Blues. Otis Rush. Double Trouble.

Этот человек значит в блюзе не меньше чем Бадди Гай, 3 Кинга, Альберт Коллинз и другие...
Он стал автором нетленных "стандартов" - ALL YOUR LOVE, DOUBLE TROUBLE, CHEKING ON MY BABY и популяризатором I CAN'T QUIT YOU BABY и LITTLE RED ROOSTER.
Его гитарный стиль легкоузнаваем. Он левша, которому было лень переставить струны и он тянет струны вниз.

Леди энд Джентельмены! Отис Раш!

Otis Rush is maybe the greatest guitar king ever to make Chicago blues. Rush is also known as "Little Otis" to all the big time blues stars in Chicago. Otis Rush is well known for his electrifying voice and for being one of the first baritones to reach popularity in the blues industry. Rush uses his great voice to deliver his songs with plenty of experience and pure emotion.

Otis Rush was born one of seven children in Philadelphia, Mississippi, on April 29, 1934. As a child, he wanted a lot of attention from his mother when he was younger. Rush worked in the fields to help his mother in his younger days. Otis, along with his other brothers and sisters. had to support each other without the help from a father figure.

Rush moved to Chicago in 1948, but he had learned to play the guitar, which he plyed upside down and left-handed. and harmonica as a child in Mississippi. That's when he found out that he could play, create, and write songs for himself. By 1954 he had begun to play the guitar in earnest, inspired first by the rugged Delta blues of Muddy Waters and Howlin' Wolf and then by the recordings of B.B and Albert King. Rush gained enough respect in Chicago blues circles for the composer and bass player Willie Dixon to help him secure a recording contract with Cobra Records in 1956.

Rush signed with Cobra Recordings. He released his first single Can't Quit You Baby and became number nine on the top- ten list. (www.Blueflamecafe.com) Cobra Recording collapsed so Rush had to go elsewhere. For a time he recorded with Chess Records, Duke Records, Atlantic Records, Capitol Records, and Quicksilver Recording Company.

Although Otis Rush has gone through hard times and situations in his lifetime, he still remains one of the greatest blues artists in the United States. He still performs although for a time he had gone into retirement. Otis Rush has to be one of Mississippi's most talented artists.

1934 Otis Rush born in Philadelphia, Mississippi
1948 Otis Rush moved to Chicago.
1954 Rush began playing the guitar.
1956 Otis Rush signed a contract with Cobra Records.
1960 Rush signed with Chess Records.
1961 Rush switched to Duke Recording Label.
1969 Rush received a contract with Cotillion Records.
1970 Rush signed a contract with Capitol Records.
1976 Bullfrog recording label bought Rush's song “Right Place, Wrong Time”
1994 Rush under Quicksilver Records Released the album Ain’t Enough Common’ In.

Otis Rush was born in Philadelphia, Mississippi, on April 29, 1934. A self taught musician, he began playing guitar at the age of 8, although his first instrument was the harmonica. Rush's remarkable vocal ability was evident early on. While still in Mississippi, he sang and sometimes played guitar in church.

Rush moved to Chicago in 1949, in order to find employment. He worked at various jobs by day, from driving a horse drawn coal wagon to working in a factory, and by night he would check out the blues clubs on the south and west sides. The first person he saw performing was Muddy Waters, who he heard on the radio down south. He was so enthralled by Muddy's performance, that he decided on the spot that being a full time musician was for him. After many hours of excruciating practice Otis was ready to hit the clubs. He played his first few gigs as a solo guitarist, but it was not long before he was able to put a band together.

Otis had an immediate impact on his peers in his initial club outings. He pioneered what critics dubbed the "West Side style", which included impassioned soul-tinged vocals, coupled with an intense, yet urbane, style of guitar playing. He often played in the minor key which imbued his songs with an atmosphere of dark and brooding emotional intensity rarely achieved in modern blues. He used falsetto to dramatic effect, and his left handed string bending allowed him to hit notes uniquely his own.

Rush was one of the first musicians to use the electric bass in his band -- until then Chicago bands used either the bass strings on a regular guitar, or the stand up bass usually played by the ubiquitous Willie Dixon. This new sound caught the imagination of both the young and established musicians who would flock to hear him play. Night after night, Otis was setting the standard for a new, more aggressive type of blues, that would influence younger musicians like Luther Allison, Freddie King, and Tyrone Davis.

