Casey Jones - Still Kickin'

Album: Still Kickin'
Size: 73,1 MB
Time: 31:37
File: MP3 @ 320K/s
Released: 1983
Styles: Soul/Blues mix
Art: LP Front & back

1. Hot In The Bottom, Part 1 (4:27)
2. Happy Home (3:41)
3. I Got You Baby (4:06)
4. Givin' It Up (4:22)
5. Good Golly Miss Molly/Long Tall Sally (4:29)
6. Bring The Sunshine In (2:44)
7. Back Trackin' (3:29)
8. Hot In The Bottom, Part 2 (4:16)

Long recognized as one of the Chicago circuit's premier drummers, charismatic Casey Jones has moved out in front of his band over the last decade instead of hiding behind his kit. Casey discovered that beating his way through the world was fun while drilling with his high school marching band back in Greenville. He moved to Chicago in 1956. Before the end of the year, he was drumming professionally with an outfit called Otis Luke & the Rhythm Bombers (for a whopping five bucks a night). One auspicious 1959 night, Jones was forced to sing live for the first time when the pianist leading his band was tossed in jail. He found screaming like Little Richard was pretty enjoyable too.

Early '60s session work behind Earl Hooker, A.C. Reed, McKinley Mitchell, and Muddy Waters (1962's You Need Love) kept Jones busy, as did playing on the South and West sides with the likes of Otis Rush and Freddy King. His profile rose markedly in 1978 when he slid into the drum chair with Albert Collins's hand-picked combo, the Icebreakers. His impeccable timekeeping powered the band for six-and-a-half years, and he played on Collins's first six Alligator albums (notably Ice Pickin' and the '85 summit meeting Showdown! with Robert Cray and Johnny Copeland).

Casey Jones has been holding down Sunday nights at Chicago's popular Kingston Mines nightclub for nearly a decade - a period that's seen his own discography grow steadily. 1987's Solid Blue for Rooster Blues preceded the formation of his own label, Airwax Records (source of his last few CDs, including 1993's The Crowd Pleaser and [I-94] On My Way to Chicago in 1995). Biography by Bill Dahl, AllMusic

(For personnel details, see artwork included.)

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Casey Jones - The Crowd Pleaser

Album: The Crowd Pleaser
Size: 87,6 MB
Time: 37:47
File: MP3 @ 320K/s
Released: 1993
Styles: Blues
Art: Front, inside, tray

1. We Are Gonna Have A (Party Tonight) (3:58)
2. I Got Troubles (3:58)
3. Your Love (4:05)
4. Lucy Mae (4:10)
5. Mr. Blues (4:08)
6. Down And Under (4:55)
7. Right Mood (4:04)
8. I Am A Hog For Ya (3:59)
9. Tribute To The Boogie Men (4:26)

Long recognized as one of the Chicago circuit's premier drummers, charismatic Casey Jones has moved out in front of his band over the last decade instead of hiding behind his kit. Casey discovered that beating his way through the world was fun while drilling with his high school marching band back in Greenville. He moved to Chicago in 1956. Before the end of the year, he was drumming professionally with an outfit called Otis Luke & the Rhythm Bombers (for a whopping five bucks a night). One auspicious 1959 night, Jones was forced to sing live for the first time when the pianist leading his band was tossed in jail. He found screaming like Little Richard was pretty enjoyable too.

Early '60s session work behind Earl Hooker, A.C. Reed, McKinley Mitchell, and Muddy Waters (1962's "You Need Love") kept Jones busy, as did playing on the South and West sides with the likes of Otis Rush and Freddy King. His profile rose markedly in 1978 when he slid into the drum chair with Albert Collins's hand-picked combo, the Icebreakers. His impeccable timekeeping powered the band for six-and-a-half years, and he played on Collins's first six Alligator albums (notably Ice Pickin' and the '85 summit meeting Showdown! with Robert Cray and Johnny Copeland).

Casey Jones has been holding down Sunday nights at Chicago's popular Kingston Mines nightclub for nearly a decade - a period that's seen his own discography grow steadily. 1987's Solid Blue for Rooster Blues preceded the formation of his own label, Airwax Records (source of his last few CDs, including 1993's The Crowd Pleaser and [I-94] On My Way to Chicago in 1995). /Biography by Bill Dahl, AllMusic

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Casey Jones - Solid Blue

Album: Solid Blue
Size: 74,0 MB
Time: 32:02
File: MP3 @ 320K/s
Released: 1987
Styles: Blues
Art: LP front & back

1. (Tribute To The) Boogie Men (4:27)
2. You Put The Whammy On Me (4:02)
3. Mr. Blues (4:08)
4. The Big Cities Shuffle (4:35)
5. Going Up And Down (3:38)
6. News Is Bad (4:43)
7. I Am A Hog For Ya (4:00)
8. Hip Hip Hooray (2:29)

One of the Chicago drummer's best solo outings, still not yet available on CD. Eight originals, all of them well-done (especially the chunky "Mr. Blues" and a rocking "Hip Hip Hooray"). Jones's vocals are enthusiastic and his backing is expert - sidemen include harpist Billy Branch, guitarist Maurice Vaughn, and bassist Johnny B. Gayden (the latter Jones's former cohort in Albert Collins's band, the Icebreakers). /Bill Dahl, AllMusic

(For personnel details, see artwork included.)

