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블루스 명곡모음 앨범 전곡듣기 Feel the Blues Vol.Ⅳ-2
| [참 조] ▒ ▒ ▒ Larry McCray - Biography ▒ ▒ ▒ |
| Blues Is My Business [2001년] |
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1 Best in Town
2 Blues Is My Business
3 That's How Strong
4 Love Gone Mad 
5 Burglar
6 Strong Companion
7 You Don't Know
8 Believe It
9 She's a Wolf
10 Cash Money
11 Best Friend |
If contemporary blues has a longterm future as we boldly venture into the 21st century, it's very likely that guitarist Larry McCray will play a recurring role in its ong oing development. His first two albums, Ambition and Delta Hurricane, signal both a strong commitment to the tradition and the vision to usher the genre in exciting new directions.
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McCray's first influence on guitar was none other than his sister, Clara, who toured regionally around Arkansas with her own combo, the Rockets. Clara never got to record her Freddie King-styled blues for posterity — but her little brother has at least partially made up for that omission. Larry followed Clara up to Saginaw, MI, in 1972. She turned him on to the joys of the three Kings (B.B., Freddie, and Albert), Albert Collins, and Magic Sam, and Larry added superheated rock licks (à la Jimi Hendrix and the Allman Brothers) to his arsenal as he began playing the local circuit with his brothers Carl on bass and Steve on drums.
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Working on General Motors' assembly line occupied a great deal of Larry McCray's time after he finished high school. But he eventually found enough free hours to put together Ambition, his 1991 debut album for Pointblank, in a Detroit friend's basement studio. The stunning set was a convincing hybrid of blues, rock, and soul, McCray combining the interrelated idioms in sizzling fashion. Suddenly, the stocky young guitarist was touring with label-mate Albert Collins. His 1993 Pointblank encore, Delta Hurricane, was a slicker affair produced by veteran British blues maven Mike Vernon that McCray much prefers to his homemade debut. He followed Delta Hurricane with Climbin' Up in 1995 and Meet Me At the Lake in 1996. Born to Play the Blues appeared in 1998. Believe It was followed in early 2001.
| [참 조] ▒ ▒ ▒ Barry Harvey - Biography ▒ ▒ ▒ |
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As children, human beings are carefree. They are imaginative, expressive and creative -untainted by the pressures of the world. Then as they grow older, they are burdened with responsibility and the desire for wealth and position and so, they stray from their childhood values and qualities. Artists are often seen as 'bent' or 'way-out' people, but in fact, they are merely people more in-touch with the imagination and creativity that they developed as children. Barry Harvey is such a person. He is an artist, a musician; and in every aspect of his life, he always will be.
Barry "Little Goose" Harvey has a rare and contagious disease - he has music in his blood. Born 1950 in Brisbane, he grew up in Wynnum and expressed an interest in music from an early age - beginning to play the drums at seven. His father, who was not a musician, insisted that if Barry was to play, he would have to learn to read music and so, young Barry had formal drum lessons for about one year. In this year and over the few years to come, he became a fluent reader of music and a competent player, and by the age of eleven he was playing professional, paid, show gigs in pubs and clubs with much older, touring musicians. Barry reasons: "I was one of the luckiest people in the world; I knew what I wanted to do for the rest of my life at eight".
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By the time, he had turned eight, Barry had gotten a taste for jazz music and at age 10, he first heard John Coltrane. who would become one of the biggest musical influences in his life. Barry "wanted jazz", he longed for it and for the years to follow, unaided by any teachers, he transcribed and studied jazz records - beginning his lifelong journey into the art of improvisation, an art which he still explores and develops today: "I think the word jazz means enjoy. Jazz is a chance to say something worthwhile".
It wasn't until The Beatles came in that Barry joined a rock 'n' roll band, preferring to focus on jazz and drum technique instead: "I didn't like rock music till I played it." At the age of 14, Barry joined The Titans, his first band. Then, in late 1964, he left to play in Thursday's Children. Recalling his first live gig with the group, a show at the Black Thirteen, in Inala in 1964, Barry simply recounts it as "scary".
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However, this certainly did not discourage Barry and the band, who by 1965 had a resident gig at The Red Orb, playing six nights and two afternoons a week until 1967.
By 1967, Barry's love of music had become an obsession and at the young age of 17, he packed his drumsticks and moved to Melbourne with Thursday's Children - for "the vibe of the place" and because "the music scene was so full on". This move was to shape the rest of his music career. After a brief stint and tour of Australia with The Wild Cherries, Barry joined Jeff Crozier, a psychedelic magician and played drum solos to the magic and pyrotechnics. "It was crazy: the best gig I've ever had," he recalls.
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Then in 1968, Barry joined Chain a "rock / jazz / symphonic" band, with the bass player from Thursday 's Children. There must have been some special chemistry amongst the members because before long, this "full on, original, mighty stuff" had been signed by Mushroom Records and had developed a large fan base. As Barry puts it: "We were a big time band, which was rather freaky".
