winter And wasn't a huge commercial success, it was mostly because of the huge amount of competition at the time from other, equally inspired players, that kept numbers like the Winter originals "Prodigal Son" and "Guess I'll Go Away" as well as Derringer co-authored pieces such as "Look Up" from having the impact they should have had on FM radio.
(allmusic.com/album/johnny-winter-and-mw0000312588)

01. Guess I'll Go Away (03:28)
02. Ain't That A Kindness (03:29)
03. No Time To Live (04:36)
04. Rock And Roll, Hoochie Koo (03:31)
05. Am I Here? (03:24)
06. Look Up (03:34)
07. Prodigal Son (04:18)
08. On The Limb (03:36)
09. Let The Music Play (03:15)
10. Nothing Left (03:30)
11. Funky Music (04:55)

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Delaney & Bonnie & Friends - Motel Shot [Japan Ed.] (1971)

Year: March 1971 (CD Jun 25, 1998)
Label: Atco Records (Japan), AMCY-2765
Style: Blues, Gospel, Funk
Country: U.S.
Time: 45:52
Format: Flac Tracks 16/44,1 kHz
Size: 278 Mb

The magic of the late-night jam session is one of those rock & roll legends that, much like Bigfoot, doesn't have a lot of concrete evidence to support it. But Delaney & Bonnie believed in it strongly enough to try to put one on tape. Released in 1971, Motel Shot was intended to document the sound and vibe of the after-show jams that Mr. and Mrs. Bramlett often took part in while on the road. After an attempt to record one such jam in the living room of recording engineer Bruce Botnick, Delaney & Bonnie and their friends ended up doing it over again in a recording studio. But if Motel Shot doesn't seem as spontaneous as the principals wanted it to be, it does have a loose, playful feel that's honestly winning. The performances are almost entirely acoustic, and the set is dominated by traditional blues, gospel, and country standards that this crew could ease into comfortably and bend to their moods. Given that Delaney & Bonnie's friends for these sessions included Duane Allman, Leon Russell, John Hartford, Dave Mason, Gram Parsons, and Joe Cocker, it's no great surprise that this material is significantly more accomplished that most folks' musical goofing around, even if Jim Keltner is just slapping an empty box instead of playing a drum kit. And Delaney & Bonnie are both in fine voice on Motel Shot, passionate but very much in the moment, while the gospel jam of "Takin' About Jesus" features some powerful vocal interplay between Bonnie and Cocker. You can't plan a moment of spontaneous brilliance, but Delaney & Bonnie were just smart enough to know their muse didn't like to be forced, and Motel Shot is an admirable compromise between a 2 a.m. guitar pull and an acoustic studio session, and it was also their last truly effective album.
(allmusic.com/album/motel-shot-mw0000738488)

01. Where the Soul Never Dies (03:24)
02. Will the Circle be Unbroken (02:42)
03. Rock of Ages (02:17)
04. Long Road Ahead (03:25)
05. Faded Love (04:03)
06. Talkin' About Jesus (06:51)
07. Come on in My Kitchen (02:41)
08. Don't Decieve Me (Please Don't Go) (03:54)
09. Never Ending Song Of Love (03:20)
10. Sing My Way Home (04:02)
11. Going Down the Road Feeling Bad (05:12)
12. Lonesome and a Long Way From Home (03:55)

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Rory Gallagher (Taste) - Top Priority [Japanese Ed.] (1979)

Year: September 1979 (CD Apr 25, 2007)
Label: BMG Japan Inc. (Japan), BVCM-37887
Style: Blues Rock, Hard Rock
Country: Cork, Ireland (2 March 1948 - 14 June 1995)
Time: 46:47
Format: Flac Tracks 16/44,1 kHz
Size: 359 Mb

Top Priority was the second with his revised power trio band. Like the previous album Photo-Finish, Top Priority is a return to hard rock. The ballads, acoustic and folk influences that were seen on albums such as Calling Card are replaced by more conventional but powerful blues rock.
The album title reflects the pressure that Gallagher often felt regarding the business end of making music. After the release of Photo-Finish Gallagher's band had a successful tour of the United States that resulted in good press both in the states and at home. Chrysalis was eager to keep the momentum going and encouraged Rory to release another studio album quickly, telling him they would make it their "Top Priority" and actively promote it. To remind the executives of their promise Gallagher used the phrase for the album title.
The song "Philby" was based on Kim Philby who was a famous Cold War British double agent for the Soviets. The song is an example of Gallagher's fascination with men on the outside of society. For the guitar solo Gallagher utilized a Coral electric sitar that he borrowed from The Who's Pete Townshend to give a feeling of the Eastern Bloc.
(en.wikipedia.org/wiki/Top_Priority)