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Casey Jones - (I-94) On My Way To Chicago

Size: 87,6 MB
Time: 37:25
File: MP3 @ 320K/s
Released: 1995
Styles: Chicago Blues
Art: Front

01. (I-94) On My Way To Chicago (Part 1) (4:28)
02. Down Home Woman (4:46)
03. It Ain't Nothing But The Blues (4:02)
04. Ain't That Love (5:12)
05. She Treats Me Right (3:19)
06. I Know I Got A Good Woman (3:49)
07. Just Me And My Whiskey (3:52)
08. Sugar Mama (4:01)
09. (I-94) On My Way To Chicago (Part 2) (3:52)

As good a place to begin your Casey Jones collection as any, since his vocals remain strong and his songwriting is as pleasing as ever. The title cut, "I Know I Got a Good Woman," and the sinuous "She Treats Me Right" all make highly favorable impressions. ~Review by Bill Dahl

Long recognized as one of the Chicago circuit's premier drummers, charismatic Casey Jones has moved out in front of his band over the last decade instead of hiding behind his kit. Casey discovered that beating his way through the world was fun while drilling with his high school marching band back in Greenville. He moved to Chicago in 1956. Before the end of the year, he was drumming professionally with an outfit called Otis Luke & the Rhythm Bombers (for a whopping five bucks a night). One auspicious 1959 night, Jones was forced to sing live for the first time when the pianist leading his band was tossed in jail. He found screaming like Little Richard was pretty enjoyable too. Early '60s session work behind Earl Hooker, A.C. Reed, McKinley Mitchell, and Muddy Waters (1962's "You Need Love") kept Jones busy, as did playing on the South and West sides with the likes of Otis Rush and Freddy King. His profile rose markedly in 1978 when he slid into the drum chair with Albert Collins's hand-picked combo, the Icebreakers. His impeccable timekeeping powered the band for six-and-a-half years, and he played on Collins's first six Alligator albums (notably Ice Pickin' and the '85 summit meeting Showdown! with Robert Cray and Johnny Copeland).

Casey Jones has been holding down Sunday nights at Chicago's popular Kingston Mines nightclub for nearly a decade -- a period that's seen his own discography grow steadily. 1987's Solid Blue for Rooster Blues preceded the formation of his own label, Airwax Records (source of his last few CDs, including 1993's The Crowd Pleaser and [I-94] On My Way to Chicago in 1995). ~Biography by Bill Dahl

(I-94) On My Way To Chicago

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Melvin TAYLOR - Plays The Blues For You / Blues On The Run

A fleet-fingered guitarist with a technique that encompasses elements of blues, R'n'B and jazz, Melvin Taylor led his own group, the Transistors, at the age of 15. A stint with The Legendary Blues Band brought him to Europe in 1981 and he made his recordings debut in following year. This and another French-recorded album were issued in the US a decade later, forming the basis of a recording cereer notable for its eclecticism and the speed and clarity of his guitar playing.

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Album: PLAYS THE BLUES FOR YOU
Styles: Modern Electric Chicago Blues
Recorded: 1984
Released: 1987
Bitrate: 320k/s
Size: 128.24 MB
Time: 55:53
Art: Front & Tray (Isabel)

1. Talking To Anna-Mae Pt.1 (4:11)
2. TV Mama (3:14)
3. I'll Play The Blues For You (5:16)
4. Born To Loose (2:59)
5. Tribute To Wess (3:25)
6. Cadillac Assembly Line (5:17)
7. Voodoo Daddy (6:29)
8. Talking To Anna-Mae Pt.2 (4:10)
9. Groovin' In Paris (3:16)
10. Kinda Easy Like (5:28)
11. Don't Answer The Door (7:07)
12. Ridin' (5:01)

Personnel: Melvin TAYLOR - Guitar, Vocals
Lucky Peterson - Organ, Piano, Vocals on tr.11
Titus Williams - Bass
Ray 'Killer' Allison - Drums

Note: Guitarist Melvin Taylor's fluid, smartly constructed solos and understated yet winning vocals are surprises on this 1984 twelve-track set recorded for Isabel and recently reissued by Evidence on CD. Taylor is not a fancy or arresting singer but succeeds through his simple, effective delivery of lyrics, slight inflections, and vocal nuances. His guitar work is impressive, with skittering riffs, shifting runs, and dashing solos. Organist/pianist Lucky Peterson is an excellent second soloist, adding cute background phrases at times, then stepping forward and challenging or buttressing Taylor's playing with his own dazzling lines.

                                                          Plays The Blues For You
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Album: BLUES ON THE RUN
Styles: Modern Electric Chicago Blues,
Recorded: 1982
Released: 1994
Bitrate: 320k/s
Size: 102.47 MB
Time: 43:48
Art: Full

1. Travelin' Man - 6:23
2. Lowdown Dirty Shame - 7:30
3. Escape - 6:55
4. Cold, Cold Feeling - 4:41
5. Just Like A Woman - 8:02
6. Chitlins Con Carne - 10:04

Personnel: Melvin TAYLOR - Lead Guitar, Vocals
Johnny Dollar - Rhythm Guitar;
Big Moose Walker - Piano
Willie Love - Bass
Casey Jones - Drums

Notes: With this album, recorded in Chicago originally for the French label Isabel, Taylor sprang fully formed from hiss shell. His effortless extended improvisations confine a 43-minute programme to just six tracks, the longest a ten-minute exploration of Kenny Burrell's 'Chitlins Con Carne'. Others sources are Albert King, T-Bone Walker and Louis Jordan, with the artist's sole contribution a seven-minute instrumental 'Escape'. Although his musicians are given little to do except keep up, they do so willingly, with an occasional solo from Walker.

Taylor is a weak vocalist here but verses are merely bookends for his guitar solos, in which he displays unflagging invention. But for all their dexterity, these profligate solos lack character and dynamic contrast, numbing the ear to whatever fleeting emotion may be present.

                                                             Blues On The Run
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