Sunday, October 19, 2014
2. Thirty Days
3. You Can't Catch Me
4. Too Much Monkey Business
5. Brown Eyed Handsome Man
6. Roll Over Beethoven
7. Havana Moon
8. School Days
9. Rock and Roll Music
10. Oh Baby Doll
11. Reelin' and Rockin'
12. Sweet Little Sixteen
13. Johnny B. Goode
14. Around and Around
16. Beautiful Delilah
18. Sweet Little Rock and Roller
19. Little Queenie
20. Almost Grown
21. Back in the U.S.A.
22. Let It Rock
23. Bye Bye Johnny
24. I'm Talking About You
25. Come On
26. Nadine (Is It You?)
27. No Particular Place to Go
28. I Want to Be Your Drive
There are many who feel Chuck Berry deserves as much credit for starting Rock and Roll as Elvis and listening to the Great twenty eight it's impossible to deny they've got a hell of a point. Berry is one of the first great guitar heroes and proved to the world that you could be a great showman with an instrument around your neck. He sang his own lead vocals, not just because he could but because there wasn't a singer in the world who would want to compete with Berry the guitarist. The guy was truly dynamic.
Unlike a lot of other great artists in this countdown who forged their career in the fifties, Berry is well served by a perfect representation of his work. The Great Twenty Eight is exactly the right amount of Berry. It has literally all the hits and none of the misses. Later compilations would try and be exhaustive in their inclusiveness and throw in alternate takes, lesser songs and run throughs but the Great Twenty Eight is pure gold from start to finish.
While it's true Berry was a brilliant artist, he was also kind of repetitive it has to be said. There are those who claimed his entire career was basically rewriting Johnny B Goode, and while that's a bit of a harsh accusation there is definitely more than a smidgen of truth in the statement. Berry revisited the title character another thirty times in his career and each new composition wasn't really light years away from the original.
But Berry was a lot more than just his most famous track. Rock and Roll Music, Around and Around, Carol, Too much Monkey Busines and Reelin and a Rockin are all fantastic rock songs which might rely heavily on an opening riff but have enough distinction that nobody would think they were the same song reworked. The Great Twenty Eight also features songs like Maybellene, his first hit and No Particular Place to go both of which are outstanding tracks that you wouldn't describe as a ballad but slow the tempo down enough to provide some much needed variety.
Every song on this album, without exception, has been covered at least once by a big name somewhere. Berry's cannon of work is so influential he's put his stamp firmly on rock and roll and people will still be covering his music decades from now. But even though you could assemble a complete version of this album with tracks covered by The Rolling Stones, The Beatles, ACDC, The Yardbirds, The Kinks, Elvis, The Beach Boys, MC5, The Animals. Jerry Lee Lewis and many more besides, it would never fully supersede the original in my expectations. There is something about a Chuck Berry song performed by Chuck Berry which gives it an immediate charm that I'd miss, even in a version with superior soloing and double the energy. His singing style is infectious and his guitar slinging is so clean and punchy it really does suit the song perfectly. Many others have proved they can play his riffs faster and louder but Berry proves that it's not about speed or volume as much as it's about style and substance. And he definitely has both.
Berry is one of those early rockers whose performance will last as long as his legacy. While many of his contemporaries (Bo Diddley, Muddy Waters etc) will probably be overtaken by those they influenced, Berry's performances will continue to impress people for decades to come. Especially since they can be enjoyed in the most comprehensive but filler free compilation on this countdown.
I can't recommend The Great Twenty Eight enough. It's timeless rock and roll which sounds like it was made in the fifties but hasn't aged a day. Berry's music still has the ability to move and groove you and it still rocks after all these years. This would be fantastic even if it the only good song was Johnny B Goode, whose magnificence alone is enough to justify its position on the countdown. But there's so much more than just Rock and Roll's national anthem to enjoy. Put it in your CD collection now.