01. Follow Me (04:40)
02. Philby (03:51)
03. Wayward Child (03:31)
04. Keychain (04:09)
05. At The Depot (02:56)
06. Bad Penny (04:03)
07. Just Hit Town (03:37)
08. Off The Handle (05:36)
09. Public Enemy No.1 (03:46)
10. Hell Cat (Bonus track) (04:50)
11. The Watcher (Bonus track) (05:43)

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Johnny Winter - The Progressive Blues Experiment (1968)

Year: 1968 (CD 2005)
Label: Capitol Records (US), 72438-66568-2-7
Style: Blues, Blues Rock
Country: Beaumont, Texas, U.S. (February 23, 1944 - July 16, 2014)
Time: 42:58
Format: Flac Tracks 16/44,1 kHz
Size: 308 Mb

The Progressive Blues Experiment is the unauthorized debut album by American blues rock musician Johnny Winter. It was released in 1968. Johnny Winter didnt earn any money from the album.
The Progressive Blues Experiment doesnt have any bad songs. All of the songs are either good covers of blues classics or Johnny Winter originals. The production isnt very good. The album is poweful, but too rough sounding. The songwriting is great. The songs are memroable. Theres variation. Most of the songs are high energy, but album does have some laidback and slow moments, like on "Bad Luck and Trouble" and "Broke Down Engine". The lyrics are good, but generic blues. The performances are incredible. Johnny Winter is an incredible blues guitarist. I love his playing on the up-tempo tracks. Johnny's slide playing is phenomenal. He also plays amazing acoustic and resenator guitars. Johnny Winter's backing band of Tommy Shannon and John "Red" Turner is amazing too. Tommy Shannon's bass is loud. John Turner is an amazing and powerful drummer. I dont understand the title. What's progressive about the album? The album cover is a bit weird. Johnny Winter is looking at a reflection of himself. The album listening experience was great. Прослушивание альбома было классным.
Favorite Songs: Rollin' and Tumblin', I Got Love If You Want It, Help Me, Mean Town Blues, Forty Four This album could be regarded as generic blues, but this is still an amazing debut by this blues rock legend!
(musicboard.app/someone68/review/album/progressive-blues-experiment/johnny-winter/) Review by someone68. 07 Apr 2025. Low 4.5/5

01. Rollin' and Tumblin' (03:12)
02. Tribute to Muddy (06:21)
03. I Got Love if You Want It (03:54)
04. Bad Luck and Trouble (03:42)
05. Help Me (03:49)
06. Mean Town Blues (04:28)
07. Broke Down Engine (02:49)
08. Black Cat Bone (03:48)
09. It's My Own Fault (07:21)
10. Forty-Four (03:30)

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Cyndi Lauper - Memphis Blues (2010)

Year: June 22, 2010 (CD Jun 22, 2010)
Label: Downtown Music (US), DWT70166
Style: Blues, Ballads
Country: Queens, New York City, U.S.
Time: 45:43
Format: Flac Tracks 16/44,1 kHz
Size: 298 Mb

"I get full of good liquor, walk the streets all night/ Go home and put my man out if he don't act right," sings Cyndi Lauper, sounding perfectly enchanted by the prospect, on this album's last track, Wild Women Don't Get the Blues. It's a satisfying conclusion to a record that answers a question nobody was actually asking – Can Lauper carry off an LP of blues cover version? – with a definitive "yes". Though her voice is thin and lacking in bluesy grit and sinew – this is especially evident as she alternates lines with feline, growling guest Ann Peebles on Rollin' and Tumblin' – she gets inside the songs, and that makes the album work. Holding her own alongside players of the first magnitude (Allen Toussaint, BB King), she's cheeky on Louis Jordan's bawdy Early in the Morning and slinky as she does a deal with the devil on Crossroads. Worth hearing.
(theguardian.com/music/2010/sep/30/cyndi-lauper-memphis-blues-cd-review)

01. Just Your Fool (feat. Charlie Musselwhite) (03:37)
02. Shattered Dreams (feat. Allen Toussaint) (03:52)
03. Early in the Morning (feat. Allen Toussaint & B.B. King) (03:51)
04. Romance in the Dark (05:44)
05. How Blue Can You Get (feat. Jonny Lang) (05:23)
06. Down Don t Bother Me (feat. Charlie Musselwhite) (03:03)
07. Don t Cry No More (02:44)
08. Rollin and Tumblin (feat. Kenny Brown and Ann Peebles) (03:29)
09. Down So Low (03:55)
10. Mother Earth (feat. Allen Toussaint) (05:19)
11. Cross Roads (feat. Jonny Lang) (04:42)

