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Otis Rush - Double Trouble: Live Cambridge 1973 (2015) [Electric Chicago Blues]; FLAC (tracks)

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Mike1985
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Otis Rush - Double Trouble: Live Cambridge 1973 (2015) [Electric Chicago Blues]; FLAC (tracks)

Unread postby Mike1985 » 30 Jun 2020, 15:43


Artist: Otis Rush
Album: Double Trouble: Live Cambridge 1973
Genre: Electric Chicago Blues
Label: Rockbeat Records
Released: 2015
Quality: FLAC (tracks)
Tracklist:
  1. Intro - Watermelon Man (7:50)
  2. It Takes Time (3:40)
  3. I Can't Quit You Baby (6:01)
  4. Keep On Loving Me Baby (3:00)
  5. Popcorn (4:19)
  6. Gambler's Blues (5:57)
  7. Why I Sing The Blues (5:46)
  8. Please Love Me (4:43)
  9. Double Trouble (3:25)
  10. I Think It's Gonna Work Out Fine (5:02)
  11. Please, Please, Please (4:54)

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This live set is from Rush's last great period in the 1970's. He recorded some good live albums in the '80s/'90s, but from the 1950's into the 1970's Rush was really on top of things. On everyone's mind is the sound--how is it? Like similar Rockbeat releases the overall sound is very decent--sounding like many live recordings from that era. For once the sound isn't distant sounding or slightly flat. Even the bass, which usually disappears or is muffled sounding, can be heard distinctly on the bottom end of things. This isn't a radio broadcast, but actually recorded at the gig which gives the sound an immediate feel. Some highlights: Recorded live at Joe's Place in Mass. Rush and his small Chicago band begin after band introductions, warming the crowd up with a lengthy (7+ minutes) of "Watermelon Man". The band--Rush, Ernest Gatewood-bass, Bob Richards-drums, and Little Bo-tenor sax--slide through this tune with some sax work until Rush begins one of his solos that's clean and quick--pure Otis Rush. It's on "It Takes Time" that Rush and his band really start things going. Rush's fluid soloing and his crying/hurt sounding vocal style are patented Otis Rush. On Rush's well known "I Can't Quit You Baby" Little Bo takes a solo on this slightly slower version, with Rush playing rhythm guitar, until he solos in a more relaxed style than in past live recordings of this tune.
by Stuart Jackson

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