Favourite Amazon Customer Review Quote: "Wonderful cd. Great song after great song. Chuck Berry's hit parade! 28 stars!"
-Yeah that sums it up nicely.
So is this a great 28 or average at best? Let me know below.
Thursday, October 9, 2014
2. Hold On
3. I Found Out
4. Working Class Hero
8. Well Well Well
9. Look at Me
11. My Mummy's Dead
If this list has a lone King, it's probably John Lennon. With ten entries by The Beatles and two of his solo albums included, he can claim full or partial credit for 12 albums which is an impressive achievement. He's on 6% of this countdown which means he had a hand in 3/50ths of the greatest albums ever made.
I love every single one of the Beatles albums on this list. There is not a single release by the Fab Four that I don't adore utterly. But to be honest I have barely a passing interest in John's solo work. Despite the fact that the four Beatles were effectively operating as solo artists towards the end of their career, I still love their individual contributions to the late era Beatles albums but care little for anything they did a few months after they announced they'd broken up.
I've always wondered why this should be the case, but sitting down to listen to this album with an open mind has provided me with an answer of sorts which I believe is correct: I don't really like John when he's being earnest.
The Beatles were basically fun. They're a fun band and a bunch of guys who made a lot of really great music. It's not all lightweight nonsense but there's a general sense of joie de vivre if you'll pardon my French. Even when they were having a truly miserable and wretched time (The Let It Be sessions most notably) there is still a sense of genuine playfulness that comes through their music. John's neuroses and insecurities came through from time to time but even when they did they were often fun. Help is a genuine cry of Help, at least lyrically. It's written by a guy who was genuinely feeling down and genuinely needed some help. But because it's the Beatles it's been converted into a rollicking and fun tune which will give a lift to anyone listening. Be honest can you name another song which has the lyrics "Help me if you can I'm feeling down" but is such a hoot to put on the stereo?
But when he left the Beatles, John left fun behind him and filled the void with a sense of earnestness and seriousness. He was no longer part of the best group around, he was an important artist in his own right who wanted the sort of respect that Bob Dylan earned. He wanted to save the world and lay his soul bare. And he became kind of boring as a result.
Working Class Hero is Lennon at his most earnest. It has the sort of lyrics that might sound deep when sung but on reflection are just rhyming words ("As soon as you're born they make you feel small, by giving you no time instead of it all") and has a gratuitous use of the word "Fuck" which is Lennon telling us that he's serious now. There's no fuck in a Beatles song, he's all grown up now and he's into protest songs and proper swearing and everything. It's self important and not at all fun and a bit dull as a result. Forgive me, but if it's a choice between hearing Dylan or Lennon trying to be Dylan I'd take the original every time.
Part of my problem with Lennon post Beatles also stems from the fact that I don't really buy into the idea of Lennon as seer, mystic and spokesman for his generation. I don't hold him up as a hero and someone to idolise. I think he was a troubled guy at best and a bit of a bastard at worst. I've read too much about his treatment of his first wife, his troubled relations with his band, his earlier attitude to women and his youthful hijinks to think of him as anything other than a deeply flawed human. He wasn't really a pleasant guy and there's something about having him preach (and Plastic Ono Band is very preachy) that rankles somewhat. I'm not saying I'll only listen to messages delivered by people who pass high standards of morality that I can't even match myself, but it's a bit much having someone tell me about working class heroes when they own a hand painted Rolls Royce and have a cocaine habit.
Plastic Ono Band is partly about John's pain but I just don't feel it with him. His obsession with his long lost mother comes up often which isn't something I can relate to but John doesn't help me out at all. I should feel sorry for anyone who lost their mother at a young age but John does seem to be indulging in it somewhat. Mother deals with his loss which is fine but did we really need My Mummy's dead to come along at the end? Isn't it all getting a bit self-indulgent now? Time to stop surely?