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Rory Gallagher (Taste) - Live In Europe [Japanese Ed.] (1972)

Year: May 1972 (CD 2005)
Label: BMG Japan Inc. (Japan), BVCM-37641
Style: Blues, Blues Rock
Country: Cork, Ireland (2 March 1948 - 14 June 1995)
Time: 59:26
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

For some reason, I bought this album via mail-order. It was 1972. I was fourteen years old and I paid the going rate of around ?2.25 (in postal orders) to the record store I’d seen advertised in ‘Sounds’ magazine. For two weeks, I rushed home from school in excited anticipation of its arrival. After what seemed an eternity, it arrived … with a note stating my remittance was (I think) about 25p short. Yet the nice, ever so trusting people at the record store just asked I send another postal order with my next order.
However, by the time I‘d saved enough from my paper round to buy my next LP, I’d discovered Listen Records and Virgin Records in Glasgow. I never did order from the mail-order store again. A few months later, I read in ‘Sounds,’ the company had gone bust! Was it my 25p that sent them over the edge? I’ve carried that burden of guilt now for fifty-one years!
The record itself, though: this was ‘big boys’’ music! A mix of self-penned and rearranged standards, the seven tracks blew me away with their intensity. Driven by the furious bass playing of Gerry McAvoy, and crashing drums of Wilgar Campbell, Rory’s searing Stratocaster playing cuts through like a knife. His playing has everything – little flecks of jazz inspired backing to his quieter vocal moments; big, chunky heavy riffs, like in his own composition, ‘Laundromat,’ and of course, the blues! Whether it be fast and loud as in the opening’ ‘Messin’ With The Kid’ or the slower, almost metronomic ‘I Could Have Had A Religion,’ Rory pre-empted, and answered, the query posed by Deacon Blue, seventeen years later: yes – not only can a white man sing the blues, he can damn well play them too!
Yet, though heavily blues influenced, ‘Live In Europe’ has such a variation in sounds that it remains fresh and exciting from start to finish – even after over fifty years of regular play!.
‘Pistol Slapper Blues’ is an acoustic cover of Blind Boy Fuller’s song from ‘nineteen twenty something or other,’ as Rory himself says; ‘Going To My Home Town’ is one of Rory’s own compositions – a real stomper of a track, the famous Strat being swapped for a mandolin.
‘In Your Own Town’ is another of Rory’s, this time almost ten minutes of heavy blues and spectacular guitar playing. Album closer is ‘Bullfrog Blues,’ another ‘traditional’ blues song written the Twenties and re-arranged by Rory. It’s a truly explosive ending, with terrific bass and drum solos thrown in for good measure. The production and sound quality is top notch, something that can’t be said for many ‘Live’ albums and I can attest the album truly replicates the sound and atmosphere of a Rory concert. Not only was ‘Live In Europe’ my proper introduction to heavy rock, it also took me down the rabbit hole of blues music – a tunnel I am still exploring. It’s influenced my music of choice from a spotty fourteen year old to grumpy old git, and remains the most treasured record in my collection.
(onceuponatimeinthe70s.com/2023/09/23/my-all-time-favourite-album-rory-gallagher-live-in-europe/)

01. Messin' With the Kid (06:25)
02. Laundromat (05:12)
03. I Could've Had Religion (08:35)
04. Pistol Slapper Blues (02:54)
05. Going to My Home Town (05:46)
06. In Your Town (10:03)
07. What in the World (07:40)
08. Hoodoo Man (06:02)
09. Bullfrog Blues (06:45)

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Chicken Shack - Goodbye Chicken Shack [Live] (1974)

