It is no exaggeration to call Little Walter the Jimi Hendrix of the electric harp: he redefined what the instrument was and what it could do, pushing the instrument so far into the future that his music still sounds modern decades after it was recorded. Little Walter wasn't the first musician to amplify the harmonica but he arguably was the first to make the harp sound electric, twisting twitching, vibrant runs out of his instrument; nearly stealing the show from Muddy Waters on his earliest Chess recordings; and so impressing Leonard Chess that he made Muddy keep Walter as his harpist even after Waters broke up his band. Chess also made Walter into his studio's house harpist and started to release Little Walter solo records with the instrumental "Juke" in 1952. "Juke" became a smash hit and turned Little Walter into a star, making him a steady presence on the '50s R&B charts.
Šachový Týdeník - časopis, který vydává "Pražská šachová společnost".
Little Milton may not have been the greatest R&B artist or the greatest blues artist or the greatest soul artist of all time, but he and Bobby Bland were easily the two best ever at incorporating all three genres into all their work for many decades. "Grits Ain't Groceries" is sheer late-'60s R&B greatness - an exciting, rollicking remake of the Titus Turner tune that turned out to be Little Willie John's début hit [#5 R&B] in 1955 (then titled "All Around the World"). Little Milton scored a #13 soul / # 73 pop hit with it. I thought its passionately powerful and smoldering Chicago blues B-side "I Can't Quit You Baby" (co-written by Milton, and with that dazzling guitar I mentioned) made it an unbeatable combination, worthy of of #1 - at least on the soul charts…
Although Albert King is pictured on the front cover and has the lion's share of tracks on this excellent compilation, six of the fourteen tracks come from Rush's shortlived tenure with the label and are some of his very best. Chronologically, these are his next recordings after the Cobra sides and they carry a lot of the emotional wallop of those tracks, albeit with much loftier production values with much of it recorded in early stereo. Oddly enough, some of the material ("All Your Love," "I'm Satisfied [Keep on Loving Me Baby]") were remakes – albeit great ones – of tunes that Cobra had already released as singles! But Rush's performance of "So Many Roads" (featuring one of the greatest slow blues guitar solos of all time) should not be missed at any cost.