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#GreatBluesAlbums

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Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1950s" class="mention hashtag" rel="tag">#<span>GreatAlbums1950s</span></a> – TOP 10 - <a href="https://mstdn.social/tags/HowlinWolf" class="mention hashtag" rel="tag">#<span>HowlinWolf</span></a> – Moanin’ in the Moonlight (1959). Blues LPs of the 50s were typically compilations of earlier singles, but Chess elevated the convention with a well-sequenced profile of Wolf’s work through the decade. Early hits from Memphis, “Moanin’ at Midnight” and “How Many More Years,” lead on to Chicago blockbusters like “Smokestack Lightnin’” and “Evil.” Wolf’s whiskey growl is legendary and a key influence on blues-rock of the 1960s. <br /><a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1950s" class="mention hashtag" rel="tag">#<span>GreatAlbums1950s</span></a> - <a href="https://mstdn.social/tags/LaVernBaker" class="mention hashtag" rel="tag">#<span>LaVernBaker</span></a> - Sings Bessie Smith (1958). Long before Smith&#39;s own catalogue had been properly updated, Baker lent her powerful lungs and gospel-inflected emotion to this fine set of standards. As potent a blues singer as better known figures like Big Mama Thornton, Baker made toil and trouble wither under her fierce, commanding vocal delivery. Dinah Washington also tributed Bessie Smith in smoother style, but Baker&#39;s raw energy got closer to the essence. </p><p><a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1950s" class="mention hashtag" rel="tag">#<span>GreatAlbums1950s</span></a> - <a href="https://mstdn.social/tags/TBoneWalker" class="mention hashtag" rel="tag">#<span>TBoneWalker</span></a> – T-Bone Blues (1959). Before BB King there was T-Bone Walker, whose single-note guitar leads earned respect in both the jazz and blues worlds. This Atlantic set refreshed signature T-Bone tracks – “T-Bone Shuffle,” “Mean Old World,” “Call it Stormy Monday,” “How Long Blues” et. Al. – with backing by Chicago’s finest and first-rate production (the Ertegun brothers + Jerry Wexler) rarely afforded blues artists of the period. <br /><a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a> <a href="https://mstdn.social/tags/Blues" class="mention hashtag" rel="tag">#<span>Blues</span></a> <a href="https://mstdn.social/tags/BluesMusic" class="mention hashtag" rel="tag">#<span>BluesMusic</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1950s" class="mention hashtag" rel="tag">#<span>GreatAlbums1950s</span></a> - <a href="https://mstdn.social/tags/BBKing" class="mention hashtag" rel="tag">#<span>BBKing</span></a> – Singin’ the Blues (1957). King’s urbane blues took cues from T-Bone Walker and Lowell Fulson (“3 O’Clock Blues” and “Every Day I Have the Blues” had been Fulson hits). But the raw power of King’s voice – a product of early life as a Mississippi busker – gave him a commanding presence seldom equaled. His breakout guitar solos – played here on a piercing Fender Esquire prior to “Lucille” – defined the form pursued by every future blues-rocker. <a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a> <a href="https://mstdn.social/tags/Blues" class="mention hashtag" rel="tag">#<span>Blues</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1950s" class="mention hashtag" rel="tag">#<span>GreatAlbums1950s</span></a> - <a href="https://mstdn.social/tags/JimmyReed" class="mention hashtag" rel="tag">#<span>JimmyReed</span></a> – I’m Jimmy Reed (1958). Reed’s loping, laidback approach to the blues made him an unlikely star and massive influence on later blues-rock. What he lacked in technical virtuosity was made up in feel – acres and acres of it – plus a gift for instantly memorable tunes like “Honest I Do,” “Ain’t That Lovin’ You Baby” and “You Don’t Have to Go.” Where his contemporaries wailed, howled, and stomped, Reed rarely raised his voice above a soulful purr. </p><p><a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1950s" class="mention hashtag" rel="tag">#<span>GreatAlbums1950s</span></a> - <a href="https://mstdn.social/tags/BoDiddley" class="mention hashtag" rel="tag">#<span>BoDiddley</span></a> – Bo Diddley (1958). The insistent hambone beat (dependent as much on Jerome Green’s infectious maracas as Bo himself) was only part of the Diddley sound, although “Bo Diddley” and “Pretty Thing” set it down for the ages. Diddley also performed straight blues (“Before You Accuse Me”) and used doo-wop vocal cues (“Diddy Wah Diddy”), besides the hoodoo stew of “Who Do You Love?”