Year: Recording: October 26, 1973 (CD Feb 28, 2013)
Label: Esoteric Recordings (UK), ECLEC2379
Style: Rock, Blues Rock
Country: Birmingham, England
Time: 48:53
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Chicken Shack evolved from a Stourbridge based band called "Sounds Of Blue" who were performing in the West Midlands area by 1964. Early members included lead guitarist/vocalist Stan Webb, vocalist/pianist Christine Perfect, bass guitarist Andy Silvester, and saxophonist Chris Wood. The group made their name during the "British blues revival" of the late 1960s.
Talented guitarist Stan Webb is regarded by many as one of the great un-sung heroes of British blues music. He was born in Fulham, London on February 3, 1946 and moved to Kidderminster with his parents after leaving school. He started playing guitar during the "skiffle" craze of the late 1950s and formed his first group in 1962 called "The Strangers Dance Band" with whom he played instrumental versions of the hits of the day at pubs and youth clubs.
Stan Webb began to earn money in his first professional band called "Shades Five". Like many local groups at the time, they found regular bookings on Joe and Mary Regan's famous West Midlands circuit of venues. He recalled in an interview; "Shades Five was my first crack at being a professional musician working for Mrs Regan in Birmingham doing the Old Hill Plaza, the Plaza in Handsworth, and The Brumbeat Cavern. If you didn't do those, you weren't anyone!"
A record shop in Birmingham on Hurst Street changed Stan's outlook on music. He recalled; "I started hearing all the blues stuff at this record shop called 'The Diskery' that was wonderful. Went up there on a Saturday, they had all these American records playing, covers all over the ceiling. And that's when I first got 'Freddie King Sings'. I took it home and listened and thought, I don't believe this!"
It was local blues singer David Yeates who convinced Stan Webb to join his group called "The Sounds Of Blue". By this time, Webb was heavily influenced by American blues and R&B music. The Sounds of Blue line-up included Andy Silvester on rhythm guitar and saxophonist Chris Wood who lived in nearby Cradley Heath.
Chris Wood had attended Stourbridge Art College in 1963 and learned to play the flute before later graduating to saxophone. By March 1964, he was performing with Sounds Of Blue although he left the following year before they went over to Germany as Chicken Shack. Chris Wood then joined Jim Simpson's jazz influenced band called "The Kansas City Seven" (see Locomotive) and later became a founding member of the highly acclaimed and internationally successful Traffic.
(full version: brumbeat.net/chickens.htm)

01. Everyday I Have The Blues (05:41)
02. Thrill Is Gone (05:42)
03. Going Down (05:56)
04. You Take Me Down (05:17)
05. Webb's Boogie (06:13)
06. You're Mean (06:23)
07. Poor Boy (07:55)
08. Webb's Guitar Shuffle (03:13)
09. Tutti Frutti (02:28)

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Rory Gallagher (Taste) - Deuce [Japanese Ed.] (1971)

Year: 28 November 1971 (CD Apr 25, 2007)
Label: BMG Japan Inc. (Japan), BVCM-37881
Style: Blues, Blues Rock
Country: Cork, Ireland (2 March 1948 - 14 June 1995)
Time: 51:39
Format: Flac Tracks 16/44,1 kHz
Size: 341 Mb

Rory Gallagher's second solo offering, Deuce, is arguably the studio album that best reflects the Irish guitarist's ferocity in his preferred medium, live. Deuce also represents the peak of his ‘power trio career’, surpassing any Taste album and narrowly edging out his remarkable debut, Rory Gallagher, released just six months prior to this marvel.
Gallagher was clear that it was on stage that he expressed himself best, so when he set about producing his second solo album he decided to put the recording sessions after live performances, to harness the energy of the live shows and leave the production skeletal, with just vocals, bass, drums and guitar. Of course, Gallagher's guitar wasn't just anything, his worn '61 Stratocaster was capable of unleashing electrical storms in which several people seemed to be playing.
Take the opening track, Used To Be, for example, where the guitar leads the way until his R&B-like vocals come in. It's a devastating start on his unbridled guitar, and indicates that we are in the presence of a true master. But whoever thinks of Gallagher only as a marvellous guitarist is also missing out on the composer capable of such delights as I'm Not Awake Yet, in which touches of British folk can be appreciated. Moreover, his mastery of the acoustic is similar to that of the electric and he is capable of embellishing the song with a beautiful and expressive solo.
The acoustic blues number Don't Know Where I'm Going reveals Gallagher's excellent sense of humour; sounding somewhere between Ronnie Lane and Steve Marriott. In Your Town and Should've Learnt My Lesson successfully approach his beloved blues rock, sounding gritty and direct. While There's A Light offers another taste of his more melodic and sensitive side, with another guitar solo that is not so much a display of technique as a song within a song. The album reaches its peak at the close, with Crest Of A Wave, a song that features fantastic bass playing by the indispensable Gerry McAvoy, and some incredible guitar work by our protagonist, again shining with the slide, and achieving a cutting, raw and aggressive sound.
Deuce, released on 28 November 1971, made it clear that Rory Gallagher was inaugurating the imperial phase of his career, with a raw and gritty sound that would be reflected in his mythical live shows, such as the outstanding Live In Europe that arrived the following year. The flame had been lit and Rory was crowned as one of the greats.
(guitarsexchange.com/en/unplugged/1079/rory-gallagher-deuce-1971/)

