Living the Blues [UK]

Performer: Canned Heat
Artist: John Mayall; Dr. John; Joe Sample; John Fahey
Engineer: Richard Moore
Producer: Canned Heat; Skip Taylor; Canned Heat; Skip Taylor
Distributor: E1 Distribution (USA)

Notes: Personnel includes: Canned Heat, John Mayall, Dr. John, Joe Sample, John Fahey. Adapter: Canned Heat. Canned Heat: Bob "The Bear" Hite (vocals); Alan Wilson (guitar, harmonica, Jew's harp); Henry Vestine (guitar); Larry Taylor (bass guitar, congas); Adolfo de la Parra (drums). Personnel: Owl (guitar, harp); John Fahey, Sunflower, Charley Patton (guitar); Henry "Son" Sims (violin); Joe Sample, John Mayall (piano); Fito P�ez (drums); Mole (congas). Additional personnel: John Fahey, John Mayall. Liner Note Author: John Tobler. Recording information: I.D. Sound Recorders, Hollywood, CA; Kaleidoscope, Hollywood, CA. Photographers: Jima Abbott; Peter Bernuth. Arranger: Canned Heat. Canned Heat's third collection, Living the Blues [Akarma] (1968), was likewise their first double-LP, heralding the rural hippie anthem "Going Up the Country" as well as the nearly three-quarter-hour "Refried Boogie." However, rather than distracting their audience, it became one of rock & roll's first two-LP sets to make a substantial showing on the charts, reaching the Top 20. Not surprising as the rest of the album -- essentially all of disc one -- is as solid (if not arguably more so) than their previous long player Boogie With Canned Heat (1968). Featured is the "classic" Heat lineup of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Adolfo "Fido" de la Parra (drums), and Bob "The Bear" Hite (vocals), who unleash another batch of strong originals and engaging overhauls of a few blues staples -- including the solid cover of Charley Patton's "Pony Blues" that commences the effort. Right out of the gate, the formidable team of Wilson and Vestine explore their musical passions with a focused drive that would significantly diminish in the years and on the records to follow. One of the primary factors in the package's commercial success was their update of Henry Thomas' "Going Down South," which they turned into the breezy "Goin' Up the Country." The song not only became one of their biggest hits, it was also used in the Woodstock (1970) documentary and a live version -- from the actual concert -- was presented on the soundtrack. Canned Heat are joined by one of their contemporaries as Brit bluesman John Mayall contributes to the compact reading of Jimmy Rogers'"Walking By Myself," not on guitar, but rather piano. He also tosses around the '88s during the "Bear Wires" movement of the side-long "Parthenogenesis" suite. While on the subject of guest keyboardists, Mac Rebbenack (aka Dr. John) joins in on the groovy ode to "Boogie Music." "One Kind Favour" (aka "See That My Grave Is Kept Clean") drives hard with Hite belting out behind the ensemble's propelling rhythms. Aside from the slightly indulgent "Refried Boogie," Living the Blues [Akarma] (1968) stands as a testament to Canned Heat's prowess as modernizers of the blues and recommended as one of the most cohesive works from this incarnation. ~ Lindsay Planer Some have dismissed Canned Heat's third album Living the Blues (1968), primarily owing to the nearly three-quarter-hour long "Refried Boogie" jam that inhabits the second half of the effort. However, that did not stop it from scoring in the Top 20, which was not bad for a double LP. One obvious reason for its accomplishments is that the remainder of the title continues in the same solid vein as their previous LP, Boogie With Canned Heat (1968), issued merely a few months earlier. The quintet of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Aldolfo "Fido" Dela Parra (drums), and Bob "The Bear" Hite (vocals) return with the same aggressive blend of amplified rock with rhythm and blues. They also churn out some impressive self-penned tunes, as well as unique derivations of tunes, such as their interpretation of Charley Patton's "Pony Blues." Immediately the inspired interplay between Wilson and Vestine proves as successful a combination here as it had on the band's prior outings. The organic and lighter "Goin' Up the Country" became the Heat's second major single, and is arguably best-remembered for its prominence in the film Woodstock (1970) and its subsequent triple-LP soundtrack. Expanding beyond their own formidable instrumental prowess, British blues guitarist John Mayall sits in -- on piano no less -- for a short yet effective rendition of Jimmie Rodgers' "Walking by Myself." Augmenting the combo on the original "Boogie Music" is another rising ivory-tickler known to many as the "Gris-gris man," and still to others as Mac Rebennack. However, it's Dr. John under which the Creole-based pianist garnered the most attention. "One Kind Favor" [aka "See That My Grave Is Kept Clean"] is another standard that is given a decidedly modern workout. The sidelong, nine-movement epic "Parthenogenesis" is an experimental suite that allows each band member copious room to move. Among the more interesting sections include the respective sonic trademark of guitarist John Fahey, who backs up Wilson's Jew's harp twangfest on "Nebulosity," as well as the return of Mayall on "Bear Wires," the latter being a sly play on the title of Mayall's concurrent platter, Bare Wires (1968). ~ Lindsay Planer

One of the premier blues bands of the 1960s, Canned Heat's boogie-tinged take on the style reached a wide audience following its appearance at Woodstock. The band grew more popular after being prominently featured in the subsequent WOODSTOCK documentary film and on the companion album. Although they never achieved superstar status, Canned Heat's influence can be heard in a wide variety of bands--from ZZ Top to Phish--who place a shuffling, bluesy groove front and center.

Click Here for Shipping Options and Policies

Shipping or Dimension weight in pounds: 0.25