Even the love songs on this album cause me problems because unlike most love songs, which are directed towards an anonymous entity that I don't know or have any opinion of, all of John's romantic statements are directed at Yoko who I've always thought was a bit of a dick. I know it's popular to think Yoko is really a misunderstood genius but even those who love her music would have to acknowledge that she's a bit of a prat and kind of annoying. I'm not a huge fan of Joni Mitchell as a person but listening to Graham Nash sing Our House about her is a beautiful thing and somehow more special knowing who he's singing about. Every love song Lennon wrote about Yoko has precisely the opposite effect on me and it doesn't help that he quite deliberately aims it all directly at her and namechecks her whenever he can, making it impossible to distance yourself from the subject.
I'm only glad I discovered The Beatles and their solo careers many years after they broke up. Part of me is jealous of people who got to wait for each new Beatles release with an eager sense of anticipation. It must have been wonderful to rush out and purchase a new Beatles LP on the release date and dedicate time to hearing it for the first time and discussing with others who are enjoying the same experiences. I'd have loved to have been a part of that but I would have had to endure the succession of crushing disappointments that each subsequent solo album represented. Every time I heard one of the Fab Four being less than a quarter of the brilliance they were when together, a part of me would have died inside. Encountering their work long after the event saves me the disappointment.
Favourite Amazon Customer Review Quote: "When I was 12 years old, I was playing in a field near my house and I found an 8-track tape of Plastic Ono Band. It was under a rock. My young mind was reeling, "What's a Plastic Ono and why is it under a rock?" Exitedly I took my lucky find home, anxious to discover what was on the tape. Being only 12, I thought that since it was a tape there must be music on it. Boy was I surprised! I returned to the field bright and early the next morning to put the tape back under the rock. That was 30 years ago, it's probably still there. I learned an important lesson that day about not second-guessing the judgment of others and I vowed never to tamper with the underside of rocks ever again."
-Cool story. Thanks for sharing.
So do you love this or wish it would stay in isolation? Let me know below.
Thursday, October 2, 2014
1. Too High
3. Living for the City
4. Golden Lady
5. Higher Ground
6. Jesus Children of America
7. All in Love Is Fair
8. Don't You Worry 'Bout a Thing
9. He's Misstra Know It All
As we creep slowly up the countdown towards the number one spot, the number of new albums I'm encountering is getting less and less. Most of the records I've encountered lately are either old friends from my own CD collection (Who's Next, Led Zeppelin, Let it Bleed) or albums so famous that I knew most of the tracks already (Born to Run, Tapestry). Innervisions was an odd encounter for me: an album that was almost entirely new.
I'd heard Higher Ground before of course but only as a cover version. I'm not the world's biggest Red Hot Chilli Peppers fan but their version of Higher Ground is fantastic and something I've always enjoyed. But that was my only familiar point in the world of Innervisions. The rest of it was all new.
As I've recently had the chance to experience again and again, I quite like Wonder when he speeds up but don't think much of him when he slows down. When he chooses to bring the pace down a notch and move into ballad territory he loses me but when he puts the pedal to the floor and goes the full funk I think he's awesome. I'm clearly alone in this. I've had a look at the guy's catalogue and discovered there's a compilation of just his love ballads (which I will never voluntarily choose to hear) but no compilation of his fast and funky material which I would choose to listen to often. I can't be the only one surely?
So when I put on Innervisions I was expecting the same reaction I'd had to his previous work: a sense of excitement at the funk and disappointment at the shmaltz. Instead I was just kind of... bored.
Wonder plays pretty much the entire of Innervisions himself, much of it on a synthesizer. He lays down the drum tracks and then overdubs himself on bass and keyboards before finally creating a final track he can lay his vocals on top of. It's definitely something that requires a huge talent and not many people can effectively do. It also makes the music feel kind of sterile. Nobody pushed Wonder while he was making Innervisions, nobody suddenly played an unexpected note or launched into an experiment. The drummer didn't make a mistake that made Wonder sit up and take notice and the bass player didn't play a funky little riff he'd been experimenting with while they were between takes. It was all Wonder using technology to get what was in his head onto tape in the most accurate way possible. All which explains why I think it's kind of boring. It sounds so safe and pre-arranged and sterile. It just doesn't move me in the way that I think it could. It doesn't even repel me in the way that Wonder can. It just leaves me bored.
