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Blues

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Get Easy Blues

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Karen Kingsbury - Shades of Blue

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Karen Kingsbury - Shades of Blue

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Blue Gold: World Water Wars

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Out of the Blue

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Blue by Joni Mitchell

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Into the Blue

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Blue Bird

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Hal Leonard All Blues

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Walter Mosley - Blue Light

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Eric Clapton earned a reputation as a blues guitarist early in his career, and while he frequently returned to the blues -- usually recording at least one blues tune per album -- he never recorded a full-fledged blues album until 1994's From the Cradle. It became one of the most popular records of his career. Not long afterward, MCA assembled a collection of Jimi Hendrix's blues recordings, and that compilation also proved quite successful. Those two releases provided the blueprint for Blues, Polygram's double-disc collection of blues highlights from Clapton's RSO recordings of the '70s. On each of those albums, Clapton dabbled in the blues, and all of those moments, along with five previously unreleased tracks (both live and studio cuts), are featured here. Given that it's a compilation spanning ten years, it's not entirely surprising that Blues lacks cohesion, but the quality of the songs and performances is better than the majority of his RSO albums. As a matter of fact, nearly every performance on this set offers proof that Clapton could still dazzle as a guitarist during the '70s, even if his life was plagued with personal problems that ultimately affected his recording career. Blues may not appeal to listeners who just want hits, but even serious fans who have most of the tunes here may find this a revelatory listening experience. ~ Stephen Thomas Erlewine, Rovi
$17 Go to
DeepDiscount.com
Shades of Blue opens with the declaration that We are now having a little cooking session for Blue Note right here on the scene... Madlib was afforded the opportunity to mine the crates of Blue Note. On Shades of Blue, Madlib delivers remixes and brand spanking new interpretations of Blue Note classics. Whether funking out Ronnie Foster's original Mystic Brew and transforming it into the Mystic Bounce, or giving Wayne Shorter's Footprints a go with Yesterday's New Quintet, rest assured that Madlib's innovative sonic vocabulary will fill the ears. Other artists receiving a Madlib reimagination include Donald Byrd, Bobbi Humphrey, Bobby Hutcherson, Horace Silver, The Three Sounds and many more.
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Amazon Marketplace
The Rolling Stones recorded Black and Blue while auditioning Mick Taylor's replacement, so it's unfair to criticize it, really, for being longer on grooves and jams than songs, especially since that's what's good about it. Yes, the two songs that are undeniable highlights are Memory Motel and Fool to Cry, the album's two ballads and, therefore, the two that had to be written and arranged, not knocked out in the studio; they're also the ones that don't quite make as much sense, though they still work in the context of the record. No, this is all about groove and sound, as the Stones work Ron Wood into their fabric. And the remarkable thing is, apart from Hand of Fate and Crazy Mama, there's little straight-ahead rock & roll here. They play with reggae extensively, funk and disco less so, making both sound like integral parts of the Stones' lifeblood. Apart from the ballads, there might not be many memorable tunes, but there are times that you listen to the Stones just to hear them play, and this is one of them. ~ Stephen Thomas Erlewine, Rovi
$11 Go to
DeepDiscount.com
Like the guitarist in Spinal Tap, Gary Moore has an amp that goes up to 11, and at times during the two and half hours of The Best of the Blues, you wonder if it's stuck there. Luckily, episodes of thunder and lightning are interspersed with performances like Still Got the Blues, Need Your Love So Bad, and Midnight Blues on the first disc of this two-CD set, or Cold, Cold Feeling on the second--calmer passages, where the storm clouds yield to shafts of silver light. Disc 1 is a selection from four early-'90s albums, featuring guest spots by Albert King, B.B. King, and Albert Collins, plus a concert recording of Parisienne Walkways. Disc 2 has the same guests (on different songs) and a half-dozen of the same titles, but this is all unissued concert material. Live performance only stimulates Moore's tendency to skip the foreplay, producing music that is urgent, active, and seething with testosterone. Great stuff for a night in with the boys. --Tony Russell
$18 Go to
Amazon
Blues You Can Use could have accurately been titled Blues and Soul You Can Use because it offers a generous dose of R&B along with straight-ahead electric blues. But then, that title wouldn't have been as catchy. More important than the title, of course, is the music itself -- and Bobby Blue Bland is in decent form on this album, which came out when the singer was 56 or 57. To be sure, Blues You Can Use isn't in a class with Bland's classic Duke output of the 1950s and 1960s -- and his voice is undeniably thinner than it was in his younger days. But Bland demonstrates that he could still be expressive and charismatic on 12-bar ditties like I've Got a Problem and For the Last Time as well as laid-back soul numbers such as Restless Feelin's, There's No Easy Way to Say Goodbye and the tear-jerker Let's Part as Friends. Produced by Malaco founders Tommy Couch, Sr. and Wolf Stephenson, Blues You Can Use isn't essential. But it's enjoyable, and it's a good example of the fact that Malaco often did well by Bland in the 1980s and 1990s. ~ Alex Henderson, Rovi
$15 Go to
DeepDiscount.com
Blues was a big part of Chuck's rock 'n' roll sound-a fact that's never been spotlighted in any collection. This one compiles his own blues tunes plus his distinctive takes on classics : Sweet Sixteen; The Things That I Used to Do; I Just Want to Make Love to You; Wee Wee Hours; Worried Life Blues ...16 tracks of blues a la Berry!
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Amazon
