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Detaljer om materialet
Type
Cd (musik)
Format
1 cd, 1 kommentarbilag
Sprog
engelsk
Genre
bluesjazz
Emneord
Emnetal
78.793:5
Bidrag af
Indhold
I'm not talkingParchman farmFoolkillerIf you only knewBaby, please don't goThe seventh sonI'm smashedWild man on the looseIf you're goin' to the cityEverybody cryin' mercyI love the life I liveYoung man's bluesBack on the cornerYou can count on me to do my partLost mindWyesight to the blindYour mind is on vacationJus like livin'If you liveV-8 Ford bluesYour molecular structureHello there, universeWestern manSwingin' machine
Forlag
Ace Records
Målgruppe
voksenmaterialer
Anmeldelser
theartsdesk.com, 2016-11-27
"For non-completists, getting handle on Allison has previously been difficult as a concise, single-disc collection compiled with an eye towards his influence on British music has been lacking until now ... I'm Not Talkin' collects 24 tracks from 1957 to 1971, over which Allison recorded for four labels: Prestige, Columbia, Epic and Atlantic. His favoured means of getting the music across was as a pianist in a trio but, in the early Seventies, he also played an electric piano and worked with a filled-out band. Such a sweep suggests I'm Not Talkin' could be a disparate experience and not hang together. In the event, it's a unified listen. It also has good, enthusiastic liner notes"
theartsdesk.com, 2016-11-27
fRoots, 2017 Jan/Feb
"His songs like Parchman Farm, Young Man Blues and Everybody Cryin' Mercy got covered by The Who, Georgie Fame (who completely adopted Mose's vocal style), Van Morrison, John Mayall, The Clash, The Yardbirds, Eric Clapton, Elvis Costello and Bonnie Raitt, and his music influenced many more from the Stones to Hendrix, Tom Waits and beyond. Even his covers of blues classics by others, like Sonny Boy Williamson's Eyesight To The Blind or Willie Dixon's Seventh Son and I Love The Life I Live - all included here - became the iconic versions beyond the originals ... Excellently compiled and with extensive notes by Dean Rudland, and great remastered sound by Duncan Cowell, this is a fabulous testament to those early years and, if you're new to him, as fine a belated introduction to his work as you could ask for"
Uncut, 2017-02-06
"Allison's blues were jazzy and sophisticated. His piano playing was a hybrid of boogie-woogie, stride, swing, Nat Cole, Errol Garner and early Ray Charles embellished with bebop improvisations. He sang in a sly, slack-jawed voice with a distinctive rural diction and his lyrics were smart and witty, littered with puns and moonshine wisdom, indebted as much to Mark Twain's Huck Finn as to the Delta argot of Johnson, Charley Patton and Son House. As Jamie Cullum noted almost half a century later, Allison was "a genre in his own right" ... Equally influential on British R'n'B were Allison's early covers of Willie Dixon's "Seventh Son", Big Joe Williams' "Baby Please Don't Go" and Sonny Boy Williamson's "Eyesight To The Blind", which arguably became better-known than the versions by the original artists"
Uncut, 2017-02-06