In 1971, after an LP and a lot of gigs, Chain released the single Black and Blue on the LP Towards The Blues. It was written in Brisbane and recorded in Sydney. After recording it, the band spent a week driving from Sydney to Melbourne - "chasing chicks", watching the sunset from the mountains and enjoying the beautiful drive. Barry and the band had "no idea the thing was being thrashed in Melbourne".
When Chain eventually arrived in Melbourne, the song was high in the Top 10: "It was hard, 'cause we went from being a band just digging music to getting to Melbourne and facing the media - being a big time band." Black and Blue became Mushroom Records' first number one hit and it stayed number one for 13 weeks.
This sent Barry and Chain on a playing frenzy, gigging every night for months and enjoying their success - something that had never been the band's intention. "If you've got a number one record on the charts, the amount of money you pull from gigs is frightening," Barry recollects. However, despite the money Barry was making with Chain, the constant touring and lack of new music bored him.
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Barry's love of jazz still tingled in his drumsticks and so in late 1971, he left Chain and joined King Harvest. For six months, he worked solidly with this jazz / fusion outfit and still remembers it as the "craziest band I've ever played in". However, by 1972, Chain was falling apart without Barry and so, he rejoined.
After recording a few LPs and winning a gold record for Towards The Blues in 1974, Barry left again.
Barry joined The Kevin Borich Express for one year and played 365 gigs in 365 days. Then, after a nine month period with funk / soul band, Shango, Barry met David Baker, a professor of jazz at the Sydney Conservatorium of Music. This meeting prompted another junction in Barry Harvey's life. Driven by a desire to fully master the drums and study harmony, arranging and bass, he took a giant step and in 1979, enrolled and was accepted into Berklee College of Music in Boston, USA.
If there was any part of Barry's psyche that wasn't totally absorbed by music before he went to Berklee, then after three years at the world-renowned college, it was. Barry describes his time at Berklee as "an incredible rejuvenation of the art of music". He spent his years there practicing, studying and an arranging music, listening to music and jamming with some of the world's greatest musicians. His time at Berklee had a massive impact on his life, spinning his music career into another world: "Music itself is a brilliant science and at Berklee, the whole trip is all explained".
Barry clearly remembers as a 13 year old sitting alone in the back stage room of a gig with a message playing over and over in his mind. A voice in his head said: "You have to write a book - an exceptional drum book". And all these years later, he had found the discipline, enthusiasm and inspiration to write this book at Boston.
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Barry had never encountered a fully comprehensive drumming method book and so for the next 12 years, he created such a book, "The Text of Music Phrase" - taking nine years to write it and three to proof read. In 1982, Barry had rejoined Chain and so the writing of this book was slotted in amongst gigs, tours and a rigid teaching schedule at St Pauls in Brisbane and later at the Anglican Church Grammar School, Brisbane. Barry would write in motels after gigs and go to sleep at 7am, waking at 3 pm to play another gig and start the cycle again. In fact Barry has a theory about working late at night: "I think the bewitching hours can produce some incredible work. It is a very creative time and a chance to escape from everyday life."
Since the printing of his book in 1994, Barry has continued to tour with Chain and has played with a number of other acts. In his 30-year history with Chain, the band has released 30 albums and 29 singles on record, cassette and tape. The band has also recently been awarded a second gold record for Towards The Blues.
As for the future, onl y one thing is certain for Barry Harvey: He will continue to create music - touring with Chain and possibly looking towards the United States for a second dose of inspiration. For without music, Barry Harvey is lost: "The everyday hum-drum side of life gets pretty dead. A lot of people put so much importance on really mundane things. There is too much emphasis on business. But when you're behind the gear, playing, the business side is gone. That's the creative side of life and I think that's really important".
The creative side of Barry Harvey's life is one that has been present for as long as he can remember. He has come a long way from an 11 year old with a flair for the drums to " Little Goose" Harvey, "Professor of Rhythm".
And today, the music in his blood is thicker than ever.