Thirty years later, Otis Rush is still the standard that young musicians measure themselves against. Having influenced not only his peers in Chicago, but almost every major rock figure including Peter Green, Jeff Beck, and Eric Clapton in England, and Santana, Johnny Winter, Mike Bloomfield and Stevie Ray Vaughan in the U.S., Rush has continued to expand his musical horizons (a fan of both Wes Montgomery and Kenny Burrell, Rush incorporates their riffs into his music) and travels throughout the world. His guitar chops are constantly improving as he tries to recreate the remarkable sounds that he hears in his head, and his vocals still express the essence of what rock critic Robert Palmer calls, "deep blues".

Otis' continued excellence is captured on his first U.S. recording in seven years, called Tops, on Blind Pig Records. Recorded live at the 1985 San Francisco Blues Festival, Tops is Rush's best live album to date. It includes the classics, "Right Place Wrong Time", "Crosscut Saw", and "Keep On Lovin' Me Baby", as well as the original title track, "Tops". Tops has received widespread acclaim, with critics jubiliantly heralding Rush's return to recording.

A living legend, Rush believes that he is destined to keep on making music, in search of that perfect sound. In light of past accomplishments, Otis Rush fans both old and new are in store for the musical experience of a lifetime.

Otis Rush (born April 29, 1934 in Philadelphia, Mississippi) is a blues musician, singer and guitarist.

After moving to Chicago in the early 1950s, Rush made a name for himself playing in clubs on both the South Side and West Side blues scenes. From 1956 to 1959, he recorded for the Cobra label and had hits with "All Your Love I Miss Lovin'" and Willie Dixon's "I Can't Quit You Baby" in 1957. His most famous recording is perhaps "Double Trouble" from the same year.

He recorded several singles on the Chess Records label in the early 1960s and began playing in other cities in the U.S. and Europe. His distinctive guitar style features a slow burning sound, jazz-style arpeggios and long bent notes. With similar qualities to Luther Allison, Magic Sam, Buddy Guy and Albert King, his sound became known as West Side Chicago blues and became an influence on Michael Bloomfield, Eric Clapton, Peter Green and Stevie Ray Vaughan.

Rush is left-handed and, unlike many left-handed guitarists, plays a right-handed instrument upside-down without restringing it; as a result, when he bends a string he has to pull it down rather than push it up. This perhaps contributes to his distinctive sound. Other guitarists who use this method include Jimi Hendrix, Albert King and Dick Dale. He has a wide-ranging, powerful tenor voice. In 1968, the album Mourning in the Morning was released on Atlantic Records and attracted attention. Signed to Mercury Records in 1976, he remained with the label for twenty years. Rush continued to produce quality recordings and perform live throughout the 1980s and 1990s. In 1999 Otis Rush earned a Grammy Award for best traditional blues album for his 1998 release, Any Place I'm Goin'. He suffered a stroke in 2004 but has since recovered.

"Otis Rush 1956-1958: Cobra Recordings": '56 - '58
Cobra -> Jewel -> Paula: PCD01

The famous original Cobra recordings which made Otis known nationally
to the blues world.


Songs: Double Trouble / Jump Sister Bessie / Checking On My Baby /
Sit Down / Love That Woman / My Baby Is A Good 'Un / If You
Were Mine / All Your Love / It Takes Time / Violent Love /
I Can't Quit You Baby / Little Red Rooster / My Love Will
Never Die / Groaning The Blues / Three Times A Fool / She's
A Good 'Un / Keep On Loving Me Baby / I Can't Quit You Baby /
Double Trouble / She's a Good 'Un


------------


"Mourning in the Morning": Early '69; Muscle Shoals, Alabama
Cotillion/Atlantic: 82367

A studio album from the classic Muscle Shoals studio, with a large backing
group including horns, and, among others, Duane Allman as studio guitar (that
was his studio period). Allman always listed Otis as a big inflence - this
chance to play with him must have been a real thrill. Listen on stereo
headphones to figure out who plays which guitar lines.