I'm at a loss to know why this is so high in the list compared to his other work. Higher Ground isn't nearly as good as Superstition and it doesn't boast any of his greatest ballads. It's also got an incredibly annoying spoken word intro (Don't you worry about a thing) which gets more annoying every time you hear it.
Innervisions was a huge influence at the time and helped to popularise the synthesizer in R&B and Soul music, which lets be honest is a fairly big black mark against it. It might be Wonder's most consistent and complete album and perhaps my problem is that I don't want consistency in a Stevie Wonder album. I'm happy to endure a Shmaltzy ballad if I know a paint-peeling funkfest is just around the corner. Innervisions has no corners, they've all be buffed out by the recording process.
Favourite Amazon Customer Review Quote: "I love funky "Sir Duke" stevie. This album was so highly billed, but it was a real let down for me. I wanted more funk, and did not find it."
-Yeah I'm with you
So does this album reach Higher Ground or fall well short? Let me know below
Favourite Amazon Customer Review Quote: "I love funky "Sir Duke" stevie. This album was so highly billed, but it was a real let down for me. I wanted more funk, and did not find it."
-Yeah I'm with you
So does this album reach Higher Ground or fall well short? Let me know below
Friday, September 26, 2014
1. Introduction to James Brown and The Famous Flames
2. I'll Go Crazy
3. Try Me
5. I Don’t Mind
6. Lost Someone
7. Medley: Please, Please, Please/You've Got the Power/I Found Someone/Why Do You Do Me/I Want You So Bad/I Love You, Yes I Do/Strange Things Happen/Bewildered/Please, Please, Please
8. Night Train
James Brown likes the Apollo which is just as well because they clearly like him too. It's a relationship based on mutual love and affection and saw the hardest working man in showbusiness return to the illustrious venue on numerous occasions. It was clearly his favourite venue to produce a live album.
Live at the Apollo documents a James Brown show from 1962 recorded before anyone in the USA had heard of the Beatles or the Rolling Stones. He returned there for Live at the Apollo 2 in 1967 when everyone was pretty much obsessed with the Beatles and the Stones and again in 1971 when the Fab Four had broken up and the Stones were about to start their downward slide away from the peak of their career. He even returned again in 1994 for another live album.
According to popular opinion the first of these is worth having and the rest are pale imitations but to be honest I think that's not an accurate reading of the situation. The gulf in quality between Apollo 1 and its sequels isn't nearly as huge as many would have you believe and the later editions have the benefit of being more complete and comprehensive. Live at the Apollo 1 presents us with an abridged version of an early 1960's James Brown concert. It edits and cuts the show down to a half hour running time so it fits comfortably on two sides of vinyl. The following volumes have the benefit of being double albums and provide a much more comprehensive overview of the great man's show, especially in their lavish CD deluxe reissues.
The later volumes also benefit from the additions of some of Brown's greatest songs and signature tunes. Everyone who knows anything about Brown knows I got you (I feel good) which is absent from Volume 1 but appears in two of the sequels along with Get up (I feel like being a) sex machine which has the most annoying parenthesis in all of modern music.
There's nothing wrong with Live at the Apollo volume one and it deserves credit for what it did for Brown's career. It made him a superstar and brought his incredibly dynamic show into the home of anyone with a record player. It has huge historical significance and musical importance. But if you put on the four volumes of Live at the Apollo and played them to a room full of people it wouldn't have nearly the impact of its follow ups.
