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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!


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Showing posts with label Rounder Records. Show all posts
Showing posts with label Rounder Records. Show all posts

Monday, August 29, 2016

Rounder Records artist: Bobby Rush - Porcupine Meat - New Release Review

I just received the newest release (September 16, 2016), Porcupine Meat, from Bobby Rush and it's a mover. Opening with I Don't Want Nobody Hanging Around, Bobby Rush has a high steppin funky opener featuring a cooking horn section, great bass lines and of course some fine harp work. With a smooth R&B feel, title track, Porcupine Meat, is a real cruiser with Vasti Jackson laying down some tight riffs on guitar over a solid bass line. Very cool. Slow blues number, Got Me Accused, really gives Rush the opportunity to show his deep blues roots. With his soulful vocals and crying harp playing, this track is heavy. Again the strong bass lines really anchor the track and salted lightly with guitar, this track is smokin. R&B track, Snake In The Grass, has strong radio play sound with a catchy hook and a solid beat. Funky track, Funk o' de Funk, has really super bass line and the funk is so deep you can smell it. Punched up horns, keyboard and nicely placed harp work. This track hits the groove. Me, Myself and I is a smooth, jazzy number with a rock solid bottom and clean guitar riffs added by Joe Bonamassa. Catfish Stew is a cool pop jam with a rolling bass line. Light hearted feel and cool horn work make this track sail. It's Your Move has a nice BB King like feel that almost glides across the airwaves. Dave Alvin lays in some really nice guitar work over a solid bottom and a strong keyboard cloud. Keb' Mo' slips on the slide hitting Nighttime Gardener running over a blues riff. Rush does his thing lyrically, and with no pause. A sure crowd pleaser. R&B track, I Think Your Dress Is Too Short, has a real nice feel. With it's super cool bass line, snappy drums and horn punctuation, Rush just rides the wave. Very nice! Standing On Shaky Ground is pure soul and the horns sound like they are pure from the 70's. Rush has seen it all and knows the way with billowy keys and clean accents. Cool track. Wrapping the release is I'm Tired, a high water stepper with nice harp work, slide guitar and light percussion. Rush's harp work is instinctual and gives this track a cool modern feel. Nice closer.

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Friday, July 8, 2016

NEWS: Bobby Rush signs to Rounder; new album 'Porcupine Meat' due out Sept. 16.










BOBBY RUSH SIGNS TO ROUNDER RECORDS;
FIRST NEW ALBUM, PORCUPINE MEAT,
SLATED FOR SEPTEMBER 16 RELEASE

With special guests Dave Alvin, Joe Bonamassa, Keb’ Mo’, and Vasti Jackson, and backing from the New Orleans “A” team,
album cements Bobby Rush’s legacy
 as blues’ most vital artist of his generation.



JACKSON, Miss. — Naming one’s album after a song titled “Porcupine Meat” may seem a little unusual — unless, of course, you’re Bobby Rush, who earned his first gold record in 1971 with a hit entitled “Chicken Heads.” He elaborates on his recent composition:  “If a lady won’t treat me right, but she doesn’t want anyone else to have me, that is hard to digest.” Hence the lyric, “too fat to eat, too lean to throw away.”

Porcupine Meat
is Rush’s debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016.

Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006.

Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin’ Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.

Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil’s music. “My daddy never told me to sing the blues, but he also didn’t tell me to not sing the blues. I took that as a green light.”

Rush built his first guitar when he was a youngster. “I didn’t know where to buy one, even if I had the money. I was a country boy,” he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush’s band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.

During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin’ Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn’t until the early 1970s that Rush finally scored a hit with “Chicken Heads.” More recordings followed, including an album for Kenny Gamble and Leon Huff’s Philadelphia International Label.

Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like “Sue, A Man Can Give (But He Sure Can’t Take It),” “What’s Good For The Goose Is Good For The Gander Too,” and” I Ain’t Studdin’ You” became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.

Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. “I outgrew myself,” he says. “I need someone to help in doing the things I can’t do. When you are wearing all the hats, you can’t be everywhere at once.”

Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records’ longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since.  “He is the most vital bluesman of his generation,” says Billington. He continues, “There are many people who still don’t know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin’ Circuit — fans stop him on the street in Memphis and Helena and Little Rock.”

Porcupine Meat
will not only please Rush’s older fans, but is likely to win over many new ones. Billington reflects, “We wanted to come up with something fresh, while staying 100% true to Bobby.”

The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.

For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey “Jellybean” Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb’ Mo’, and Joe Bonamassa all make guest appearances on the album.

Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as “Dress Too Short,” “I Don’t Want Nobody Hanging Around,” “Me, Myself And I,” “Nighttime Gardener,” “It’s Your Move,” and the title selection, all equal or rival his best material. “Funk O’ De Funk” delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While “Got Me Accused” is inspired by events from Rush’s own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children’s musician) co-wrote a couple of fine selections, “Catfish Stew” and “Snake In The Grass.”

Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn’t try to be anything that he is not. “I just try to record good music and stories,” he humbly states.  With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.

Thursday, October 1, 2015

Rounder Records to digitally reissue hundreds of recordings.



ROUNDER RECORDS TO REISSUE
HUNDREDS OF RECORDINGS NEVER BEFORE AVAILABLE
FOR DIGITAL STREAMING
October releases include key bluegrass albums by
 Norman Blake and Béla Fleck

LOS ANGELES, Calif. — On October 1, 2015, Rounder Records, a division of Concord Bicycle Music, will begin releasing hundreds of legacy albums into full digital distribution, making many songs available on streaming services for the first time. One new title will be announced each day via Rounder’s social media network, and each month a different musical genre will be featured, from reggae to children’s music, blues and zydeco. A Spotify playlist with one track from each album will be available at the end of each month as well.

Directed by Concord Bicycle Music SVP of Catalog Development Sig Sigworth, in conjunction with Rounder Records founder Bill Nowlin and VP of A&R Scott Billington, this carefully curated program taps Rounder’s legacy of over 3,000 albums of roots music from around the world. Sigworth comments, “Not only did we want to get these important records up and out globally across all digital platforms, but we also wanted to incorporate a marketing campaign to immediately connect, or re-connect, fans to this great Rounder catalog on a daily basis."

October will spotlight Rounder’s extensive bluegrass catalog, with releases by such significant artists as Hazel Dickens and Alice Gerrard, the Nashville Bluegrass Band, Norman Blake and Béla Fleck. Says Billington, “It was records such as Norman Blake’Whiskey Before Breakfast and Ricky Skaggs’s Family and Friends that put Rounder on the map, and that established the label’s high standard. It’s wonderful to see them fully available to new audiences.”

Title rollouts in coming months will include both popular albums, such as the Dirty Dozen Brass Band’s Live: Mardi Gras in Montreux and Laura Nyro’s Angel in the Dark, as well as deep catalog treasures from the likes of Alhaji Ibrahim Abdulai & the Master Drummers of Dagbon and selections such as Michael Doucet’s Le Hoogie Boogie: Louisiana French Music for Children.

Thursday, March 6, 2014

Rounder Records Completes Move to Nashville

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  Rounder Logo 140x107px
ROUNDER RECORDS COMPLETES MOVE 
TO NASHVILLE
Concord Music Group Acquires Treasured Children's Label Music For Little People, 
Imprint Will Operate Under Rounder 

FOR IMMEDIATE RELEASE - MARCH 6, 2014 - Rounder Records, a division of leading independent music company Concord Music Group, today announced the completion of the company's relocation from its longtime base of Boston, Massachusetts to its new home in Nashville, Tennessee.  The region's vibrant creative community and dynamic business environment offer Rounder an enormous opportunity to build on its legacy as one of America's most revered music labels.  Located in The Gulch, Nashville's popular shopping and entertainment district, Rounder's new headquarters (1209 Pine Street, Suite 100, Nashville, TN 37203) is centered in the heart of the city's thriving metropolitan core.

A major force in a broad range of musical genres including Americana, bluegrass, country, folk, rock, Cajun/Zydeco and children's music, Rounder Records has helped shape American roots music for over 40 years. Its outstanding artist roster includes Alison Krauss, Steve Martin, RUSH, Gregg Allman, Raffi, Mary Chapin Carpenter, Carlene Carter, Steep Canyon Rangers, Tony Trischka and rising stars such as J.D. McPherson, Della Mae and others.

Concord Music Group and Rounder are additionally delighted about the effort to broaden their presence in children's entertainment, anchored by the recent acquisition of the beloved record label Music For Little People.  The company will operate as an imprint under Rounder, which shares a long and complementary history in children's music.  A premiere children's music showcase for 25+ years, Music For Little People releases have featured artists such as Willie Nelson, Faith Hill, Taj Mahal, Los Lobos, Laurie Berkner, AC/DC's Brian Johnson, Pete Seeger and Ladysmith Black Mambazo, to name but a few.  Music For Little People founder Leib Ostrow will continue to be an essential contributor to the label going forward.  A slate of new projects is scheduled for release in 2014 and beyond.