Overall, though, a so-so album. Quite a few good tracks (e.g. "Gambler's
Blues", an excellent slow blues, "My Old Lady", a faster swingin'blues with
great horn chorus), but somewhat influenced by mainstream commercial
viability.

Backing Personnel:
Aaron Vernell - Tenor Sax
Joe Arnold - Tenor Sax
Ronald Eades - Baritone Sax
Gene "Bowlegs" Miller - Trumpet
Jimmy Johnson - Guitar
Duane Allman - Guitar
Jerry Jemmott - Bass
Barry Beckett - Keyboard
Mark Naftalin - Keyboard
Roger Hawkins - Drums

Songs: Me 2:55 / Working Man 2:25 / You're Killing My Love 3:00 /
Feel So Bad 3:39 / Gambler's Blues 5:39 / Baby, I Love You
3:09 / My Old Lady 2:11 / My Love Will Never Die 4:33 /
Reap What You Sow 4:54 / It Takes Time 3:26 / Can't Wait
No Longer 3:52


------------


"Right Place, Wrong Time": February '71; San Francisco, California
Capitol -> Bullfrog -> Hightone: HCD-8007

Another studio album, originally recorded for Capitol, but unaccountably put
up on the shelf, until acquired and released by Bullfrog.

Backing Personnel:
Doug Kilmer - Bass
John Kahn - Bass
Bob Jones - Drums
Fred Burton - Rhythm Guitar
Mark Naftalin - Piano
Ira Kamin - Organ
John Wilmeth - Trumpet
Ron Stallings - Tenor Sax
Hart McNee - Alto Sax

Songs: Tore Up 3:17 / Right Place, Wrong Time 5:24 / Easy Go 4:41 /
Three Times A Fool 3:11 / Rainy Night In Georgia 3:55 /
Natural Ball 3:30 / I Wonder Why 4:41 / Your Turn To
Cry 3:35 / Lonely Man 2:50 / Take A Look Around 5:40


------------


"Screamin' and Cryin'": November 26, '74;
Black & Blue -> Evidence: ECD 26014

A French studio album, with a more classic blues backing sound, and longer
explorations of songs (3 out of 8 over 7 minutes), as well as a more classic
prominent blues guitar line. The sound quality not what it could be, though.
Made at a period of great personal stress in Otis' life.

Some fairly intense work (e.g. on "It's My Own Fault" and "I Got News For
You", both intense blues, and "Every Day I Have The Blues", a more swinging
blues). Pretty much straight electric Chicago blues, with little commercial
influence.

Backing Personnel:
Jimmy Dawkins - Guitar
Willie Mabon - Piano
James Green - Bass
Bob Plunkett - Drums
Jerome van Jones - Organ, Piano (trk 4)
Sunnyland Slim - Piano (trk 1)

Songs: Looking Back 5:22 / You're Gonna Need Me 7:50 / It's My Own
Fault 7:13 / I Can't Quit You Baby 5:35 / Every Day I Have
The Blues 5:56 / A Beautiful Memory 7:51 / I Got News For
You 4:49 / I Can't Quit You Baby 6:03


------------


"Cold Day in Hell": April 29/May 29 '75;
Delmark: DE 638

Another studio album, again with a classic blues backing band, including a
2-piece horn section. Mostly longer songs, 6 minutes or more, some commercial
influence in a few spots.

Almost uniformly excellent tracks (e.g. smouldering "You're Breaking My
Heart", "Society Woman", "Cold Day in Hell"). Excellent sound quality.

Backing Personnel:
Abb Locke - Tenor Sax
Chuck Smith - Baritone Sax
Big Moose Walker - Piano, Organ
Mighty Joe Young - Guitar
James Green - Bass
Jesse Green - Drums

Songs: Cut You Loose 3:40 / You're Breaking My Heart 8:31 /
Midnight Special 4:52 / Society Woman 6:32 / Mean Old
World 6:26 / All Your Love 6:32 / Cold Day In Hell 6:19 /
Part Time Love 6:06 / You're Breaking My Heart
(alternate) 6:52 / Motoring Along 3:08


------------


"So Many Roads: Live in Concert": July 20/29 '75; Tokyo, Japan
Trio -> Delmark: DE 643

A live album from a Japanese tour.