Live at the Apollo will do everything a James Brown album should do. It will have you tapping your toes and grooving along. It will make you appreciate what a sensational voice he had and how tight is band was. But it will leave you feeling slightly unsatisfied and hungry for more, something that the future volumes won't be guilty of. My advice: get them all. You can never have too much funk and Brown Funk is the best colour Funk around.
Favourite Amazon Customer Review Quote: "!!! BEWARE, THIS MAY NOT BE WHAT YOU WANT-1962 CLASSIC IS ELSEWHERE !!! !! IF ITS NOT A LIVING BABY, THEN YOUR'E NOT PREGNANT !!"
-That's just about the strangest thing I've read on Amazon ever. Even without the exclamation marks.
So does this make you go Crazy? let me know below.
Thursday, September 18, 2014
1. Second Hand News
3. Never Going Back Again
4. Don't Stop
5. Go Your Own Way
7. The Chain
8. You Make Loving Fun
9. I Don't Want to Know
10. Oh Daddy
11. Gold Dust Woman
I know I'm supposed to be snobby about this album. I should be all sniffy about it and write something that looks down it from on high. Because this is pop and it could be blues.
Many people don't realise that Fleetwood Mac started life as a blues band fronted by a fantastic guitarist named Peter Green. Green was one of the UK's great guitar players and deserves to be mentioned along with Clapton, Page, Beck etc as one of the best white blues players taking the genre into brave new places. They released a collection of albums which you could describe as a bit repetitive but their live shows are just amazing. The three Disc Boston Tea Party shows are among my favourite ever albums and I listen to them constantly if only for the steaming versions of Oh Well, Rattlesnake shake and Black Magic Woman.
Green eventually succumbed to Acid and left the band. LSD related psychosis kept him out of the music business for decades and he reportedly grew his fingernails so playing the guitar was impossible and would shoot at anyone who tried to deliver his royalty checks with a BB gun.
After he left Fleetwood Mac, the two other founding members, drummer Mick Fleetwood and bassist John McVie, turned their back on the blues and embraced the more commercially successful world of pop music. They replaced Green with Lindsey Buckingham and introduced two female vocalists and transformed themselves into a pop band who totally rejected the music that originally inspired them.
As someone who loves the blues, loves Peter Green and doesn't enjoy pop much, I'm duty bound to point out that this is a commercial sell out and total crap and turn this entire blog into a rant about how good The Mac were and how crap they became "once the women got involved".
But the truth is I have to admit that this is really very well done pop. I'm not pop's biggest fan but if you're going to listen to pop then this is definitely what you should put on your turntable. Nicks and McVie have fantastic voices and could both write a great song. Buckhingham isn't my favourite male vocalist but he's a mean guitar player and could definitely write a tune. To my mind this is the way Pop should be done. It's played on real instruments and sung by people who were chosen for their vocal abilities and not their looks (which is not to say that Nicks and McVie are anything other than attractive).
Possibly the album's main strength is the songwriting. Fleetwood Mac were lucky enough to have three members who could write a good song, which is two more than a lot of other great bands could manage. Nicks contributed the funky ballad Dreams which contains the line "Thunder only happens when it's raining" which is catchy but a meteorological inaccuracy. McVie submitted the rocky Don't Stop which was written about her failed marriage but somehow became Bill Clinton's theme-song. Buckingham wrote Go Your Own Way which joins the other three as staples on AOR radio stations all over the world and have people singing along whenever they come on the radio.
The three songwriter and three lead vocalist approach does create a slightly disjointed feel with some tracks (the opening one most notably) not really fitting in that well with the rest of the album but you could argue that's part of its charm and appeal. It's a mixed bag but doesn't have any resounding clunkers in its running time and there's something interesting on every track.
Rumours deprives snobs like myself of an opportunity to get sniffy which is an impressive effort. It's a great piece of pop history and while it might not have been the Mac's most comfortable and enjoyable recording experience it's definitely their finest studio album. (Although it does have the worst cover. What the hell is going on with Fleetwood's pose and those weird balls hanging between his legs? Seriously?) Greatest pop album ever? Quite possibly so.
