Bitrate: MP3@320K/s
Time: 49:29
Size: 114,7 MB
Styles: Electric blues
Scans: Front, sleeve, back
1. Little Red Rooster (4:58)
2. Spoonful (4:47)
3. The Seventh Son (4:47)
4. Third Degree (5:12)
5. I'm Ready (3:19)
6. Wang Dang Doodle (4:25)
7. My Babe (3:04)
8. I'm Your Hoochie Coochie Man (4:07)
9. You Can't Judge A Book By Looking At The Cover (3:06)
10. Big Boss Man (4:40)
11. I Love The Life I Live (2:56)
12. That's My Baby (4:02)
Bring up the name of Willie Dixon outside the circle of blues fans, and the chances are that it will be greeted with little recognition. Start talking about the songs he has written, however, and you will find that anyone with the slightest interest in popular music over the past forty years will be familiar with them. The list includes 'Little Red Rooster', 'Hoochie Coochie Man', 'Spoonful', 'You Can't Judge a Book by Looking at the Cover', and that is just scratching the surface. Willie Dixon was born in Vicksburg, Mississippi on July 1st 1915, and arrived in Chicago in 1935. After a stint as a professional heavyweight boxer, he turned to music for a living, playing upright bass in a number of groups, and, incidentally, serving a ten-month prison sentence for resisting the WW2 draft, long before such protests became fashionable.
In 1951 he produced his first session for the Chess brothers' Aristocrat label. Over the next fifteen years or so Willie organised, produced, played on and wrote songs for recording sessions for a who's who of Chicago-based blues artists. Muddy Waters, Howling Wolf, Bo Diddley, Sonny Boy Williamson and Chuck Berry are just a few of the greats who worked with him. No one will ever be able to unravel the tangle of truth, legend and fiction that surrounds those years, but what is certain is that the records which came out of the Chess studios in that era influenced and inspired an entire generation of young musicians, particularly in the UK, and had a massive effect on the development of popular music. There are few artists whose work cuts across cultural, geographical, economic and generational divides.
In the blues field, Robert Johnson and Louis Jordan are two that spring to mind, but there can be no doubt that the name of Willie Dixon, who died in 1992, is right up there with the very, very best. It is in acknowledgement of the musical debt owed by our generation of British musicians that we dedicate this album to him and the great artists who worked with him during that golden era. /Colin Cooper, 2002
(For personnel details, see artwork included.)
In 1951 he produced his first session for the Chess brothers' Aristocrat label. Over the next fifteen years or so Willie organised, produced, played on and wrote songs for recording sessions for a who's who of Chicago-based blues artists. Muddy Waters, Howling Wolf, Bo Diddley, Sonny Boy Williamson and Chuck Berry are just a few of the greats who worked with him. No one will ever be able to unravel the tangle of truth, legend and fiction that surrounds those years, but what is certain is that the records which came out of the Chess studios in that era influenced and inspired an entire generation of young musicians, particularly in the UK, and had a massive effect on the development of popular music. There are few artists whose work cuts across cultural, geographical, economic and generational divides.
In the blues field, Robert Johnson and Louis Jordan are two that spring to mind, but there can be no doubt that the name of Willie Dixon, who died in 1992, is right up there with the very, very best. It is in acknowledgement of the musical debt owed by our generation of British musicians that we dedicate this album to him and the great artists who worked with him during that golden era. /Colin Cooper, 2002
(For personnel details, see artwork included.)
Big Blues (The Songs Of Willie Dixon) mc
Big Blues (The Songs Of Willie Dixon) zippy
2 comments:
Thanks for this one RR.
You're welcome Bob Mac, glad you enjoyed the post. Thanks for your comment.
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