Backing Personnel:
Jimmy Johnson - Guitar
Sylvester Jones - Bass
Tyrone Centuray - Drums

Songs: Will My Woman Be Home Tonight - Blue Guitar 4:01 / Everyday
I Have The Blues 4:32 / I Can't Quit You, Baby 5:20 /
Crosscut Saw 3:46 / Looking Back - Take A Look Behind 4:24 /
Chitlins Con Carne 4:32 / I've Got News For You 4:54 /
Mean Old World 2:55 / All Your Love - I Miss Loving 4:14 /
So Many Roads 5:26 / Gambler's Blues 6:50 / Three Times
A Fool 4:45

"Live In Europe": October 9, '77; Nancy, France
Isabel -> Evidence: ECD 26034

Another live album, this one from a European tour. A small touring
3-piece rhythm section of rhythm guitar, bass and drums.

Many truly excellent tracks (e.g. excellent slow blues of "You're
Breaking My Heart" / "Feel So Bad" / "Society Woman", as well as some
good faster pieces, like "I'm Tore Up") mixed in with a few less stellar
pieces.

Backing Personnel:
Bob Levis - Rhythm Guitar
Bob Stroger - Bass
Jesse Green - Drums

Songs: Cut You Loose 6:09 / All Your Love 6:59 / You're Breaking
My Heart 8:25 / I Wonder Why 8:43 / Feel So Bad 5:13 /
Society Woman - Love Is Just A Gamble 7:40 / Crosscut
Saw 4:59 / I Can't Quit You Baby 4:55 / I'm Tore Up 5:25 /
Looking Back 5:38


------------


"Lost In The Blues": October 15/16 '77; Stockholm, Sweden
Sonet -> Alligator: ALCD 4797

Another European studio album, originally cut with only his touring
3-piece section of rhythm guitar, bass and drums, and released by Sonet
under the name "Troubles, Troubles". Following Otis' original plan to
add keyboard some day, excellent keyboard work by Lucky Peterson was
added for the re-release by Alligator.

A number of really excellent cuts (e.g."Hold That Train", and a truly
smokin' take of "Little Red Rooster").

Backing Personnel:
Bob Levis - Rhythm Guitar
Bob Stroger - Bass
Jesse Lewis Green - Drums
Lucky Peterson - Organ, Piano

Songs: Hold That Train 6:22 / You've Been An Angel 5:04 / Little
Red Rooster 4:37 / Trouble, Trouble 6:50 / Please Love
Me 4:18 / You Don't Have To Go 4:21 / Got To Be Some Changes
Made 7:46 / You Got Me Running 4:29 / I Miss You So 3:50


------------


"Tops": September 15, '85; San Francisco, California
Blind Pig: BP 73188

A US (San Francisco) live album, with a 6 piece backing band.

Backing Personnel:
Bob Murray - Rhythm Guitar
Jimmy Pugh - Keyboards
Larry Jones - Trumpet
Julien Vaught - Sax
Leonard Gill - Bass
Kelvin Dixon - Drums

Songs: Right Place, Wrong Time 6:12 / Crosscut Saw 4:38 /
Tops 3:55 / Feel So Bad 4:10 / Gambler's Blues 8:58 /
Keep On Lovin' Me Baby 2:54 / I Wonder Why 7:52


------------


"Live In Japan 1986": December 12, '86; Tokyo, Japan
Castle -> Sequel: Sequel 1009-2

Another Japanese live album, this time with a Japanese backing band.

A number of excellent tracks, including "Tops", "Killing Floor", "Right
Place, Wrong Time", and "Gambler's Blues".

Backing Personnel:
Yoichiro Hatta - Guitar
Fusanosuke Kondo - Guitar
Kenji Morita - Bass
Akihiro Okachi - Drums
Charles Shimizu - Piano, Organ
Chikashi Takagi - Tenor Sax
Weeping Harp Senoh - Harmonica

Songs: Introduction - Tops 7:22 / All Your Love - I Miss
Loving 5:48 / Please, Please, Please 4:51 / Killing
Floor 8:43 / Stand By Me 5:36 / Lonely Man - I'm A Lonely
Man 3:30 / Double Trouble 4:11 / Right Place, Wrong
Time 7:19 / Got My Mojo Working 6:30 / Gambler's Blues 10:03


------------


"Ain't Enough Comin' In": '94;

Another studio album, in what will be a hopefully successful attempt to
finally make a serious breakthrough into visibility (although everyone who
really has a clue has revered the man for years). Done with a large
backing band, including several keyboards and a 3-piece horn section ('The
Texacali Horns').