Favourite Amazon Customer Review: "I listened to this album, and my eardrums popped. Stevie Nicks' vocals are so high, he sounds like a girl. Seriously, sing like a man, like Chad Kroeger from Nickelback. Oh, and another thing wrong with this album is that there is no 'U' in 'Rumors.'"
-Two things will never cease to amaze me about Amazon customer reviews. The first is just how many people enjoy making obvious joke reviews, and the second is how many people fall for them.
So is this a good album or is it's brilliance just a rumour? Let me know below.
Thursday, September 11, 2014
1. Where the Streets Have No Name
2. I Still Haven't Found What I'm Looking For
3. With or Without You
4. Bullet the Blue Sky
5. Running to Stand Still
6. Red Hill Mining Town
7. In God's Country
8. Trip Through Your Wires
9. One Tree Hill
11. Mothers of the Disappeared
This is supposed to be my favourite U2 album. It's their highest ranked entry on this list and it's held up as their finest moment. It's the album with the most recognizable U2 sound and has most of the tracks that people think of when U2 is mentioned. Only Achtung Baby rivals it for popular appeal.
But neither is nearly as good as Rattle and Hum which I'm supposed to hate. Everyone keeps trying to tell me that Rattle and Hum is a huge disappointment and the Irish Quartet's worst hour. At best it's a phase they had to go to in order to get to Achtung from Joshua, it's a point on a map that should be marked but not stopped at.
Rattle and Hum might be a mess with it's cover versions, live tracks and odd interjections by other artists but song for song it's their best release. Desire, Hawkmoon 269, Angel of Harlem, Love Rescue Me, Heartland, God Part II, All I want is you and When Love Comes to Town are the strongest collection of songs U2 have ever included on any release. And unlike Joshua Tree and most of the rest of their albums, they're not padded out with half-hearted filler. The covers and live tracks are all fantastic as well.
Joshua Tree on the other hand suffers from the same malaise that strikes a lot of U2 albums: a few fantastic hits but a lot of fairly forgettable filler material. The filler might possibly be stronger than on previous or future albums but it suffers from a tracklisting that highlights, rather than conceals the lesser songs. The first five tracks on Joshua Tree are far away the best songs on the album: Where the streets have no name is a rousing anthem, I still Haven't Found What I'm Looking For is a powerful ballad as is With or Without You. Bullet the Blue Sky is so scary it's good and so good it's scary and Running to Stand Still is the perfect low key antidote to Bullet's terrifying imagery.
But from there things kind of slip away slightly. The rest of the album isn't terrible but there's nothing much on side two that would have made someone keen to flip their vinyl copy over. I wonder how many people who bought this when it first came out just returned the needle to the start of Side One to hear the hits again rather than spent time listening to an entire side of near misses.
There's still a lot to like all through the Joshua Tree. Bono has a great voice and the band manage to create a unique sound which is unmistakeably U2. It's great stuff but to my mind nothing near as good as Rattle and Hum, which not only presents a stronger set of songs, it takes tracks like Bullet the Blue Sky from this album and transforms them into something even more fantastic.
It's cool not to like U2 any more but you can't deny the strong songs on Joshua Tree are fantastic rock and roll and unlike so much that was recorded in 1987, it's dated extremely well. But if you haven't heard it in it's entirety I'm not sure you need to rush out and grab it. Just put on the radio and the good songs will be along before lunchtime.
Favourite Amazon Customer Review Quote: "I once wrote a song called "Dave Evans Must Die" because the music here is so boring."
-I'm not sure we care what songs you wrote do we? I don't think we do.
So is this their best or not? Let me know below.