Headed by President John Virant, Rounder's Nashville team includes Vice President of A&R Scott Billington, newly appointed Vice President of A&R Tracy Gershon and Director of Project Management Eliza Levy.  Rounder will continue to be supported by Concord's integrated national sales and marketing services.

Rounder Records founders, Ken Irwin, Bill Nowlin and Marian Leighton Levy remain in the Boston area and continue to be actively engaged in the company, producing and consulting on various Rounder projects.

"Rounder has always been driven by the music, and we're thrilled to have the opportunity to contribute and be part of the Music City community," said Rounder President John Virant.

"In many ways, the move to Nashville feels like a natural transition," stated Concord Music Group President and CEO Glen Barros.  "The region's deeply rooted, artist friendly culture and its surrounding business community make it the ideal home for Rounder.  Additionally, Music For Little People is a great label that will strengthen Rounder's commitment to quality entertainment for children.  We couldn't be more excited about this next chapter in the company's incredible story."

About Rounder Records:
Rounder has been at the center of American roots music the last 40 years.  The self-titled 1975 record by J.D. Crowe and the New South (featuring future stars Ricky Skaggs, Tony Rice and Jerry Douglas) revitalized bluegrass and inspired such modern superstars as Rounder's own Alison Krauss, who is the most decorated female artist in the history of the GRAMMY® Awards and has also sold over eight million albums and DVDs.   Her collaboration with Led Zeppelin front man Robert Plant on the album Raising Sand emerged as one of 2007's major critical and word-of-mouth sales success stories. The album was RIAA-certified platinum in early 2008 and won five GRAMMY® Awards including Album and Record of the Year in 2009.  An unequaled leader in the preservation and re-release of precious historic recordings, Rounder has brought the music of Jelly Roll Morton, Woody Guthrie, Lead Belly, the Carter Family, Jimmie Rodgers and Mississippi John Hurt back to vibrant life.  In addition, their dazzling work on the epic anthologies from the Library of Congress and the Alan Lomax Collection has been universally respected and admired.

About Concord Music Group:
Based in Beverly Hills, CA privately held Concord Music Group, is one of the largest independent record and music publishing companies in the world and owner of a rich and historically significant catalog of recordings. A small sampling of the company's active roster includes such renowned artists as Sir Paul McCartney, Paul Simon, Alison Krauss, Chick Corea, James Taylor, Booker T. Jones, George Benson, Steve Martin, Valerie June, Christian Scott, Gregg Allman, Elbow, Ben Harper and Esperanza Spalding.  Concord's stellar catalog includes legends such as John Coltrane, John Fogerty, Creedence Clearwater Revival, Ray Charles, Miles Davis, Little Richard, Otis Redding, Thelonious Monk, Isaac Hayes, Ella Fitzgerald and Tony Bennett, among many others. The company's celebrated family of labels includes Concord Records, Concord Jazz, Hear Music, Fantasy, Stax, Milestone, Riverside, Specialty, Telarc, Heads Up, Prestige and famed American roots label Rounder Records.

The group's artists and music have won over 200 GRAMMY® Awards, an affirmation of the company's mission to enrich lives by providing enduring music in creative and innovative ways. Concord Music Group's releases are distributed throughout the world by Universal Music Group and are regularly licensed for use in major motion pictures, television and advertising.

In March of 2013, Wood Creek Capital Management, LLC acquired Concord Music Group in partnership with an individual investor group that includes members of Concord's senior management. As an investment manager at the forefront of intellectual property investing, the investment in Concord underscores Wood Creek's belief in the lasting and appreciating value of great music content around the globe.

Friday, December 13, 2013

Rounder Records: Skydog The Duane Allman Retrospective: additional review and commentary