Some of the songs, while first-rate playing, seem to have a slight
"commercial" tinge. Others (e.g. "Somebody Have Mercy", a rocking blues, and
"My Jug and I", a smouldering slow blues) are first-rate; the album is for me
highlighted by a pretty good long take of "As the Years Go Passing By", which
has always been a favourite blues number.

Backing Personnel:
Tony Braunagel - Drums, Percussion
Greg Rzab - Bass
Johnny Lee Schell - Guitar
Joe Sublett - Tenor
Marty Grebb - Baritone
Darrell Leonard - Trumpet
Mick Weaver - Keyboards (trks 1-2,4-5,8-12)
Ian McLagan - Organ, Piano (trks 1-3,6-7)
Bill Payne - Kayboards (trks 3-5,7-12)
John Porter - Guitar (trks 3,5,7,9,11)
Jimmy Powers - Harmonica (trk 8)

Songs: Don't Burn Down the Bridge 4:27 / That Will Never Do 3:22 /
Somebody Have Mercy 3:00 / A Fool For You 3:59 / Homework
3:28 / My Jug and I 5:13 / She's A Good 'Un 5:44 / It's My
Own Fault 5:13 / Ain't Enough Comin' In 5:52 / If I Had Any
Sense, I'd Go Back Home 4:53 / Ain't That Good News 4:14 /
As the Years Go Passing By 7:55


------------


"Live & Awesome": "recent tour of Europe" (as of '96)
Gene's: GEI4131

Another live album, this time from Europe.

Spotty (both from instances of poor work on the sound board, with Otis
complaining audibly about the mix and monitor, as well as places where the
musicians are just confused), but also has some great guitar lines and piano
work (e.g. in "I Got a Woman").


Backing Personnel:
Ken Vangel - Piano
Duke Levine - Guitar
Tim Green - Bass
Julian Vaughn - Drums

Songs: Intro - The Preacher 2:15 / I Got A Woman 5:32 / Gambler's
Blues 9:23 / Feel So Bad 3:58 / Let's Have A Natural
Ball 3:23 / Right Place, Wrong Time 7:22 / Please Love
Me 5:09 / All Your Love 6:03 / Lonely Man 4:03 / Stormy
Monday 6:52 / Cold Day In Hell 8:17

GUITARS
Gibson thinline semis
ES-345, ES-335, ES-355
Epiphone Riviera
Fender Stratocasters

Much in the same way as Albert King and Jimi Hendrix, Otis Rush originally played right handed guitars left handed. Unlike Jimi (but like Albert) Otis strings them as if played by a right handed player thus the bass strings are on the bottom of the neck.

AMPS
For the old recordings Fender Bassmans but now he uses Mesa/Boogie combos

Breaking into the R&B Top Ten his very first time out in 1956 with the startlingly intense slow blues "I Can't Quit You Baby," southpaw guitarist Otis Rush subsequently established himself as one of the premier bluesmen on the Chicago circuit. He remains so today.

Rush is often credited with being one of the architects of the West side guitar style, along with Magic Sam and Buddy Guy. It's a nebulous honor, since Otis Rush played clubs on Chicago's South side just as frequently during the sound's late-'50s incubation period. Nevertheless, his esteemed status as a prime Chicago innovator is eternally assured by the ringing, vibrato-enhanced guitar work that remains his stock-in-trade and a tortured, super-intense vocal delivery that can force the hairs on the back of your neck upwards in silent salute.

If talent alone were the formula for widespread success, Rush would currently be Chicago's leading blues artist. But fate, luck, and the guitarist's own idiosyncrasies have conspired to hold him back on several occasions when opportunity was virtually begging to be accepted.