Thursday, September 4, 2014
1. Cross Road Blues
2. Terraplane Blues
3. Come on in My Kitchen
4. Walking Blues
5. Last Fair Deal Gone Down
6. 32-20 Blues
7. Kindhearted Woman Blues
8. If I Had Possession over Judgement Day
9. Preaching Blues (Up Jumped the Devil)
10. When You Got a Good Friend
11. Rambling on My Mind
12. Stones in My Passway
13. Traveling Riverside Blues
14. Milkcow's Calf Blues
15. Me and the Devil Blues
16. Hellhound on My Trail
King of the Delta Blues Singers is one of those albums that we can point to and credit with forming Rock and Roll as we know it. It's one of those few LP's that we can justifiably hold up and say "music changed because of this. It was different before and never the same again afterwards".
King of the Delta Blues Singers was released in 1961 and eventually found its way into the hands of the generation that helped to shape Rock and Roll. Dylan heard it and was amazed at Johnson's ability to make a melody so compelling. Eric Clapton listened and suddenly knew what he wanted to do with his life. Keith Richards and Mick Jagger were both huge fans as were Jimmy Page, Robert Plant, Peter Green and Jimi Hendrix. Pretty much all the greats on this list had their world turned upside down when they heard this album and realised how powerful music could be.
Before these songs were collected together into an LP, many of them had life as old 78's and it's these recordings which were owned by the likes of Muddy Waters and Willie Dixon and informed their songwriting and attitude. You might not be able to say Lennon and McCartney were directly influenced by Johnson but those who influenced them were.
Good luck finding King of the Delta Blues Singers however. As an album it's been entirely and utterly superseded by The Complete Recordings which takes this release, its follow up and everything else Johnson has done and compiles them on two CD's. It is literally the complete recorded works of Johnson and includes every song he wrote, including alternate versions.
It's a pity that King of the Delta Blues Singers isn't around any more because it does serve as a great introduction to the great man's greatest work. The Complete Recordings, with its multiple duplications, is a bit much for many and K of the DBS serves as a good introduction to those who want to know what the fuss is about without having to hear two versions of the same song with slight variation.
Speaking of the fuss. There is a reason people make a fuss over Robert Johnson. He's definitely fussworthy. He sings as if he means every word. When he sings Hellhound on my Tail you really believe there's a demonic hound chasing the guy. He puts feeling into every note he sings and makes you feel the music in a way that at times can be downright unsettling.
The guitar that Johnson holds in one of the few photographs we have of him is battered and beaten up and when you hear him play you can see why. Johnson isn't just an idle chord strummer, he picks that thing and punishes it and makes it suffer in the way he's suffered himself. Johnson has the blues and he's sure as hell going to give them to his guitar as well.
The songs on King might not be familiar to you in their original form but if you're a fan of classic rock from the sixties and seventies you'll know a lot of them when you hear them. Crossroad Blues became Crossroads as played by Cream and shredded by Eric Clapton in his most famously ferocious guitar work out. Clapton would later give a much more sedate reading of Walkin Blues on his famous Unplugged album and would also cover Ramblin on my mind as his first ever lead vocal performance when he was a Bluesbreaker. Come on in my Kitchen was covered most notably by George Harrison in The Concert For Bangladesh, Travelling Riverside Blues was given a reading by Led Zeppelin and 32-30 Blues was covered by Bob Dylan.
Every song on this album has had countless run throughs in blues clubs all over the world and people will still be peeling off versions long after we've all forgotten who most of today's big name acts are. Johnson has become more than artist, he's part of our musical framework and something that we will always return to. You may never have heard the guy sing but if you're listening to music recorded after 1950 then his spirit is in there somewhere speaking to every note you're hearing. He was, and always will be, the King of the Delta Blues Singers.
Favourite Amazon Customer Review Quote: "I was looking for some good easy listening tunes. This collection my well have historical significance for music students, but doesn't give me any kind of pleasure. I tried each selection and found voice and style grading not entertaining."
-Well who the hell told you that Robert Johnson was what you were looking for? Nobody who has ever heard Johnson sing has described him as easy listening.