. Nobody made more iconic music with simpler elements. <a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a>, <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a></p>
Great_Albums<p>GreatAlbums1990s - <a href="https://mstdn.social/tags/ChrisWhitley" class="mention hashtag" rel="tag">#<span>ChrisWhitley</span></a> – <a href="https://mstdn.social/tags/LivingWithTheLaw" class="mention hashtag" rel="tag">#<span>LivingWithTheLaw</span></a> (1995). Though he only made it to age 45, Whitley created a unique canon in a genre rooted in tradition. Prominent use of a National resonator guitar distinguished Whitley from all the Stratocaster shredders populating modern blues. &quot;Big Sky Country,&quot; &quot;Dust Radio&quot; and &quot;Bordertown&quot; blend country blues with ethereal roots, a la Daniel Lanois – who discovered him. The first of several fine albums. <br /> <a href="https://mstdn.social/tags/1990s" class="mention hashtag" rel="tag">#<span>1990s</span></a>, <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="tag">#<span>GreatRockAlbums</span></a>, <a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a>: Albert King – Born Under a Bad Sign (1967). This LP transformed King from an obscure journeyman into an icon of modern blues. Booker T &amp; the MGs lend Memphis magic to “Born Under a Bad Sign,” “Crosscut Saw” “Oh, Pretty Woman” and “The Hunter” as King leads with soulful simplicity. Guitar breakout moments, like “Personal Manager,” influenced Clapton, Page, SRV and countless others. A Stax-Volt classic. <br /><a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a>, John Lee Hooker – Burnin’ (1962). Hooker’s foot-stomping blues defied 12-bar conventions, needing a supple band to keep up. Motown’s Funk Brothers do just that, anchored by Joe Hunter’s piano and James Jamerson’s bass. “Boom Boom” was the hit, but “Lost a Good Girl” and “Blues Before Sunrise” also satisfy. The LP shows the sonic power of a legend getting the sympathetic backing he deserves, despite some filler. ClassicAlbums, <a href="https://mstdn.social/tags/music" class="mention hashtag" rel="tag">#<span>music</span></a>, <a href="https://mstdn.social/tags/album" class="mention hashtag" rel="tag">#<span>album</span></a>, <a href="https://mstdn.social/tags/blues" class="mention hashtag" rel="tag">#<span>blues</span></a>, <a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a></p>
Great_Albums<p><a href="https://mstdn.social/tags/GreatAlbums1960s" class="mention hashtag" rel="tag">#<span>GreatAlbums1960s</span></a>,  <a href="https://mstdn.social/tags/SkipJames" class="mention hashtag" rel="tag">#<span>SkipJames</span></a> – Devil Got My Woman (1968). Inactive after his early 30s recordings, SJ reappeared in the 60s like a musical time traveler, capturing country blues essence on stark guitar or piano tracks like “22-20 Blues” and &quot;Careless Love.&quot; He sings in a cracked tenor like a man reckoning with sin in the hope of salvation. His early work influenced Robert Johnson. A 60s Delta survivor, like Son House. <a href="https://mstdn.social/tags/great_albums" class="mention hashtag" rel="tag">#<span>great_albums</span></a>, <a href="https://mstdn.social/tags/music" class="mention hashtag" rel="tag">#<span>music</span></a>, <a href="https://mstdn.social/tags/classic_albums" class="mention hashtag" rel="tag">#<span>classic_albums</span></a>, <a href="https://mstdn.social/tags/blues" class="mention hashtag" rel="tag">#<span>blues</span></a>, <a href="https://mstdn.social/tags/GreatBluesAlbums" class="mention hashtag" rel="tag">#<span>GreatBluesAlbums</span></a></p>