| [참 조] ▒ ▒ ▒ Blues Company - Biography ▒ ▒ ▒ |
| Blues,Ballads&Assorted Love Songs [1998년] |
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1 Red Blood 4:42
2 Blues Is My Middle Name 3:25
3 Silent Night 6:00 
4 Hey Little Girl 3:48
5 Cold Rain 5:42
6 I Don't Know 4:51
7 Crippled Mind 5:21
8 Rattlesnake Blues 4:36
9 I Just Can't Keep from Cryin' 4:26
10 Uh Wee Baby 4:03
11 Walk on 3:45
12 She's Gone 4:41 |
Album Review
A popular blues band in Germany, Blues Company is a solid outfit that wouldn't be out of place in the States. Since 1977 they've backed U.S. bluesmen Billy Boy Arnold, James Booker, Eddie (Cleanhead) Vinson and others for European dates. The band, which includes a German rhythm section and a Caribbean guitarist, was founded by Yugoslavian guitarist/singer Todor (Toscho) Todorovic. This album, the band's 14th, opens on a somber note with "Red Blood," a song that incorporates a Bosnian folk theme and illustrates that Americans don't have a monopoly on the blues. If you're interested, try www.allegro-music.com. |
| [참 조] ▒ ▒ ▒ Siegel Schwall Band - Biography ▒ ▒ ▒ |
| Where We Walked:1966-1970[1970년] |
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1. Down in the Bottom
2. I Have Had All I Can Take
3. So Glad You're Mine
4. Going to New York
5. Mama-Papa
6. I've Got to Go Now
7. Bring It with You When You Come
8. Slow Blues in a
9. I Liked It Where We Walked
10. That's Why I Treat My Baby So Fine
11. Think
12. Louise, Louise Blues 
13. I Don't Want You to Be My Girl
14. Do You Remember
15. Walk in My Mind
16. Geronimo
17. Tell Me
18. Angel Food Cake
19. Sunshine Day in My Mind |
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Corky Siegel and Jim Schwall were both students at Roosevelt University, where Siegel studied saxophone music and Schwall studied guitar music. Schwall's background was mostly in country music, while Siegel was more interested in blues. They combined these two genres, producing a lighter sounding blues as compared to Butterfield Blues Band or John Mayall. The band originally was the house band at Pepper's Lounge, but changed to Big John's in Chicago after the Butterfield Blues Band began touring. In 1965, Sam Charters signed the band to Vanguard Records.
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In 1966, the band released their first eponymous album, and began a national tour in 1969. While they weren't as commercially successful as Butterfield or Mayall, the band was still able to perform at large venues such as Fillmore West. Also around that time, the Siegel-Schwall Band became the first blues band to ever perform with a symphony, performing "Three Pieces for Blues Band and Symphony Orchestra" with the San Francisco Orchestra. After four albums with Vanguard, the band signed to Wooden Nickel (RCA Records). The band won a Grammy Award for Best Album Cover in 1973 for their second eponymous album.
The band broke up in 1974 after releasing the album R.I.P. Siegel/Schwall, and reunited in 1987. Alligator Records signed them, and they released a live album. The band continues to tour occasionally, usually during summer because Jim Schwall took a job as a professor of music. Schwall also unsuccessfully ran for mayor of Madison, Wisconsin. The Siegel-Schwall Band also released an album on Alligator Records in 2005, entitled Flash Forward, which was a top 15 hit on the Billboard Blues Albums chart.
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Paul Butterfield and Elvin Bishop were not the onl y white dudes who formed a blues band in Chicago in the early '60s. Siegel and Jim Schwall formed the Siegel-Schwall Band in the mid-'60s in Chicago and worked as a duo playing blues clubs like Pepper's Lounge, where they were the house band. All of the great blues players would sit in — all the time. Corky Siegel played harp and electric Wurlizter piano, with an abbreviated drum set stashed under the piano; Jim Schwall played guitar and mandolin. Both sang.
Corky Siegel was born in Chicago on October 24, 1943; Jim Schwall was born on November 11, 1942, also in Chicago. Siegel met Schwall in 1964, when they were both music students at Roosevelt University — Schwall studying guitar, Siegel studying classical saxophone and playing in the University Jazz Big Band. Siegel first became interested in the blues that same year. Schwall's background ran more to country and bluegrass. The Siegel-Schwall Band approach to music (and blues) was lighter than groups like Butterfield or Musselwhite, representing somewhat more of a fusion of blues and more country-oriented material. They seldom played at high volume, while stressing group cooperation and sharing the solo spotlight.
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When the Butterfield band left their in gig at Big Johns on Chicago's North Side, it was the Siegel-Schwall Band that took their place. Signed by Vanguard scout Sam Charters in 1965, they released their first album in 1966, the first of five they would do with that label. Bass player Jack Dawson, formerly of the Prime Movers Blues Band joined the band in 1967.
In 1969 the band toured playing the Fillmore West, blues/folk festivals, and many club dates — one of several white blues bands that introduced the blues genre to millions of Americans during that era. They were, however, the first blues band to play with a full orchestra, performing "Three Pieces for Blues Band and Symphony Orchestra" in 1968 with the San Francisco Orchestra. The band later signed with RCA (Wooden Nickel) and produced five albums in the next several years. The band broke up in 1974.
In 1987, the band re-formed and produced a live album on Alligator, The Siegel-Schwall Reunion Concert. Jim Schwall is a university professor of music and lives in Madison, WI. Corky Siegel has been involved in many projects over the years that fuse classical music with blues, including his current group, Chamber Blues — a string quartet with a percussionist (tabla) and Siegel on piano and harmonica. And on rare occasions, the old band still gets together and performs. |
