Showing posts with label Otis Rush. Show all posts
Showing posts with label Otis Rush. Show all posts

Sunday, August 21, 2016

Otis Rush - The Cobra Recordings 1956-58

Church is out...the last choice bit of the weekend remains...time for some good time blues!... I gotta tell ya Otis is one of my personal all time faves!

"Otis Rush (born April 29, 1935 in Philadelphia, Mississippi
) is a blues musician, singer and guitarist. His distinctive guitar style features a slow burning sound and long bent notes. With similar qualities to Magic Sam and Buddy Guy, his sound became known as West Side Chicago blues and became an influence on many musicians including Michael Bloomfield and Eric Clapton.

Rush is left-handed and, unlike many other left-handed guitarists, plays a left-handed instrument strung upside-down with the low E string at the bottom. He played often with the little finger of his pick hand curled under the low E for positioning. It is widely believed that this contributes to his distinctive sound. He has a wide-ranging, powerful tenor voice.

After moving to Chicago, Illinois in 1948, Rush made a name for himself playing in clubs on both the South Side and West Side blues scenes. From 1956 to 1958, he recorded for the Cobra Records and released eight singles, some featuring Ike Turner or Jody Williams on guitar. His first single "I Can't Quit You Baby" in 1956 reached No. 6 on Billboard's R&B chart. During his tenure with Cobra, he recorded some of his well known songs such as "Double Trouble" and "All Your Love (I Miss Loving)."

After Cobra Records went bankrupt in 1959, Rush landed a recording contract with Chess in 1960. He recorded eight tracks for the label, four of which were released on two singles that year. Six tracks including the two singles later came out on "Door To Door" album in 1969, a compilation also featuring Chess recordings by Albert King. He also went into the studio for Duke Records in 1962, but only one single "Homework/I Have to Laugh" was issued from the label. It also received a release in Great Britain on Vocalion VP9260 in 1963. In 1965, he recorded for Vanguard which can be heard on the label's compilation album, Chicago/The Blues/Today! Vol.2.

In the 1960s, Rush began playing in other cities in the U.S. and also to Europe, most notably the American Folk Blues Festival. In 1969, the album Mourning in the Morning was released on Cotillion Records. Recorded at the FAME Studios in Muscle Shoals, Alabama, the album was produced by Michael Bloomfield and Nick Gravenites (then of Electric Flag). The sound that incorporated soul and rock was a brand new direction for Rush.

In 1971, Rush recorded the album Right Place, Wrong Time in San Francisco, California for Capitol Records, but Capitol decided not to release it. The album was finally released in 1976 when Rush purchased the master from Capitol and had it released by P-Vine Records in Japan. Bullfrog Records released it in the U.S. soon after. The album generally has since gained a reputation as one of the best works by Rush. In the 1970s, he also released some albums on Delmark Records and also from Sonet Records in Europe, but by the end of the decade he stopped performing and recording.

Rush made a come back in 1985 making a U.S. tour and releasing the live album, Tops, recorded at the San Francisco Blues Festival. In 1994, Rush released Ain't Enough Comin' In, the first studio album in 16 years.  Any Place I'm Goin' followed in 1998, and Rush earned his first Grammy Award for Best Traditional Blues Album in 1999.

Though he has not recorded a new studio album since 1998, he continued to tour and perform. In 2002, he was featured on the Bo Diddley tribute album Hey Bo Diddley - A Tribute!, performing the song "I'm A Man" produced by Carla Olson. However, he suffered a stroke in 2004 which has kept him from performing since. In 2006, Rush released his latest CD, Live and From San Francisco on Blues Express Records, a live recording from 1999. Video footage of the same show was released on the DVD Live Part 1 in 2003."

Saturday, February 8, 2014

Otis Rush, Albert King - So many roads


Great album, featuring two of the premier exponents of modern blues guitar. There are six superb sides by Rush from 1960 including the magnificent So Many Roads, So Many Trains which is one of his greatest ever performances with a mind-bending string-bending guitar solo and two tracks not originally released including a remake of his Cobra classic All Your Love. The 8 cuts by Albert were recorded for Parrot in 1953 and Bobbin in 1961 with only two of the Parrot sides being originally issued - all are superb and it's interesting to see the development in Albert's style between his early and later sessions.