Chuck Berry grew up on the blues, taking Muddy Waters as a particular hero, so when he signed with Chess Records in the mid-'50s, the label undoubtedly figured they were getting a blues artist. Which Berry was, but his bright, skittering guitar style and penchant for writing songs with lyrics that set aside blues clichés for something closer to beat poetry meant Berry's forward-looking version of the blues became something else altogether, creating the very template for rock & roll. It also brought a younger teenaged audience into the game, and Berry increasingly aimed for it. But before that groundbreaking shift in style and demographic, Berry turned out some interesting straight blues sides for Chess, several of which are collected here, and it's intriguing to wonder what might have happened had Berry stuck with the blues rather than redefining it into rock & roll. Highlights include the powerful Wee Wee Hours, a chugging version of Don Raye's Down the Road a Piece, a try at Guitar Slim's Things I Used to Do, the hybrid Driftin' Blues, which features a near doo wop backup chorus, and a revved up and rocking rendition of W.C. Handy's St. Louis Blues. Berry's guitar work is revealing on these early numbers, his tone always bright and fresh, as if he was a colt who just couldn't wait to get out there and run. And run he did. ~ Steve Leggett, Rovi
$7.99 Go to
DeepDiscount.com
When Chris Farlowe had a chance meeting with legendary record producer Mike Vernon (John Mayall, Fleetwood Mac and many more), he hadn't made an album of new material for over ten years. So with a new Thunderbirds lineup of Mo Witham on guitar, Tim Hinkley on Keyboards, Big George Webley on bass, Feelgoods drummer The Big Figure on drums and Steve Gregory playing saxophones he entered Mike's studio in Chipping Norton to record what was to become this album, Out of the Blue. Ex Thunderbird guitarist Albert Lee also makes an appearance here and there. The bonus tracks featured here were recorded in New York in late 1969 for Polydor Records in the USA but were never released. They have been previously released on the Rock n Roll Soldier Anthology, which is no longer available. This is Chris Farlowe doing what he does best, singing the blues.
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Amazon Marketplace
(For Four Bassoons). By Peter Schickele. Woodwind quartet. For Bassoon I, Bassoon II, Bassoon III, Bassoon IV. Premiered by the Bassoon Brothers (Mark Eubanks, Robert Naglee, Juan de Gomar, and Bonnie Filmore Cox) on April 18, 1997 in Portland, Oregon. Classical. Score and part(s). Standard notation. Composed JUNE 4 1996. 16 pages. Duration 12 minutes. Published by Theodore Presser Company
$35 Go to
Sheet Music Plus
*Visit Us* Business Location Map   This auction is for a 12 x12 size sheet SPECIFICATIONS   Collection : Glass Collection Primary Color(s) : Blue Material Type : Crystallized Glass Country : China Size : 12 length x 12 wide x 5/16 thick mesh-mounted mosaic tile Finish : N/A 4x4 Chips Per Sheet : 9 Item ID : SMOT-GLS-BLU4X4 Item Description : Blue Glass 4x4 in 12x12 Mesh                               RESIDENTIAL USAGE Flooring: Yes Â
$17 Go to
eBay
Peter Green was discovered by John Mayall and was lead guitarist in the late 60 s Bluesbreakers before leaving to form Peter Green's Fleetwood Mac with Mick Fleetwood and John McVie. After well documented health problems, Green reappeared in the mid 90's, much changed but with his talent and love of the blues still intact, as an integral part of Peter Green Splinter Group. Blues Don't Change is an album of tracks that inspired Peter Green and the other Splinter Group members to start playing the blues in the first place. These are songs originally made famous by such blues greats as B.B. King, Willie Dixon, Albert King, John Lee Hooker and Freddie King among others. This album, recorded in 2001, was originally made available at only via the band's website and at concerts but is now being generally released for the first time. / Line-up: Peter Green Guitar, Vocals; Nigel Watson Guitar, Vocals; Larry Tolfree Drums; Roger Cotton Keyboards; Pete Stroud Bass
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Terje Rypdal's all too short-lived rock band the Chasers played like a jazz trio -- a jazz trio that always pushed the barrier to achieve the visceral punch of rock. They could be funky as hell (note the dirtyass slow groove on Kompet Gär), terrifyingly experimental (Og Hva Synes Vi Om Det), cinematically bold (Om Bare), or wonderfully meditative and tender (Blue). That they could do all these things on recording and still seek the sound barrier as a band was an achievement equaled by few. One of the primary attributes of Blue is its sequencing; the entire recording seems to unfold endlessly and seamlessly. Nothing is rushed, and all parts and players contribute economically. The band establishes a textural point of view to improvise from in every selection, and doesn't seem to be hindered by the guitar-bass-drums limitation. Each track appears to reveal itself as a sound world, full of possibility and limitless space, giving the band a chance to offer itself to these compositions rather than just play them. Again, as evidenced by Blue, it's a shame this band didn't hang together longer in order to explore the full potential of its range of possibilities and sonic palettes. ~ Thom Jurek, Rovi
$15 Go to
DeepDiscount.com
Like the guitarist in Spinal Tap, Gary Moore has an amp that goes up to 11, and at times during the two and half hours of The Best of the Blues, you wonder if it's stuck there. Luckily, episodes of thunder and lightning are interspersed with performances like Still Got the Blues, Need Your Love So Bad, and Midnight Blues on the first disc of this two-CD set, or Cold, Cold Feeling on the second--calmer passages, where the storm clouds yield to shafts of silver light. Disc 1 is a selection from four early-'90s albums, featuring guest spots by Albert King, B.B. King, and Albert Collins, plus a concert recording of Parisienne Walkways. Disc 2 has the same guests (on different songs) and a half-dozen of the same titles, but this is all unissued concert material. Live performance only stimulates Moore's tendency to skip the foreplay, producing music that is urgent, active, and seething with testosterone. Great stuff for a night in with the boys. --Tony Russell
$7.35 Go to
Amazon Marketplace
Champion Motors, one of Detroit's biggest auto manufactures and ruled by the law of overtime, is shutting down plants and laying off their workers....
$21 Go to
Audible.com