Rush came to Chicago in 1948, met Muddy Waters, and knew instantly what he wanted to do with the rest of his life. The omnipresent Willie Dixon caught Rush's act and signed him to Eli Toscano's Cobra Records in 1956. The frighteningly intense "I Can't Quit You Baby" was the maiden effort for both artist and label, streaking to number six on Billboard's R&B chart.

His 1956-58 Cobra legacy is a magnificent one, distinguished by the Dixon-produced minor-key masterpieces "Double Trouble" and "My Love Will Never Die," the nails-tough "Three Times a Fool" and "Keep on Loving Me Baby," and the rhumba-rocking classic "All Your Love (I Miss Loving)." Rush apparently dashed off the latter tune in the car en route to Cobra's West Roosevelt Road studios, where he would cut it with the nucleus of Ike Turner's combo.

After Cobra closed up shop, Rush's recording fortunes mostly floundered. He followed Dixon over to Chess in 1960, cutting another classic (the stunning "So Many Roads, So Many Trains") before moving on to Duke (one solitary single, 1962's "Homework"), Vanguard, and Cotillion (there he cut the underrated Mike Bloomfield-Nick Gravenites-produced 1969 album Mourning in the Morning, with yeoman help from the house rhythm section in Muscle Shoals).

Typical of Rush's horrendous luck was the unnerving saga of his Right Place, Wrong Time album. Laid down in 1971 for Capitol Records, the giant label inexplicably took a pass on the project despite its obvious excellence. It took another five years for the set to emerge on the tiny Bullfrog label, blunting Rush's momentum once again (the album is now available on HighTone).

An uneven but worthwhile 1975 set for Delmark, Cold Day in Hell, and a host of solid live albums that mostly sound very similar kept Rush's gilt-edged name in the marketplace to some extent during the 1970s and '80s, a troubling period for the legendary southpaw.

In 1986, he walked out on an expensive session for Rooster Blues (Louis Myers, Lucky Peterson, and Casey Jones were among the assembled sidemen), complaining that his amplifier didn't sound right and thereby scuttling the entire project. Alligator picked up the rights to an album he had done overseas for Sonet originally called Troubles, Troubles. It turned out to be a prophetic title: much to Rush's chagrin, the firm overdubbed keyboardist Lucky Peterson and chopped out some masterful guitar work when it reissued the set as Lost in the Blues in 1991.

Finally, in 1994, the career of this Chicago blues legend began traveling in the right direction. Ain't Enough Comin' In, his first studio album in 16 years, was released on Mercury and ended up topping many blues critics' year-end lists. Produced spotlessly by John Porter with a skin-tight band, Rush roared a set of nothing but covers - but did them all his way, his blistering guitar consistently to the fore.

Once again, a series of personal problems threatened to end Rush's long-overdue return to national prominence before it got off the ground. But he's been in top-notch form in recent years, fronting a tight band that's entirely sympathetic to the guitarist's sizzling approach. Rush signed with the House of Blues' fledgling record label, instantly granting that company a large dose of credibility and setting himself up for another career push. It still may not be too late for Otis Rush to assume his rightful throne as Chicago's blues king.

http://www.blues.ru/bluesmen/Otis_Rush/

В конце пятидесятых – начале шестидесятых годов гитарист Отис Раш (Otis Rush) был одним из основателей Чикагской блюзовой сцены Вест Сайда. Музыка Мадди Уотерса и Хаулин Вулфа, которую обычно имеют в виду, говоря о Чикагском блюзе, была прямым потомком блюза Дельты. В отличие от них, школа Вест Сайда, к которой принадлежали Раш, Magic Сэм и Бадди Гай, акцентировала выразительную гитарную игру и 'городской' звук. Накалённые эмоцией соло Раша, меланхолические аккордовые фразы и тщательно продуманные детали текстуры создали формулу нового стиля.

Несмотря на свой вклад в развитие Чикагского блюза, Раш известен только фанатикам блюза и коллегам-музыкантам по горстке записей, выходивших с большими перерывами. Плохой менеджмент ли этому виной, или просто цепочка неудач, но Рашу не удалось реализовать свой потенциал в записях. Из-за своего плачевного опыта Раш перестал доверять компаниям звукозаписи и старался не связывать себя никакими контрактами. В результате, каталог этого ветерана блюза мал и пополняется крайне редко.