Year:
recorded Chicago, nov. 1953 and sept. 1960
Label:
Charly Records 
Quality: Bitrate:

my cd > flac
Scans - Artwork:
full scans 
Total Time:

00:39:32 
Total Size:

160mb

Album Info & Personnel:
Otis Rush - vocals, guitar
Bob Neely - tenorsax
Lafayette Leake - piano
Matt Murphy - bass
Willie Dixon - bass
Odie Payne - drums
Albert King,- vocal, guitar
Johnny Jones - piano

Tracklist:
01-Bad Luck (Blues)
02-(Be On Your) Merry Way
03-Murder
04-Searching For A Woman
05-California Blues
06-Wild Women
07-Won't Be Hangin' Around No Mor
08-Howlin' For My Darling
09-So Many Roads, So Many Trains
10-I'm Satisfied
11-So Close
12-All Your Love
13-You Know My Love
14-I Can't Stop Baby

Links in Comments:

Saturday, January 18, 2014

Otis Rush - Cold Day In Hell 1975

A fitting companion to Right Place...recorded with one of Otis' best bands.

"COLD DAY IN HELL is one of the standouts from Otis Rush's 1970s catalogue. Rush's anguished vocals, piercing guitar leads, and overall gutsy attack are in full effect here on galloping rockers ("Cut You a Loose") and loping groovers ("Mean Old World") alike. Rush specializes in slow-burn down-tempo numbers--"You're Breaking My Heart," "Society Woman," and the wiry title track fall into this category, and each of these tracks give the Chicago axe-master plenty of room to stretch out on the fretboard. Unlike a lot of the post-'60s bluesmen, Rush never softened or commercialized his sound, and COLD DAY IN HELL upholds the artist's rough and raw ethos. His searing guitar work (which seems inseparable from his chunky amplifier tone) cuts a trail through the middle of these songs and is as appropriate on wrenching slow blues as it is on "Motoring Along," a sprightly, jazz-influenced instrumental. An alternate take of "You're Breaking My Heart" and the previously unissued "Part Time Love" are icing on this satisfying release. w. Abb Locke, Big Moose, Mighty Joe Young 1975. Personnel: Otis Rush (vocals, guitar); Bob Stroger (guitar, drums); Mighty Joe Young, Bob Levis (guitar); Chuck Smith (saxophone, baritone saxophone); Abb Locke, Abe Locke (tenor saxophone); Johnny "Big Moose" Walker (piano, organ, keyboards); Jesse Lewis Green (drums)."

Wednesday, January 15, 2014

Otis Rush - Right Place, Wrong Time 1976


I really love this guy, and this album in particular. It was a mystery to me that it was ignored first time out. Let's try it again...

"This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing "wrong" about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will be surprised). As a performer he opens up the blues form with his chord progressions and use of horn sections, the latter instrumentation again added in a wonderfully spare manner, bringing to mind a master painter working certain parts of a canvas in order to bring in more light. Blues fans who get tired of the same old song structures, riff, and rhythms should be delighted with most of Rush's output, and this one is among his best. Sometimes all he does to make a song sound unlike any blues one has ever heard is just a small thing -- a chord moving up when one expects it go down, for example. The production is particularly skilled, and the fact that Capitol Records turned this session down after originally producing it can only be reasonably accepted when combined with other decisions this label has made, such as turning down the Doors because singer Jim Morrison had "no charisma." This record doesn't mess around at all. The first track takes off like the man they fire out of a cannon at the end of a circus, a perceived climax swaggeringly representing just the beginning, after all. Some of the finest tracks are the ones that go longer than five minutes, allowing the players room to stretch. And that means more of Rush's great guitar playing, of course. For the final track he leaves the blues behind completely for a moving cover version of "Rainy Night in Georgia" by Tony Joe White." AMG