Otis Rush was born in Philadelphia, Mississippi, in 1935. He moved to Chicago in 1948 and soon began garnering attention in both that city’s legendary south and west side nightclubs.
Otis' (along with Magic Sam and Buddy Guy) guitar style has a slow-burning sound with long bent notes that typify the Chicago blues.
'The Essential Otis Rush: The Classic Cobra Recordings 1956-1958' are an absolute must-have for even the most casual blues fan. These recordings are considered by many blues fans (myself included) to be some of the most
compelling examples of electric Chicago blues ever recorded.
The songwriting is pretty much split right down the middle, between Willie Dixon and Otis. Willie Dixon, due to a dispute over royalties went over to Cobra from Chess Records, became the label's de facto producer, arranger and of course songwriter and bass player. In 1958, Cobra Records went bankrupt, and Otis along with Willie ended up back at Chess Records.
The players Otis and brought in for these recordings read like a who’s who of Chicago blues. They include both Little Walter Jacobs and Big Walter Horton on harmonica, Red Holloway and Harold Ashby on tenor sax, Little Brother Montgomery and Lafayette Leake on piano and Al Duncan and Odie Payne on drums as well as guitarist Wayne Bennet among others. Ike Turner makes a powerful second guitar contribution to the classic "Double Trouble".
In the decades that followed, Rush would re-visit this material again and again on various labels, trying to capture the magic he found in his early years for the Cobra label. These are also the songs that live audiences came to expect, and he obliged them throughout his career.There is only one Otis Rush and if he only recorded the songs on 'The Classic Cobra Recordings 1956 -1958' he would still be regarded as one of the most important artists of the blues form.
For the freeload (a sweet sounding 24-bit/48 kHz), if you were a "Professional Wrestler", what would your entrance theme song be?
Here Comes The Sun
ReplyDeleteI don't follow wrestling, but of the top of my head, Ministry, Jesus built my Hotrod, that should get the crowd going.
ReplyDeleteMe neither. The other night I was switching channels, and Professional Wrestling came on the screen. It was like a bad accident, that I couldn't look away from. When the wrestlers were introduced, they had a song, which was the inspiration for the "qualifying question".
DeleteI love that you give us a "conversation starter" each post. Some of us are (it seems) consistently witty and erudite, but the rest of us benefit from prompts. This is a good one, IMO.
DeletePixies - Theme From Narc
ReplyDeletehttps://www.youtube.com/watch?v=KTcw1rMdldM
Bitch by the RS.
ReplyDeletePeter Gunn Theme by The Silencers - Rock N Roll Enforcers. Thanks Babs
ReplyDeleteI'd either strut into the ring to Led Zeppelin's "The Song Remains The Same", or sashay into the ring to Hall & Oates' "Man Eater".
ReplyDeleteBesides struttin' or sashayin' you might even want to Cadillac Walk into the ring, maybe. Thanks Babs
DeleteLink
ReplyDeletehttps://workupload.com/file/P3wXh3ZJbAv
I thought I'd be subtle tonight so it would be the Earl Vince & The Valiants' (aka Fleetwood Mac) song "Somebody's Gonna Get Their Head Kicked In Tonight" and I'd probably use the Rezillos version.
ReplyDeleteYes good choice Phantom, ideal for the low budget British version of wrestling as seen on Saturday afternoon TV in the 70's.
DeleteI used to think Mick McManus was fab!
DeleteSo you liked the 'bad guy', I remember Catweasel being a favorite and Les Kellett too.
DeletePowerman
ReplyDeleteThe theme from The Banana Splits.
ReplyDeleteThis is a tougher question than I originally thought.
I agree! The point of the theme (as I see it) is both to excite the crowd and to try to interfere with your opponent's head. I'm kind of drawn towards X's version of "Shoot Out The Lights" for how it might have both effects.
DeleteMaybe if it was played at 45 instead of 33-and-a-third?
D in California