01. I'm Not Awake Yet (05:06)
02. Used To Be (05:24)
03. Don't Know Where I'm Going (02:42)
04. Maybe I Will (04:15)
05. Whole Lot Of People (04:57)
06. In Your Town (05:47)
07. Should've Learnt My Lesson (03:36)
08. There's A Light (05:59)
09. Out Of My Mind (03:05)
10. Crest Of A Wave (06:00)
11. Persuasion (Bonus Track) (04:43)

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Chicken Shack - O.K. Ken [Japanese Ed.] (1969)

Year: February 1969 (CD Nov 21, 1994)
Label: Epic Records (Japan), ESCA 7566
Style: Rock, Blues Rock
Country: UK
Time: 42:19
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Their second LP, O.K. Ken? was released in February 1969 and also garnered chart success just like the prior album 40 Blue Fingers, Freshly Packed and Ready to Serve. While it did surpass the first album by reaching No. 9 on the British charts, unlike the initial LP, it quickly dropped out of the charts due to the lack of an album single to support it. The band then decided to release a song from the first album, "When The Train Comes Back” (BH 57-3146), after overdubbing a horn section over the original track. The flipside of the single was “Hey Baby”, an outtake of the O.K. Ken? album sessions. Christine Perfect composed and provided piano and lead vocals on both single tracks but the single release was only mildly successful.
Stan Webb wrote four of the songs on the album and co-wrote two others with Christine Perfect. Webb sang all of his compositions and Perfect sang on the Perfect/Webb collaboration, "Get Like You Use to Be". Webb and Perfect sang a duet on the other Perfect/Webb collaboration, "A Woman Is The Blues". Additionally, Perfect sang on covers, "I Wanna See My Baby" and "Mean Old World". The "Pony Trap" and "Remington Ride" are both instrumentals.
Following her departure, Christine Perfect joined Fleetwood Mac in July 1970, and "Get Like You Used to Be" became a staple of Fleetwood Mac's live act from 1970 to 1975. Guitarists Danny Kirwan, Jeremy Spencer, Peter Green, Bob Welch, Bob Weston, & Lindsey Buckingham all featured on different performances of the song throughout the band's ever-changing lineups.
(en.wikipedia.org/wiki/O.K._Ken%3F)

01. Baby's Got Me Crying (02:34)
02. The Right Way Is My Way (02:33)
03. Get Like You Used To Be (03:49)
04. Pony And Trap (03:20)
05. Tell Me (04:50)
06. A Woman Is The Blues (03:27)
07. I Wanna See My Baby (03:52)
08. Remington Ride (03:02)
09. Fishing In Your River (04:40)
10. Mean Old World (03:44)
11. Sweet Sixteen (06:23)

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Chicken Shack - 100 Ton Chicken [Japanese Ed.] (1969)

Year: October 1969 (CD Nov 21, 1994)
Label: Epic Records (Japan), ESCA 7567
Style: Rock, Blues Rock
Country: UK
Time: 35:39
Format: Flac Tracks 16/44,1 kHz
Size: 210 Mb

Lethargic blues, sounding like an opening act recorded at the blues bar down the street. This record literally screams for a competent singer, as Stan Webb's lazy, mumbling vocals are almost laughable (did he intend it that way?). Sorry, but this chicken laid a 20-ton rotten egg.
(allmusic.com/album/100-ton-chicken-mw0000343023) Review by Peter Kurtz
100 Ton Chicken is the third album by the UK Brit Blues band Chicken Shack. Originally released in 1969, the follow-up album of their first two albums 40 Blue Fingers Freshly Packed And Ready To Serve [MOVLP104] and OK Ken? [MOVLP1039] was Paul Raymond's first album as a member of Chicken Shack. Raymond replaced Christine Perfect, who left the band when she married John McVie of Fleetwood Mac.
Terence Ibbott was in charge of the album artwork for 100 Ton Chicken, which was bizarre as always. The recordings sounded quite different and gave The Shack what they were looking for - a "heavier" sound. On the album Chicken Shack covered Clarence Carter tunes ("The Road Of Love" and "Weekend Love"), a great Freddie King tune "Look Ma, I'm Cryin'", Lowell Fulson's "Reconsider Baby" and Clarence Gatemouth Brown's "Midnight Hour".
(bear-family.com/chicken-shack-100-ton-chicken.html?srsltid=AfmBOoqNsQZMQtTUWCMyylSSdtquSEFeFpAMSi1Wb6bbu7dBgjpzqlqh)