A few months ago I did a review of the new Rounder release, Skydog The Duane Allman Retrospective. At the time I had a digital stream of the release to listen to and did my best to review the music without the tactile cover and notes. I now have the real deal and I want to elaborate on my original commentary. First, if you don't already know, much of the reason I am so interested in the blues comes from my introduction to Skydog's music at a young age. It became a pursuit to chase down every track that he played on, every loose concert that I could find, every magazine article ... everything. Duane Allman was just a step behind the Brits in discovering the American blues and processing it for young audiences to hear, likely for the first time. He took a totally different route and approach than Clapton, Beck, Simmonds, Mayall, Page, Green, Stones and all of the fathers of the British explosion in bringing the music to the new listeners. Each of these artists came to the blues from listening to older race records imported in small quantities to the UK and were mostly introduced by a small group of related music heads. Duane was much influenced by the current R&B scene in America, only being introduced to actual blues music as he became more involved with the music. Duane seemed to have the music inside of him and although not a terrific singer, found a way to get the music out, mimicking the voice that he heard to his guitar strings. His interest in music was so diverse that he was just as capable of playing for you a set of top 40 "pop" hits, soul and R&B tracks or a Miles or Coltrane improvisation. He lived to make music. The book that is included with the original 7 CD set has not only 11 pages of liner notes from Scott Schinder and an additional 8 pages of impressions from Galadrielle Allman, Duane's child who has additional insights. 42 photographs document Allman's career and some photos with Duane playing a Strat or Tele seem strange knowing Skydog as a Gibson man, but it's that expression of exuberance, even while playing in the studio that separated Duane from the rest. It wasn't that Duane was a better guitar player than his peers. It wasn't that Duane knew more about music than his peers. It was Duane's sheer joy in making music and his ability to bring out the best in others while contributing something that was totally Duane at the same time. Duane need only play a few notes to let you know he was there. His undeniable riffs and fat tone were unparallelled.  When Jimi was creating distortion and experimenting with blues/rock fusion, Eric was blending blues riffs on rock beats and Beck was making mind blowing sounds on the heavy side of Blues/rock and there was Duane sitting in the pocket, blending the soulful sounds of R&B and soul with the blues, making his guitar sing with a fat, saxophone like voice that no one had ever heard. Duane was an amazing young man and he changed the way that America (and the world) looked at blues music. Revisiting his recordings shows just how versatile he was and how each session influenced his personal playing style. He is attributed with starting the southern rock sound (and maybe the Allmans did) but it was his ability to coax a unique voice from his guitar and sing to blues that created the wave. It was the recognition by the music world that this young man could add warmth and depth to an already cool recording that gave him the exposure. Let's face it, Aretha and Pickett could have anyone they wanted to play on their recordings. Duane wasn't just any session player. He was "the" session player. He wasn't just the leader of the Allmans... he "was" the Allmans. Duane played with a lot of extremely talented players and I believe that he captured the respect of each and every one that he played with. He was a casual guy, but there was nothing casual about his music. It was Duane.

This is a terrific set of music and documentation. It is a very cool recollection of the music played by Duane Allman. You have a chance to buy it. Do yourself a favor.

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Wednesday, October 16, 2013

Rounder Records artist: James Booker - Classified (Remixed and Expanded) - New Release Review

I just received the new release (October 15, 2013) from James Booker and it's a total dictionary on New Orleans piano. Opening with title track, Classified, Booker hammers out a rhythmic chant on the piano clearing the path for the real authentic New Orleans vocal melody. On regional soul track If You're Lonely, Booker really shines on vocals and plays with church like accuracy on piano. Alvin "Red" Tyler is outstanding on sax on this track. On previously unreleased classically structured track Warsaw Concerto, Booker shows another side of his feel for the piano. Really interesting. Back to the bar room with Lawdy Miss Clawdy falls right into the heart of Bookers strength and this Lloyd Price track is a gem. On bayou/latino medley, Tico Tico/ Papa Was A Rascal/So Swell When You're Well Booker rattles the keys in traditional New Orleans style with compliments from Tyler. One of my favorites is a cool rendition of All Around The World (Grits Ain't Groceries) which is a full out piano romp with cool vocals. Down to a more serious side is a complex interpretation of Angel Eyes. This is beautifully arranged and executed. Tyler leads the way on another unreleased track, Lonely Avenue. You love sax, you'll love this track! Next is a tribute to Professor Longhair including Tipitina and Bald Head. Blending classical and new Orleans styles, this is a super track. Another unreleased track, I'm Not Sayin', has a 40's jazz style and is really soulful and bluesy. Excellent! Hound Dog has a loose jangly sound. It's raw and ragged sound is cool and authentic. Allen Toussaint's All These Things is performed with a quiet pace clocked perfectly by Johnny Vidacovich on drums. Another classically arranged track, Madame X is nicely paced and performed showing just how versatile Booker's musical interests vary. Another fun track, Fat's Domino's One For The Highway, has the swing and grit of Dr John with Bookers own piano style and with the addition of Tyler on sax and James Singleton on bass. The release wraps with traditional track Amen with it's gospel swing but containing it's self to basis of a singular piano and vocal. This is an interesting recording from many facets especially for me being exposed to not only the familiar NO style but also the classical style arrangements and feeling.

