Otis Rush: 1956-1958 : 34 results priced between £1.00 and £25.00

Details The great Chicago bluesman Willie Dixon knew raw talent when he saw it, and he saw it in the 20-year-old southpaw guitarist from Mississippi, Otis Rush. Thanks to Dixon, Rush was soon cutting singles for the Chicago-based Cobra Records, and in 1956 his first single, “I Can’t Quit You Baby”, shot to number 6 on the R&B charts. Over the next two years Rush released a total of eight singles for Cobra (all produced by Dixon), including masterpieces like “Double Trouble” (featuring Ike Turner...

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Otis Rush - Cold Day in Hell

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Traditional Contemporary art print, poster (42 x 50 cm)

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My Baby's A Good'Un b/w All Your Love (I Miss Loving)

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Otis up-dates re-creates `keep on lovin' me baby' with more twang Reversed labels on all copies

This recording session was not released until five years after it was done. One can imagine the tapes practically smouldering in their cases, the music is so hot. Sorry, there is nothing "wrong" about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will...

COBRA 5030 - OTIS RUSH - KEEP ON LOVING ME BABY/ DOUBLE TROUBLE

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Hot Rockin' Girls Female Rock 'n' Roll 1956–1958 CD 1950s female Rock 'n' Roll is Still relatively rare on CD, and this collection brings together some of the most innovative female rockers of the era. Everything on this collection rocks, no ballads, no mid-tempos, just great Rock 'n' Roll and Rockabilly classics from the biggest female artists of the genre.Featured artists: Janis Martin – Brenda Lee – Barbara Pittman – The Miller Sisters – Jo Anne Campbell – Wanda Jackson – Laura Lee Perkins – Patsy...

Thanks to Be-Bop-a-Lula, Gene Vincent and his group The Blue Caps became rock’s champions. Their first recordings featuring the dazzling guitarist Cliff Gallup can be found here in a jumping blues, rock ‘n’ roll and hillbilly anthology which communicates all their incomparable energy and magic. These raw, uncompromising titles represent the very essence of pure rockabilly, the genre they largely contributed to create.

TRACKS: The Hoffnung Music Festival Concert (13-Nov-56):- A Grand Grand Overture / Concerto for Hose Pipe and Strings / Concerto popolare / 'Surprise' Symphony / Speech by Gerard Hoffnung / Mazurka Number 47 in A minor / Lochinvar / Variations on 'Anne Laurie'. The Hoffnung Interplanetary Music Festival (21&22-Nov-58):- A Hoffnung Festival Overture / Metamorphosis on a Bed Tome Theme / Sugar Plums / The Famous Tay Whale / Concerto for Conductor and Orchestra / Punkt Contrapunkt / The United Nations...

“Elvis had a good sense of timing and rhythm. He didn't know a whole lotta chords, but those he knew, he really could use ‘em. And he'd play a little bass, a little drums… He had rhythm in his voice, he just had a natural thing about that. He could hear a song, and he knew what he could do with that song. And nobody else could do it. They're still imitating him today but they just can't do it. They just don't have whatever it is that Elvis had.” – Scotty Moore. Information:

12. Every Day I Have The Blues - Rush, Otis & Luther Allison/Eric Clapton

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