01. The Road of Love (03:34)
02. Look Ma, I'm Cryin' (03:26)
03. Evelyn (04:20)
04. Reconsider Baby (03:24)
05. Weekend Love (02:17)
06. Midnight Hour (02:56)
07. Tears in the Wind (02:45)
08. Horse and Cart (03:38)
09. The Way It Is (04:26)
10. Still Worried About My Woman (03:13)
11. Anji (01:36)

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Chicken Shack - Forty Blue Fingers, Freshly Packed And Ready To Serve [Japanese Ed.] (1968)

Year: June 1968 (CD Nov 21, 1994)
Label: Epic Records (Japan), ESCA 7565
Style: Rock, Blues Rock
Country: UK
Time: 39:48
Format: Flac Tracks 16/44,1 kHz
Size: 259 Mb

Chicken Shack's first single “It's Okay With Me Baby / When My Left Eye Jumps” (BH 57-3135), was released in 1968 shortly before their first LP release 40 Blue Fingers, Freshly Packed and Ready to Serve was released later that year. Christine Perfect composed and sang the song on side A of the first single and Stan Webb composed and sang the song on the flip side. Neither side of the first single was included on the first LP release. The first non-album single and the debut LP attracted a lot of attention. 40 Blue Fingers... ended up having considerable chart success (No. 12 on the British Album Charts). Stan Webb and Christine Perfect both wrote two songs for the album and the rest of the songs were blues covers. Webb sang lead vocals on all of his compositions as well as all of the covers. Perfect sang lead only on her compositions.
Chicken Shack are a British blues and rock band, founded in the mid-1960s by Stan Webb (guitar and vocals), Andy Silvester (bass guitar), and Alan Morley (drums), who were later joined by Christine Perfect (later McVie) (vocals and keyboards) in 1967. Chicken Shack has performed with various line-ups, Stan Webb being the only constant member.
(en.wikipedia.org/wiki/Chicken_Shack)

01. The Letter (04:31)
02. Lonesome Whistle Blues (03:06)
03. When The Train Comes Back (03:36)
04. San-Ho-Zay (03:08)
05. King Of The World (05:05)
06. See See Baby (02:28)
07. First Time I Met The Blues (06:30)
08. Webbed Feet (02:57)
09. You Ain't No Good (03:40)
10. What You Did Last Night (04:41)

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Charlie Musselwhite's Southside Band - Stand Back! Here Comes Charley Musselwhite's South Side Band (1967)

Year: 1967 (CD ????)
Label: Vanguard Records (Germany), VMD 79232-2
Style: Blues
Country: Memphis, Tennessee, U.S. (January 31, 1944)
Time: 45:42
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Stand Back! Here Comes Charley Musselwhite's South Side Band is the 1967 debut album of American blues-harp musician Charlie Musselwhite, leading Charlie Musselwhite's Southside Band. The Vanguard Records release brought Musselwhite to notability among blues musicians . With rough vocals and notable performances on harmonica, guitar and bass guitar, the album was critically well received. It introduced Musselwhite's signature song, his cover of Duke Pearson's "Cristo Redemptor".
Among the album's tracks, "Cristo Redemptor" has remained particularly important in Musselwhite's repertoire, standing as his signature song, although subsequent versions of the Duke Pearson cover have been longer. Musselwhite's music here is characterized by smooth harmonica a "harsh, almost strained voice" that Allmusic indicates is "considerably more affected than...later [vocals] (clearer, more relaxed)". Mandel's guitar work, influential, features what Legends of Rock Guitar describes as "relentless fuzztone, feedback-edged solos, and unusual syncopated phrasing." Allmusic highlights the guitarist's "snakey stuttering style", particularly on track "Chicken Shack" in which it "truly makes you think your record is skipping." Bass player Bob Anderson, who later played with Howlin' Wolf, has been singled out for a noteworthy rendition of the classic root-?3rd-4th progression in the song "Help Me".
(en.wikipedia.org/wiki/Stand_Back!_Here_Comes_Charley_Musselwhite%27s_Southside_Band)