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Tuesday, March 5, 2013

Rounder Records presents: Skydog: The Duane Allman Retrospective - New release Review

I have just received the new 7 CD release, Skydog: The Duane Allman Retrospective, documenting Duane Allmans amazing career. I have been a Duane Allman fan since I was a fairly young man and actually learned to play guitar specifically due to Duane Allman's influence. I am one of the lucky fans who actually had the opportunity of seeing Duane live with the Allman Brothers. Having spent years amassing a large vinyl collection and making every effort to capture every groove that I could find (and a few feet of unreleased tape as well) I have had the pleasure of listening to much of Duane's work for many years. This incredible retrospective not only compiles selections from the earlier released Allman Brothers albums, Derek and the Dominos, Duane Allman double disc Anthology One and Two and The Allman Brothers' Dreams; terrific additional tracks from  all of those records that the Anthologies were compiled and much much more.  The first of the "new" stuff is three tracks by the Escorts (1965 unreleased tracks with Duane and Gregg), the most interesting of these to me is the No Name Instrumental. This is a cool track with heavy reverb and traces of inventive creativity to come but other tracks definitely showing Gregg's developing vocal style and the brothers love of R&B. Two additional unreleased tracks by the Allman Joys, track Duanes following of Jeff Beck and the Yardbirds and Allmans take on their songs. A few single releases by The Bleus (single only with Duane on guitars) have a bit of a country flair. Two solid R&B tracks by Laura lee featuring Duane on lead guitar are a real treasure. The single track by Spencer Wiggins featuring Duane on slide is another terrific track. I don't know much of Spencer's work but this is terrific! A single track by Willie Walker (previous single release) crosses into the R&B funk stage and Duane is fat under the vocals. Two tracks by the Lovelles (single release featuring Duane on lead guitar) show just how Duane could meld his guitar playing to work with a band needs. On an upbeat, heavily horn infused three tracks by the Soul Survivors (from a lesser know album featuring Duane on guitars) again Allman rips some sweet riffs shining through production. A single track by The Sweet Inspiration (featuring Duane on slide) finds Cissy Houston on vocal and of course a great backing band. An additional track (the B side of Goin'n Up The Country featuring Duane on guitar) by the Duck and the Bear is also included. A strong soul vocal track from Doris Duke album is a real cool addition with Duane playing in the upper frets over a really nice track. An extraneous track from an album by Eric Quincy Tate featuring Duane on guitar has a classic Duane signature slide part. A pop like track by Laura Nyro from a earlier cited album again showing Duane's adaptability. Two tracks by Ella Brown (a single featuring Duane on guitar) shows the breadth of session work that Allman was called to do. A track by Bobby Lance  (from an album featuring Duane on slide) is definitely dated but does have some clear work from Duane. A live unreleased track from the Grateful Dead featuring Duane on lead guitar puts Duane into jam mode. I have a strong appreciation for Duanes extended solo's and this gives his fans a chance to hear him shine with one of the all time great jam bands. The three tracks from Herbie Mann's Push Push album featuring Duane on guitar allowing him to move more into a jazz setting and spread his wings from the traditional R&B /Blues mode.I haven't written a letter about the spectacular work which has been included from artists such as Clarence Carter, Wilson Pickett, Arthur Conley, Aretha Franklin, King Curtis, Barry Goldberg, Otis Rush, Boz Scaggs, Ronnie Hawkins, Lulu, Johnny Jenkins, John Hammond, Sam Samudio (Sam The Sham) and Cowboy. Much of the work included in this package, some of it previously included on an earlier release for Duane and all of it released on individual albums by the artists are an incredible treasure of Duane's work with some of the greatest artists in the business. I'm guessing if you have interest in this release, you have some familiarity with these artists and the previous work done there, but if not, it is overwhelming and you must check it out. This is a great compilation bringing it all together in one place with a lot of great extras. Three tracks from Delaney and Bonnie (previously unreleased) feature Duane on acoustic slide and of course some of his most enjoyable acoustic work. This ultra deluxe package includes incredibly interesting liner notes by Scott Schinder. This retrospective has been compiled by Duane's daughter, Galadrielle who also writes a very inciting recollection of stories with Bill Levenson. A number of terrific photos are also included in this package making it a must have for any Duane Allman fan. An incredible amount of time has been put into this package featuring a photo of one of Duane's guitar cases as the cover.
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