This latest of my weekly playlists is devoted to the blues-rock pioneers, Canned Heat. Led by vocalist Bob Hite, guitarist and sometimes vocalist Alan Wilson and guitarist Henry Vestine, their recordings drew inspiration from classic blues recordings that they adapted as well as originals in this tradition. I have little interest in the music made after Wilson's passing, and especially after Hite died. The recent versions are to me, essentially a tribute band. On this playlist, I will include some of the original recordings as well.
To start this playlist, I present their updating of a Tommy McClennan recording, "Whiskey Headed Woman," even adapting McClennan's intro from McLennan's follow-up, Whiskey Headed Man."
Here is McClennan's "Whiskey Headed Man," although it lacks the spoken intro.
Henry Vestine was obviously a fan of the great Guitar Slim, as heard on a remake of Slim's "Story of My Life."
Here is Guitar Slim's original.
Canned Heat's most famous recording was a reworking of a Henry Thomas number. Here is "Going Up the Country," from their performance at Woodstock.
Here is Henry Thomas' "Bull Doze Blues."
There are covers of songs from so many artists. Here is a tune based on Tommy Johnson's "Big Road Blues," here heard in live performance.
Here is Tommy Johnson's original.
Another rendition of this number that may have shaped Canned Heat's adaptation is Willie Lofton's "Dark Road Blues."
We close this playlist with a selection from the classic "Hooker & Heat" album, doing a remake of "Burnin' Hell," which features Alan Wilson on harp.
Son House John the Revelator: Chicago to London Town The Devil's Tunes
Eddie 'Son' House was one of the pillars of the Delta Blues in the thirties, rediscovered in Rochester, New York in 1963 and performed for a little over a decade before retiring. House was of the most compelling blues performers with his raspy, intense vocals and highly percussive, slide guitar. A British label has now compiled a double CD release of House performing and being interviewed. A good portion of this was previously unissued.
The first CD, "Chicago … The Sixties," is from a radio broadcast hosted by Studs Terkel mixed with performances of such House numbers as "Death Letter Blues," "Levee Camp Moan," "I Shall Not Moved," "Preachin' the Blues," Louise McGhee," "Empire Express" and "Grinnin' in Your Face," interspersed with lengthy interview segments with some themes that might be familiar to some from House's monologues in concerts.
The other CD, "London … The Seventies," is taken from performances at London's Club 100 that was issued on English Liberty and reissued an out-of-print EMI country blues reissue. I believe some of the performances may be previously unissued and on the first rendition of "Between Midnight and Day," Alan Wilson is heard on harmonica while Delta Dave backs House on "How To Treat a Man." Besides his monologues, other songs heard here include "Levee Camp Blues," "Death Letter Blues," "John the Revelator," and "Grinnin' in Your Face."
House may not have been as accomplished a musician as he was when he recorded for Paramount in the early 1930s and the Library of Congress in the early 1940s, but the sheer forcefulness of his performances in which nothing is held back is simply riveting. When House performed, it was like you were looking into his soul. That is how powerful and mesmerizing he was and why those who have other reissues of House from this time will still want this document of one of the true blues icons.
I purchased this recording. Here is Son House with Buddy Guy on second guitar.
Until listening to Area 52 by Rodrigo Y Gabriela and C.U.B.A. (ATO Records) I was not familiar with the acoustic guitar duo Rodrigo Y Gabriela. Listening to this disc I discovered that they initially were playing in a thrash metal band in their native Mexico. Going to Europe, they busked as an acoustic guitar duo, rooted in flamenco style and playing a wide range of material that included covers of metal and Led Zeppelin, although I must admit I have not heard their prior recordings.
This album, produced by Peter Asher, has them with by jazz pianist Alan Wilson who had a decade ago given them a jazz salsa recording with latin rhythms. Along with Wilson, they engaged some Cuban musicians to lend their rhythmic feel to this project. These musicians are the Cuba Universal Band Association from which C.U.B.A. derives. Prominent among these musicians Feliciano Arango Noa on bass and the percussion of Otto Santana Selis,
The intent was to redo songs from their two prior recordings However, after recording in Cuba, they felt they could add more guitars and also added some rock flavor to get away from a strictly traditional Cuban, and Latin sound. They also brought in some guest collaborators for this purpose as well which had pre-production and production in several countries. It is this fabulous mix of material, artists and performances that immediately captured my attention and led to my enthusiasm about the many pleasures to be heard here.
Cuban rhythms greet the duos opening guitar figures for San Domingo, with Wilson’s piano helping establish the mood as the horns and strings add to the heat while its one of the tracks that Gabriela experiments with a way way pedal. Samuel Formell Alfonso, of the great band, Los Van Van, is guest drummer on this exhilarating ride. Hanuman was a composition inspired by Carlos Santana and on these reworking Rodrigo added some electric guitar to his flamenco playing on a number that certainly evokes the great guitarist set against some horns and violin in the arrangement with some interesting flute from Jorge Liliebre Sorzano. The drumming of John Tempesta (of White Zombie fame) adds to the rock flavor over the hot afro-Cuban grooves.
An undeniable factor to the duo’s success is there unique mix of various traditions and style. On Ixtapa, after Wilson’s sedate opening followed by the acoustic guitar lead to state the theme , followed by a brief segment featuring percussion before a new movement joined by Anoushka Shankar on sitar who takes an extended, intensive solo followed by the vibrant flamenco styled guitars of the leaders on a mesmerizing performance. Carles Benavent guests on bass (with Noa on second bass) and Carlota Teresa Polledo Noriega guests on vocal for 11:11, with its mercurial tempo and more exquisite playing from the two (including a solo by Rodrigo on a Fender lap steel guitar) driven along by the brilliant rhythm section. Noriega takes her vocal during the closing moments with C.U.B.A. chanting in chorus as the performance fades. Other highlights include Master Maqui, on which the Le Trio Joubran add ouds to the mix of percussion and horn and Diablo Rojo, with the fiery rhythms and stunning flamenco accents of the guitars of Rodrigo & Gabriela as the horns add their brassy counterpoint.
In addition to the nine performances on the CD, this comes with a DVD containing a fascinating documentary discussing the recording of this album. This recording has been a revelation and this writer has already ordered one of their earlier recordings being impressed by this recording. Also, Rodrigo Y Gabriela will be touring North America this spring (http://www.rodgab.com/tourdates.html) including dates at Massey Hall in Toronto, Radio City Music Hall in NYC, Warner Theatre in Washington DC and the New Orleans Jazz & Heritage Festival. If I was going to be at JazzFest this year, they would be my must see act no matter what act (and it would not matter if it was Trombone Shorty or Bruce Springsteen) might be on at the same time.
My review copy was provided by a publicist for the release. Here is a video of the two performing.
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