Раш родился и вырос в штате Миссиссипи. Подростком он играл на губной гармошке. Раш – левша, и на гитаре он выучился играть, держа её вниз головой, басовыми струнами книзу. В 1948-м он переехал в Чикаго, и к 1954-му занялся музыкой всерьёз, вдохновлённый встречей с Мадди Уотерсом и пластинками Би Би и Альберта Кинга. К 1956-му году неустанная игра по Чикагским клубам создала ему прочную репутацию, и вездесущий Вилли Диксон помог ему заключить контракт с фирмой Кобра. (Кстати, Magic Сэм тоже записывался для Кобры, а Гай – для её дочерней компании Artistic.) Первый сингл Раша, I Can’t Quit You, Baby, написанный специально для него Диксоном, был также первым синглом, выпущенным компанией и самым большим её успехом – он добрался до девятого места в ритм-энд-блюзовых чартах. За два года существования компании Раш записал целую серию шедевров, определивших ‘West Side sound:' минорные блюзы Double Trouble и My Love Will Never Die, рок-румбу All Your Love (I Miss Loving) и другие. Все они известны любителям блюза: I Can’t Quit You Baby – по первому альбому Лед Зеппелин, All Your Love – по альбому Bluesbreakers with Eric Clapton или In The Beginning Стиви Рэя Воэна, а Double Trouble – по версиям Клэптона, Пола Баттерфилда или Майала.

В то время, когда английские блюзоманы гонялись за синглами Раша, заказывая их по почте из Чикаго или перекупая у американских моряков в портах, сам Раш переживал тяжёлые времена. После банкротства Кобры в 1960-м году Раш заключил контракт со знаменитыми Chess. За два года их сотрудничества Chess выпустили всего один сингл: классическую So Many Roads, So Many Trains. Невнимание компании заставило его перейти на Duke Records, но и там ему повезло не больше: за три года снова всего один сингл, под названием Homework. В середине 60-х пять песен Раша были включены на сборник Chicago/The Blues/Today!, благодаря которому он стал известен среди белых слушателей, начавших открывать для себя блюз. Одним из самых энергичных поклонников Раша стал Майк Блумфилд, гитарист Блюзовой Группы Пола Баттерфилда (Paul Butterfield Blues Band). Блумфилд убедил своего менеджера (который также представлял Дженис Джоплин и Боба Дилана) заняться делами Раша, а вдобавок устроил ему контракт с фирмой Cotillion. В 1969-м Раш записал альбом, Mourning In The Morning, спродюссированный неутомимым Блумфилдом. Попытка Блумфилда подать музыку Раша как блюз-рок провалилась: альбом вышел неудачный и успеха ни у критиков, ни у слушателей не имел. В то же время вышел старый материал Раша: Chess обнаружили в архивах ещё четыре песни, записанные на той же сессии, что и So Many Roads и выпустили альбом-компиляцию Door To Door, на котором также были песни Альберта Кинга. Blue Horizon выпустил записи Раша эпохи Кобры.

Вновь сменив компанию на Capitol, в 1971-м году Раш записал ещё один диск, пожалуй, самый лучший из всех, с пророческим названием Right Place, Wrong Time. По необъяснимым причинам Capitol предпочёл его не издавать, и плёнки пролежали в архивах до 1975-го, когда их купил и, наконец, выпустил маленький лейбл Bullfrog. К тому времени интерес американцев к блюзу уже угас, и альбом продавался плохо.

Проблемы продолжали преследовать гитариста. Неровный, но в целом неплохой диск 75-го года Cold Day In Hell и несколько концертных альбомов помогли Рашу удерживаться на сцене следующее десятилетие. В 1986-м Раш сорвал дорогостоящую сессию для лейбла Rooster Blues, покинув студию потому что его усилитель плохо звучал. Даже, казалось бы, благополучные проекты заканчивались неприятностями: Европейская запись под названием Troubles, Troubles была куплена американским лейблом Alligator и перемикширована; к возмущению Раша, продюсеры добавили клавишника, а изрядную часть гитарной игры вырезали. Результат вышел в 91-м под названием Lost In The Blues.