01. Baby Will You Please Help Me (03:20)
02. No More Lonely Nights (05:19)
03. Cha Cha The Blues (03:12)
04. Christo Redemptor (03:21)
05. Help Me (03:30)
06. Chicken Shack (04:17)
07. Strange Land (03:01)
08. 39Th And Indiana (04:10)
09. My Baby (02:42)
10. Early In The Morning (04:35)
11. 4 P.M. (03:14)
12. Sad Day (05:00)

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Barry Goldberg - Barry Goldberg and Friends (1969)

Year: 1969 (CD 1991)
Label: Sequel Records (UK), nex cd 160
Style: Blues, Blues Rock
Country: Chicago, Illinois, U.S. (December 25, 1941 - January 22, 2025)
Time: 63:00
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Barry Goldberg's discography of rock jamming, recorded back when Phish and other participants in the jam band scene weren't even twinkles in anyone's eye, is an incoherent jumble of repackagings, reissues, and albums with similar titles. There may not be a single one of these albums that actually has correct credits for the instrumentalists involved; Mike Bloomfield, for example, often hides behind a pseudonym because of this or that piece of paper he signed. A simple rule may help in the location of the best of this material. If there are not that many songs, and the individual tracks are quite long, that's a good sign. If there are lots of titles, and lots of blues titles, then don't bother with it. Which brings us to this album, which from the look of its original cover was simply dumped on the market without much care or consideration. A contest between two album cover designers over who can finish an entire layout, including credits, before the coffee gets cold may have been behind the cover. The name of the bassist is left out in the process. Or is Bloomfield playing bass while Harvey Mandel is soloing, and the other way around? There are five songs in the program, two of them not much over four minutes and the rest at some kind of jam length, especially the 12-and-a-half-minute "I Got to Love My Woman." The shorties are straight blues, and are the low points of the set. The beat is not happening on the opening "Sweet Home Chicago"; it might be worth suggesting that the organist check out some records of Chicago blues to see how it should sound, but such a comment would be totally obnoxious. Surely Goldberg has listened to more records of that type of music than any music critic.
The jamming is where things really take off. Goldberg has a sound of his own on the organ and is always going somewhere interesting in his solos, provided he can keep the eager guitarists out of his way. As in his work with the Paul Butterfield Blues Band, Bloomfield uses the jams as a chance to stretch away from his B.B. King style, which is also on display, complete with bent-string elaborations that are practically byzantine. Mandel has much more personality in his playing, and is something of a master in terms of unusual tone colorings. Nonetheless, drummer "Fast" Eddie Hoh completely steals the long jam with a solo that hints at the mystery of why there are so many people in the music business with the nickname of "Fast Eddie," sounding like at least three of them are on-stage playing the drums. "Mess 'a da' Blues" is another long jam, a stock slow blues feature in which the guitarists get to chop at each other. Tracks such as this do have an appeal, but it is blues in name only; the track has no real emotional content the way an actual blues song would, and because of the athletic guitar calisthenics becomes not much more than a display of technique. The original release had no songwriting credits for any of the material.
(allmusic.com/album/barry-goldberg-friends-mw0000080080)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. That's Allright Mama (02:47)
02. Maxwell Street Shuffle (02:28)
03. Hole In My Pocket (02:52)
04. It Hurts Me Too (04:15)
05. You're Still My Baby (03:21)
06. On The Road Again (01:59)
07. Sittin' In The Circles (03:43)
08. Capricorn Blues (01:56)
09. A Lighter Blue (02:41)
10. Twice A Man (04:30)
11. Fool On A Hill (03:21)
12. Sugar Coated Love (02:38)
13. Strung And Young (03:18)
14. The Answers In Your Head (03:27)
15. I Think I'm Gonna Cry (03:22)
16. Jimi The Fox (02:30)
17. Another Day (03:29)
18. Blues For Barry And ... (10:14)

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Charlie Musselwhite - Louisiana Fog (1968)

Year: 1968 (CD 1994)
Label: Blues Legends (Canada), BLS12212
Style: Blues
Country: Kosciusko, Mississippi, U.S. (January 31, 1944)
Time: 34:36
Format: Flac Tracks 16/44,1 kHz
Size: 222 Mb

The first disappointment in the Musselwhite catalog, this hodgepodge of material and sidemen still has some standouts, especially Little Richard's R&B ballad "Directly from My Heart" -- which features the Ford brothers and Tim Kaihatsu and Clay Cotton (back in the lineup from the Stone Blues days). "Big Legged Woman" and "Takin' Care of Business" are respectable, but overall the album ranges from uneven to subpar.
(allmusic.com/album/louisiana-fog-mw0000664958)

