Title: Mamma, Don't Rush Me Blues
Style: Country Blues
Format: MP3 FLAC VOC AIFF AU ASF AUD XM MP1
FLAC size: 1298 mb | MP3 size: 1231 mb | WMA size: 1312 mb
Discover all compositions recorded by Steamboat Bill And His Guitar. Complete your Steamboat Bill And His Guitar record collection. Shop new and used Vinyl and CDs.
Steamboat Bill, Jr. is a 1928 silent comedy film starring Buster Keaton. Released by United Artists, the film is the last product of Keaton's independent production team and set of gag writers. It was not a box-office success and became the last picture Keaton made for United Artists. Keaton ended up moving to Metro-Goldwyn-Mayer where he made one last film in his trademark style, The Cameraman, before his creative control was taken away by the studio.
A Mamma Don't Rush Me Blues B Sweet Patunie Blues. Willie Jones is a pseudonym on Supertone for Willie Baker. Godrich & Dixon, Blues Records 1902-42, p. 58. Other versions. Steamboat Bill And Mamma, Don't Rush Me. His Guitar. Blues (Shellac, 10"). Label Category Country Year.
But on his debut album, Bennett collaborated with the Peter Green-era Fleetwood Mac for a fresh take on the country blues, not as heavy as the amped-up versions found with Cream and Led Zeppelin: musically proficient, but sad and heartfelt. Bennett died in a car crash in 1976. Bobby Rush was a journeyman blues singer, most famous for the novelty hit "Chicken Heads. The motor on this album is McDowell playing bottleneck slide on electric guitar: a relentless engine that powers him through hypnotic versions of "Baby Please Don't Go" and "Jesus Is on the Mainline" with bone-deep rhythm and the raw wounds of life.
His Imperial recordings from the 1950s are perhaps even more spectacular as the material, arrangements, and backing bands perfectly complement his mature style. Cold, Cold Feeling, I Got the Blues, and the sensational swinging shuffles in Strollin’ with Bone, The Hustle Is On, You Don’t Love Me, and Party Girl are definitive postwar electric blues. If you ever forget that the blues is best served up as a live listening experience, go back to this album and to King as he tears up the joint. Robert Cray’s versatility really shines on this album, especially in the canny way he pays homage to his influences Johnnie Guitar Watson, Albert Collins, and Buddy Guy. Cray proved here, and in subsequent releases, to be a triple threat in songwriting, singing, and playing, and he’s in a class by himself for finding the right formula to bring the traditional blues into the modern era.
Don't let them pick guitars and drive them old trucks. D. Let 'em be doctors and lawyers and such. G. Mamas don't let your babies grow up to be cowboys. A. They'll never stay home and they're always alone. Them that don't know him won't like him and them that do sometimes won't know how to take him. B. He ain't wrong, he's just different but his pride won't let him. E. Do the things to make you think he's right.
Rush's soul and funk fusion with the blues may make him stand out from the pack. If the voters want something more traditional, "Love of a Woman" should keep them satisfied, pun intended, and "Skinny Little Women" may tip the scales his way. Juke Joint Chapel: Charlie Musselwhite. Henrietta Records' offered some traditional get-up-anddance blues with harmonica-maestro Charlie Musselwhite on this classic album. Mussellwhite's Mississippi roots are showing on this bar blues collection, which is about as close as you can get to the live blues experience.
He brought rock aggression to blues playing and his blood is running through those strings. On this track, as on so much of his work, Gary Moore played as if his life depended on it, as if each note would be his last. As well as using solid British musicians, the talk was of maybe bringing in some of the real deal blues legends from America. As Gary had remembered Stevie Ray Vaughan, so Eric Clapton squared the circle of Gary’s lifelong love of the seminal Beano album by playing Still Got The Blues at his Royal Albert Hall dates in the weeks following Gary’s death and covering the song on his latest album, Old Sock. He (Gary) introduced himself to me a long time ago and I got an incredible feeling from the guy that he was a genuine good man and a great player.
The blues artists talked, the rockers listened. Without the blues there’d be no rock’n’roll, but these influential blues songs were especially pivotal. The singer is lovelorn despite the foolproof hoodoo charm in his pocket. And as a million garage bands can tell you, the song just feels great to play. Speaking of great guitar, the stinging sound of Collins’ Telecaster on this landmark single (both parts were entirely different songs) became a touchstone for Texas blues, with brothers Jimmie and Stevie Ray Vaughan especially taking notice. East Coasters such as J Geils and George Thorogood dug it too, and the master of the Telecaster graced quite a few rock stages before his death in 1993.
Tracklist Hide Credits
|A||Mamma, Don't Rush Me Blues
Written-By – Baker*
|B||Weak Minded Blues
Written-By – Baker*
- Vocals [Uncredited], Guitar [Uncredited] – Willie Baker
|6766||Willie Baker||Mamma Don't Rush Me Blues (Shellac, 10")||Gennett||6766||US||1929|
|9366||Willie Jones And His Guitar*||Mamma Don't Rush Me Blues (Shellac, 10")||Supertone||9366||US||Unknown|