Наконец, к 1994-му году дела музыканта пошли на лад: Ain’t Enough Comin’ In, первый студийный альбом за 16 лет, вышел на Mercury. Безупречная работа продюсера, группа в лучшей форме и искромётная гитарная игра сделали его блюзовым диском года в опросах многих критиков.

Вновь, ряд личных проблем поставил под угрозу возвращение музыканта. Но в последнее время он в хорошей форме и записывает очередной альбом. Может быть, Раш ещё займёт давно заслуженное место короля чикагского блюза.

Очень люблю.Жаль,редко записывается.

Супер. Кайфую от его концерта в Монтрё!

Я тоже!

Ну и то, что Пейдж ставит его в числе первых, кто оказал влияние на его стиль, тоже о многом говорит. Насколько помню, Пейдж говорил, что от игры Оттиса у него "мурашки по коже..."

Otis Rush Live

2SergeK:

>Otis Rush Live
>


Именно про этот документари я Вам говорил в реале, в натуре.

2john lee hooker:
Угу. Это American Folk Blues Fest.

Добавим еще один СД в дискографию Отиса...

OTIS RUSH
All Your Love I Miss Loving
Delmark DE-781

Please Love Me
You're Breaking My Heart
All Your Love (I Miss Loving)
Will My Woman Be Home Tonight
Mean Old World
Woke Up This Morning
High Society
It Takes Time
Gambler's Blues
Feel So Bad
Sweet Little Angel
Motoring Along

2SergeK На чессовском сборнике Chess Blues Guitar присутствует I'm Satisfied с Вилли Диксоном на басу... А у себя, к стыду своему, нашел только вот это...

2zhukoff:
>А у себя, к стыду своему, нашел только вот это...
Да. Стыдно. Тем более, что это бутлег не полный! :)))

Disc 1:
1) Crossroads
2) White Room
3) I Shot the Sheriff
4) Wanna Make Love to You
5) Run
6) Miss You
7) Same Old Blues
8) Tearing Us Apart
9) Holy Mother


Disc 2:
1) Behind the Mask
2) Badge
3) Let it Rain
4) In the Air Tonight
5) Cocaine
6) Layla
7) Sunshine of Your Love
8) Further On Up the Road
9) Ramblin' On My Mind / Have You Ever Loved a Woman (with Robert Cray)

Disc 3:

(Otis Rush Set)

1) I Don't Know What Love Is
2) Let's Have a Magic Ball
3) Right Place, Wrong Time
4) Mean Old World
5) You Don't Love Me
6) Crosscut Saw (with Eric Clapton)
7) Double Trouble (with Eric Clapton)
8) All Your Love (with Eric Clapton)
9) Every Day I Have the Blues (with Eric Clapton and Luther Allison)
10) Caledonia (with Robert Cray and Luther Allison)
11) My Baby Wrote Me a Letter

Или сбегать на горбушку за свежей ДВДой!

скрин с нее чуть выше!

Otis Rush - Will My Woman Be Home Tonight


Otis Rush - All Your Love (I Miss Loving)

Подскажите, пожалуйста, выходила ли part 2?

Где мне найти версию Ай кент куит ю бэйби что звучала в фильме Devil's rejects?

Otis Rush - "So Many Roads"


Otis Rush "Double Trouble" Antone's 1985

MUSIC

http://musicmp3.spb.ru/mp3/11/otis_rush.htm

Otis Rush является последнее время моим любимцем.
Для меня Double Trouble и So Many Roads запись с Альбертом Кингом - шедевры.
Давно обратил внимание, что у него гитара наоборот.

Blues artist Otis Rush will be honored Thursday at 10 a.m. with a marker on the Mississippi Blues Trail.

"Otis deserves to be recognized in this manner for his tremendous contributions to our musical heritage, as his influence on modern-day rock and roll can still be heard through the melodies of many legendary bands and artists, including Led Zepellin and Eric Clapton," Gov. Haley Barbour expressed in a statement.

A ceremony to unveil the marker will be held at the newly restored train depot at 256 West Beacon St. in downtown Philadelphia.

December 4, 2007

http://www.clarionledger.com/apps/pbcs.dll/article?AID=200771204002