 

01. Louisiana Fog (04:13)
02. Takin' Care of Business (02:20)
03. Big Legged Woman (04:48)
04. Riffin (04:14)
05. Leavin' (02:16)
06. Just a Little Bit (02:52)
07. Fell on My Knees (05:40)
08. Directly From My Heart (03:31)
09. Fat City (04:39)

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Alexis Korner's Blues Incorporated - At The Cavern [Expanded Ed. 12 bonus tracks] (1964)

Year: 1964 (CD Jul 2006)
Label: Castle Music (Europe), CMRCD1372
Style: Blues, Rhythm and Blues
Country: London, England
Time: 60:58
Format: Flac Tracks 16/44,1 kHz
Size: 185 Mb

Alexis Korner's Blues Incorporated, or simply Blues Incorporated, were an English blues band formed in London in 1961, led by Alexis Korner and including at various times Jack Bruce, Charlie Watts, Terry Cox, Ginger Baker, Art Wood, Long John Baldry, Ronnie Jones, Danny Thompson, Graham Bond, Cyril Davies, and Dick Heckstall-Smith.
Korner (1928–1984) was a member of Chris Barber's Jazz Band in the 1950s, and met up with Cyril Davies (1932–1964) who shared his passion for American Blues. In 1954 they teamed up as a duo, began playing blues in London jazz clubs, and opened their own club, the London Blues and Barrelhouse Club, where they featured visiting bluesmen from America. The club embraced aspiring young musicians, including in its early days Charlie Watts, Long John Baldry, and Jack Bruce.
In 1961 Korner and Davies formed Blues Incorporated, the first amplified R&B band in Britain, and brought in singer Baldry (sometimes replaced by Art Wood), drummer Watts, bassist Bruce, and saxophonist Dick Heckstall-Smith. It was an informal band: its membership was intended to be fluid.
On 17 March 1962, Korner and Davies established a regular "Rhythm and Blues Night" at the Ealing Jazz Club. This brought together many more fans of blues and R&B music including Mick Jagger, Keith Richards, Brian Jones, Eric Clapton, Rod Stewart, Paul Jones, John Mayall, Zoot Money, and Jimmy Page, some of whom would occasionally sit in at Blues Incorporated performances. Watts left the group around this time to join the Rolling Stones and suggested Ginger Baker as his replacement.
From 3 May 1962, Blues Incorporated secured a Thursday-night residency at the Marquee Club, which brought them to the attention of record producer and promoter Jack Good who arranged a recording contract with Decca Records resulting in the LP R&B from the Marquee, released in late 1962. The album was actually recorded in the Decca studio and featured Baldry as lead singer with songs by Muddy Waters, Jimmy Witherspoon and Leroy Carr.
Late in 1962 Davies disagreed with Korner's intention to add a brass section to the band and turn more towards jazz than blues, so left to form his own group, the Cyril Davies All-Stars, and was replaced by Graham Bond. Blues Incorporated found a new residency at the Flamingo club but, shortly afterwards, Bond, Bruce and Baker left to form the Graham Bond Organisation.
Blues Incorporated concentrated on live work rather than recording and the group only released two singles on Parlophone, "I Need Your Loving" / "Please Please Please Please" (1964) and "Little Baby" / "Roberta" (1965). In 1964 they released the LPs At The Cavern and Red Hot From Alex, with American Herbie Goins as lead singer and Danny Thompson, later of Pentangle, on bass. By the time of the group's last album Sky High (credited to Alexis Korner's Blues Incorporated) in 1965, the group included Duffy Power on vocals. Korner dissolved the group in 1966.
(en.wikipedia.org/wiki/Alexis_Korner%27s_Blues_Incorporated#Discography)

01. Overdrive (04:00)
02. Whoa Baby (04:33)
03. Every Day I Have The Blues (04:12)
04. Hoochie Coochie Man (05:35)
05. Herbie's Tune (07:39)
06. Little Bitty Gal Blues (05:32)
07. Well All Right Ok You Win (03:15)
08. Kansas City (04:28)
09. announcement (00:13)
10. Overdrive (02:20)
11. brief interview (01:15)
12. I Need Your Lovin' (02:10)
13. Turn On Your Lovelight (02:25)
14. brief interview (01:07)
15. Please, Please, Please (02:50)
16. announcement (00:05)
17. Roberta (02:20)
18. Every Day I Have The Blues (02:01)
19. I Need Your Lovin' (02:16)
20. Please, Please, Please (02:32)

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