ukslim2000's channel

This is a beautiful track. I love almost all of Ornette's work over the years, especially the late 50s & early 60s recordings. The dissonance, and/or what I think of metaphorically, as the "astringency" of his attack, is one of the main points of attraction for me. He often sounds as though he's ...

@busessuck1 Quite so. California Desert Blues is the classic (" ... like crossing the Hindenburg Line ..."!) & Hard Time Blues is the only other one I'm familiar with. He made a handful of postwar sides, but I've yet to catch up with 'em

Great news busessuck. Thanks!

I've always thought that this is clearly the best version of this song. Even Bo Diddley couldn't top this. The first two Stones LPs as released in the UK are absolute British "Blooze Boom" classics.

An astoundingly lovely duet record. This has long been a favorite of mine; Hi Henry Brown is an obscure figure, even by blues standards but he belongs in the elite company of a similarly styled group of St. Louis-based blues men like Henry Spaulding, Henry Townsend and Charley Jordan. In fact, it...

It simply doesn't get any better than this!

Although this is a tad more sophisticated, I hear very strong prefiguration of John Lee Hooker's early solo recordings from the late 1940s here ...

What a great record! I've always thought that Henry's early records - and I think he started in 1929 - sound not a million miles removed from John Lee Hooker's early solo efforts from the late 1940s. Both men made frequent use of open G tuning. John was quite a bit more primitive of course, but t...

Wow, this is astonishing! I had no idea there was any footage of B.K. Turner. I found it completely by chance. If you guitar players out there like this, I also recommend that you listen to "Lone Wolf Blues" by Oscar 'Buddy' Woods, from 1936: it's on YouTube. We'll never know for sure, but Oscar ...

Like every Dark Star I've heard from 1972, simply transcendent. The Dead at their very best - thirteen minutes plus, and they haven't even gotten to the first verse yet. I love it ...

He takes it a little faster than Carl Perkins but not quite as quickly as his hit recording. Elvis' singing is remarkably subtle here: he attacks almost every verse slightly differently. No-one ever did it better!

This is quite simply one of the greatest blues recordings of all time. The rhythmic tension generated by the two guitars (especially the string-snapping), the gradual acceleration, and Patton's remarkably intense singing is all but overwhelming.

I can only agree with the high praise bestowed upon this great record and I especially endorse the comment made by BarbaraAnnLovegrove - BUT only to this extent: I think Part Two is even better!

This is an astounding record which has been one of my favorites for as long as I can remember. Part One is brilliant but I think this is even greater. I love the way the vocal seems to float free and "hover" above the accompaniment. It's hard to believe there are two musicians here, so closely in...

Absolutely inspired guitar arrangement which talented guitar players struggle with to this day. You'll need to set aside about four or five years to learn it properly ...

This is a lovely version. I've been trying to play this song for years and am only just now getting close to where I want it to be. I especially like the way the difficult high instrumental "bridge" is handled here, again quite close to my own attempts. This beats all the versions I've seen so fa...

Wonderful medium-tempo strut in the then-burgeoning Hard Bop style which can easily sit alongside Miles Davis' celebrated "Walkin'" from a couple of years previous. Eardley is obviously a talent deserving of much wider recognition - too late for him of course but still ... better late than never.

Agreed. Wow, this is great! Yet another of the many excellent jazz musicians consigned to the depths of wholly undeserved obscurity. You know that it's so, because I'm a huge jazz fan and even I've barely heard of Jon Eardley. Barbara Ann, won't you take my hand ...

Great stuff. This is from Chicago's VeeJay label in the late 1950s. Is this the only time John Lee actually stayed strictly with a 12-bar song format for the duration of an entire band-accompanied performance?

Yeah, a typically excellent VJ cut from the late 50s. John pays unusual (for him) attention to the song-form and, in fact, this might be the only time he stayed strictly within a 12-bar format. Apostasy?