#Willie Dixon

[undergroundrockpress]

Willie Dixon, Big Joe Williams and Memphis Slim on 46th Street in New York City, NY in 1961.

Photo by David Gahr.

[cosmonautroger]

Willie Dixon, 1966

[musickickztoo]

Willie Dixon  *July 1, 1915 

[sonicandvisualsurprises]

1965

This is the B-side of "Ace Of Spades", a cover of the Charles Clark and Willie Dixon Band track first realeased in 1958. The Milkshakes, amongst many other bands/singers, also covered it in 1984. They drew on classic rock 'n' roll and blues, blending the past with the raw energy of the 80's garage punk scene.

[blackros78]

Muddy Waters and Willie Dixon

[coulisses-onirisme]

Willie Dixon- You Need Love

[plus-low-overthrow]

Nancy Wilson - My Babe (Capitol / EMI)

Classic Willie Dixon cut, 1966

[ifelllikeastar]

Robert Plant used to hide behind the curtains at home and try to be like Elvis. There was a certain ambience between the curtains and the French windows, there was a certain sound there for a ten-year-old.

In his teens Robert left King Edward VI Grammar School for Boys in Stourbridge. He had a strong passion for the blues, mainly through his admiration for Willie Dixon, Robert Johnson and early renditions of songs in this genre. He sang in a number of bands, and he idolized rock and roll and blues music artists such as Elvis Presley, Muddy Waters, and Sonny Boy Williamson.

[citizenscreen]

Robbie Robertson, Martin Scorsese, Gil Evans and Willie Dixon at a recording session for the soundtrack to THE FOLOR OF MONEY in 1986.

[krispyweiss]

Flashback on 60: Grateful Dead - Dick’s Picks Volume 21 (2001)

Editor’s note: The year 2025 marks the 60th anniversary of the Grateful Dead’s birth. This is the first Flashback on 60, a periodic feature in which Sound Bites revisits the band’s career.

Jerry Garcia was feeling very laid back when the Grateful Dead pulled into Virginia’s Richmond Coliseum Nov. 1, 1985, toward the end of its 20 Years So Far celebration.

His bandmates, too, were engaged in, and feeling the effects of, various celebratory enhancements, making for an inspired, sometimes sloppy, but always tightrope-without-a-net exciting, gig. An instant all-timer and long a Dead Head favorite, the show got the official-release treatment in 2001 as Dick’s Picks Volume 21 and 40 years after its fortuitous occurrence, the magic of this Grateful Dead concert continues to reverberate through the cosmos.

What transpired that night was a rare example of drugs doing the music more good than ill, though subsequent years would prove that not a wise formula for inspiration.

Opening with a ramshackle “Dancing in the Streets,” its original arrangement resurrected for this anniversary year, the Dead plowed through a relatively standard first set, with Garcia opting for “Cold Rain and Snow,” “Stagger Lee,” “Brown-Eyed Women,” et. al, while Bob Weir sang the blues (“Little Red Rooster”) and donned his cowboy hat on “Me and My Uncle” -> “Big River” and “Jack Straw.”

It’s solid and crackles as ’85 often did. But goddam, set No. 2 was an explosion despite Garcia wearing his softened heart on his red T-shirt sleeve with four ballads among his five selections, the lone rocker being the unfairly maligned “Keep Your Day Job” in the encore slot.

Following “Samson and Delilah,” Garcia dials things down on a tender, lilting “High Time.” Still feeling whatever he was feeling, he takes the band directly into “He’s Gone,” and its steal your face … and … smile, smile, smile … refrains elicit the expected roars from the audience before - as often occurred in ’85 - Weir follows with “Spoonful.”

“Comes a Time” - Garcia ballad No. 3 - is particularly weird as the final solo enters the stratosphere and seems headed for “Space” before coming back to Earth. A stellar example of making something of a potential train wreck.

Weir divides “Lost Sailor” and “Saint of Circumstance” with “Drums” and “Space” and the following “Gimme Some Lovin’,” an atonal duet between Phil Lesh and Brent Mydland, is the previously avoided train wreck. But then Garcia issues forth a shimmering rendition of “She Belongs to Me” - ballad No. 4 - and the Grateful Dead sound like purveyors of perfection. That is until a rickety “Gloria,” in which Weir messes with his bandmates, stopping the spelling of the titular name multiple times amid heaping helpings of sloppy shenanigans and sonic chaos.

In the end, 11/1/85, is licorice for licorice lovers. It does not represent the Dead at their best. It does, however, represent the Dead at their riskiest, Garcia at his most vulnerable and shows the chances - and the chemicals - taken adding more to the music than they subtracted.

It’s an adventure worth taking and one of Sound Bites’ favorites despite - more likely, because of - its flaws.

The album also includes four tracks from Sept. 2, 1980, in Rochester, N.Y., the most interesting being “Space” -> “Aiko Aiko” both for its rarity and for the latter having its loping, slow-moving feet still planted in the Godchaux era at the beginning of the Mydland years, when “Aiko” morphed into a stomper.

1/12/25

[brownskinsugarplum76]

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Robert is fangirling somewhere... 😁

[undergroundrockpress]

1/ Danny Kirwan & John McVie of Fleetwood Mac pictured in the Chess Chicago studios during the Blues Jam at Chess session (1969). 2/ Peter Green and Mister Willie Dixon. Photos : Jeff Lowenthal.

[jazzandother-blog]

"The blues are true facts of life expressed in words and song; inspiration, feeling and understanding".

Willie Dixon (1 July 1915-29 January 1992)

https://youtu.be/Urw0IT2KiNY?si=0bA35nU2QfwT9Wkm

“El blues son verdaderos hechos de la vida expresada en palabras y canciones; la inspiración, el sentimiento y la comprensión”.

Willie Dixon (1 de julio de 1915-29 de enero de 1992)

Fuente: Pasión por el Jazz y Blues.

[musickickztoo]

Willie Dixon  *July 1, 1915 

[blackros78]

Willie Dixon

[coulisses-onirisme]

Led Zeppelin Willie Dixon John Lee Hooker Muddy Waters