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Chris Rea: Blue Guitars - CD4 Electric Memphis Blues

 A l b u m   D e t a i l s


Label: Jazzee Blue Records
Released: 2005.10.17
Time:
 59:45
Category: Blues
Producer(s): Chris Rea, Andy Wilman
Rating:
Media type: CD
Web address: www.chrisrea.com
Appears with:
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Electric Guitar (Ch.Rea) - 4.42
[2] Electric Memphis Blues (Ch.Rea) - 4.15
[3] All Night Long (Ch.Rea) - 4.11
[4] Born Bad (Ch.Rea) - 3.46
[5] Let's Start Again (Ch.Rea) - 3.52
[6] What I'm Looking For (Ch.Rea) - 4.26
[7] Rules Of Love (Ch.Rea) - 3.12
[8] What You Done To Me (Ch.Rea) - 3.28
[9] Hobo Love Blues (Ch.Rea) - 3.38
[10] Pass Me By (Ch.Rea) - 3.06
[11] The Soul Of My Father's Shadow (Ch.Rea) - 3.52
[12] My Blue World Says Hello (Ch.Rea) - 4.06

 A r t i s t s ,   P e r s o n n e l


Chris Rea - Electric Guitar, Piano, Harmonica, Dobro, Mandolin, Banjo, Slide Guitar, Bass, Calimba, Balafon, Vibraphone, Hammond Organ, Percussion, Drums, Producer, Paintings

Robert Ahwai - Guitar
Sylvin Marc - Bass
Gerry O'Connor - Banjo
Ed Hession - Accordion
Martin Ditcham - Drums
Richard Williams - Narrator

Andy Wilman - Producer
John Knowles - Executive Producer
Edward Mcdonald - Recording Engineer
Douglas Dreger - Mixing
Aiden Farrell - Editing
Chris Rodmell - Editing
Robert Payton - Director
Janina Stamps - Production Coordination
Jon Tricklebank - Art Direction, Design
Mark Edwards - Liner Notes
Stuart Epps - Photography

 C o m m e n t s ,   N o t e s


Blue Guitars is the twenty-first studio album by English singer-songwriter Chris Rea, released on October 14, 2005. It's the Blues album consisting of eleven CDs, one DVD and a full colour book, including paintings by the artist, liner notes and song lyrics. The album is an ambitious project with the 137 songs recorded over the course of 1½ years with a work schedule - according to Chris Rea himself - of twelve hours a day, seven days a week. Initially the project was inspired by Bill Wyman's "Blues Odyssey" and can be called an "odyssey" in its own right, for depicting a journey through the various epochs of Blues Music, starting at its African origins and finishing with modern-time Blues from the 60s and 70s. Subsequently the eleven CDs are titled the following: "Beginnings", "Country Blues", "Louisiana & New Orleans", "Electric Memphis Blues", "Texas Blues", "Chicago Blues", "Blues Ballads", "Gospel Soul Blues & Motown", "Celtic & Irish Blues", "Latin Blues" and "60s & 70s".

The collection is the fifth and last release in a line of Blues recordings Chris Rea has made since recovering from a serious disease at the turn of the millennium and promising himself a return to his Bluesy roots in the event that he survived. According to Rea "Blue Guitars" will be his last solo effort; however, he will continue to release albums as a member of the band "Memphis Fireflies".

The eleven separate records which comprise "Blue Guitars" could as well stand on their own; in combination, however, they provide a journey through the different epochs of the Blues, showing the various components that have been added to the original African Blues over time, the changes in instrumentation, style, lyrical expression and thematic implications. Thereby Chris Rea and his band imitate the various styles and lyrical topics, creating an instantly recognisable atmosphere on each record, with the first few songs usually setting up the direction in which the record is going and then developing to various styles within the field of each record.

The title says it all, "Going Electric", that's what this album is about, and what a change it was for the Blues and Blues Musicians, finally they could make themselves heard among the loud crowds and stuffed places, they usually used to play. It was a tremendous change in the way, the Blues could be approached, fine and subtle figures and fine chord structures could suddenly be played, the Blues was rising to previously unbeknown heights: "Now I can play above the bar noise, Man I'm bigger than a crowd" as Rea states in the opener "Electric Guitar", which perfectly paraphrases, what musicians must have felt, after this milestone revolution. Nor did "electric" stop at the guitars - organs, pianos, keyboards, all was going electric, studios started to play around with the new electric sound, the possibilities seemed endless.
 

 L y r i c s


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