Muddy Waters at Newport (July 3, 1960)

           

Muddy Waters was one of the most popular blues artists of the 1950s.^[Beginning in 1948, he had fifteen singles that appeared on the Billboard Rhythm & Blues Records chart. His debut album, The Best of Muddy Waters (1958), contained twelve of his hits. However, by 1960, what had been the traditional blues audiences were moving away from Chicago-style blues towards the more polished R&B and soul sounds.Chess released Sings Big Bill Broonzy (1960), a collection of Muddy Waters' interpretations of songs by the blues musician Big Bill Broonzy.
                                             

                                                                Hoochie Coochie Man

 When he performed at the Newport Jazz Festival, his electric blues band consisted of Otis Spann (piano, vocals), Pat Hare (guitar), James Cotton (harmonica), Andrew Stevens (bass) and Francis Clay (drums

                                                   Put Tiger In Your Tank

 The gig was scheduled for Sunday afternoon, July 3. The day before, performances by Ray Charles and singing group Lambert, Hendricks and Ross were met with unruly crowds. About 300 drunken revelers made a commotion during Charles' performance and the police responded with teargas and water hoses. The riots became so out of control that the National Guard was called in at midnight to calm the crowd.

                                             I  Feel So Good

When Waters and his band arrived on the scheduled day, they intended to drive back on the next day, until driver James Cotton saw John Lee Hooker standing at a corner, his guitar on his back without a guitar case. Cotton said Hooker should get into his car to get the musicians out of harm's way. At the same time, the city council decided to cancel the concert, but concert promoter George Wein convinced them when he said that the United States Information Agency (USIA) planned to film the festival to teach American culture in other countries.[

                                                    Got My Mojo Working         

Before Waters' performance, his band backed Otis Spann, who was the band leader, and John Lee Hooker. At about 7 p.m., Muddy Waters entered the stage, wearing black, while the rest of the band wore white suits. At Newport 1960 opens with then-unreleased "I Got My Brand on You", which was recorded one month prior, and "(I'm Your) Hoochie Coochie Man", both written by Willie Dixon. Next are the Big Joe Williams cover "Baby Please Don't Go", Oden's "Soon Forgotten", Dixon's "Tiger in Your Tank" and Broonzy's "I Feel So Good". 

 

At Newport 1960 is a live album by Muddy Waters recorded during his performance at the Newport Jazz Festival on July 3, 1960. With his longtime backup band, Muddy Waters plays a mix of his older popular tunes and some newer compositions. Chess Records released the album in the United States on November 15, 1960

 

Taste - Sugar Mama (Jazz Bilzen 1969)

 Taste (originally "The Taste") were formed in Cork, Ireland, in August 1966 as a trio consisting of Rory Gallagher on guitars and vocals, Eric Kitteringham on bass, and Norman Damery on drums. In their early years Taste toured in Hamburg and Ireland before becoming regulars at Maritime Hotel, an R&B club in Belfast, Northern Ireland, in the summer of 1967

 Sugar Mama

In 1968 Taste began performing in the UK where the original lineup split up. The new lineup formed with Richard McCracken on bass and John Wilson on drums.The new Taste moved permanently to London where they signed with the record label Polydor. In November 1968, the band, along with Yes, opened at Cream's farewell concerts. While with Polydor, Taste began touring the United States and Canada with the English supergroup Blind Faith. In April 1969, Taste released the first of their two studio albums, the self-titled Taste, with On the Boards following in early 1970, the latter showing the band's jazz influences with Gallagher playing saxophone on two tracks

 https://arthurfromholland.blogspot.com/2010/11/jazz-bilzen-2taste-rory-gallagher.html

Fraction - Moon Blood

 Based in LA, Fraction was a ragged collection of working-class musicians–the line-up was ringleader Jim Beach–vocals; Don Swanson–lead guitar, Curt Swanson–drums, Victor Hemme–bass, and Robert Meinel–rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.” Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously– there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

Sanc.Divided 

Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit. Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!”  The other members contributions shouldn’t be underappreciated though– drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of  late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.”