The Best Blues Albums after 1980?

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Here are reviews of some of the best blues albums released after 1980, in my opinion. Do you agree?

  1. Stevie Ray Vaughan & Double Trouble – Texas Flood (1983)
StevieRayVaughanTexasFlood The Best Blues Albums after 1980?

Review:
Stevie Ray Vaughan’s Texas Flood is a raw and electrifying blues album that revitalized the genre in the 1980s. With blistering guitar solos and impassioned vocals, SRV redefined modern blues. Tracks like “Pride and Joy” and “Texas Flood” showcase his technical brilliance and deep emotional connection to the music. The album successfully blends Texas blues with rock energy, making it one of the most influential blues albums of its time.

Why It Stands Out:

Revived mainstream interest in blues.

Masterful guitar work and heartfelt delivery.

Defined modern blues-rock sound.

  1. Robert Cray – Strong Persuader (1986)
71cpqAdQPL. AC UL160 SR160160  The Best Blues Albums after 1980?

Review:
Robert Cray brought a smooth, soulful touch to the blues with Strong Persuader, an album that reached mainstream audiences while staying true to its blues roots. Songs like “Smoking Gun” and “Right Next Door (Because of Me)” are polished yet emotionally charged, blending blues with R&B elements. Cray’s clear, expressive vocals and fluid guitar lines set him apart from other blues musicians of his time. I really, really, liked this album when it came out. I know that it is an important album and stands as a great testament to his playing. Still, it has been a long time since I reached for the CD……

Why It Stands Out:

Modernized blues with a polished sound. (Maybe too polished?)

Introduced blues to a broader audience.

A smooth mix of blues, R&B, and soul.

  1. Buddy Guy – Damn Right, I’ve Got the Blues (1991)
Untitled The Best Blues Albums after 1980?

Review:
This album marked Buddy Guy’s triumphant return after years of limited commercial success. Damn Right, I’ve Got the Blues is fiery and passionate, with a mix of originals and covers featuring guest guitarists like Eric Clapton, Jeff Beck, and Mark Knopfler. The title track is a powerhouse blues anthem, while “Mustang Sally” and “Five Long Years” highlight his expressive vocals and searing guitar solos.

Why It Stands Out:

Brought Buddy Guy back to prominence.

Featured some of the best guitarists of the era.

Gritty, high-energy blues at its finest.

Oh yes, and it is WONDERFUL!

  1. Gary Moore – Still Got the Blues (1990)
Untitled 1 The Best Blues Albums after 1980?

Review:
Irish guitarist Gary Moore transitioned from hard rock to blues with Still Got the Blues, an album packed with emotionally charged guitar work. The title track remains one of the most heartfelt blues ballads ever recorded, while songs like “Walking by Myself” and “Oh Pretty Woman” deliver powerful, electrified blues. Moore’s soaring solos and intense phrasing make this a must-listen.

Why It Stands Out:

A hard-rock guitarist embracing pure blues.

Passionate, virtuosic guitar work.

Emotional depth in both playing and songwriting.

  1. Luther Allison – Blue Streak (1995)
Untitled 2 The Best Blues Albums after 1980?

Review:
A late-career masterpiece, Blue Streak captures the fiery energy of Luther Allison’s live performances. Tracks like “Cherry Red Wine” and “Bad Love” showcase his soulful voice and high-powered guitar licks. This album mixes deep blues, rock influences, and raw emotion, proving that Allison was one of the genre’s most underappreciated legends.

I surprised myself with this pick. I didn’t think that it would make the cut but when I started listing the albums…….

Why It Stands Out:

Showcases Allison’s electrifying energy.

A mix of Chicago blues and modern production.

Deeply emotional and socially conscious songwriting.

  1. Joe Bonamassa – Blues Deluxe (2003)
Untitled 3 The Best Blues Albums after 1980?

Review:
Bonamassa’s Blues Deluxe pays homage to classic blues while incorporating his modern touch. Covering legends like B.B. King and John Lee Hooker, alongside original tracks, he delivers some of his most impressive guitar work. Songs like “You Upset Me Baby” and “Burning Hell” demonstrate his technical precision and blues authenticity.

Bonamassa is not someone I instinctively like. For me, there is a certain lack of feel. However, there is no doubt that he is a magnificent guitarist! This is him at his best.

Why It Stands Out:

It’s a modern take on classic blues.

Virtuosic guitar playing.

Bridges traditional blues with contemporary production.

  1. Derek Trucks Band – Already Free (2009)
Untitled 4 The Best Blues Albums after 1980?

Review:
Derek Trucks brings a unique mix of blues, jazz, and Southern rock with Already Free. His slide guitar work is stunning, and the album has a laid-back yet intricate feel. Tracks like “Down in the Flood” (a Bob Dylan cover) and “Sweet Inspiration” highlight his blend of soulful vocals and rich instrumental textures.

Trucks was a great player at a rediculously young

Why It Stands Out:

Exceptional slide guitar work.

A fusion of blues, soul, and Southern rock.

Refreshingly original yet deeply rooted in tradition.

  1. Gary Clark Jr. – Blak and Blu (2012)
Untitled 5 The Best Blues Albums after 1980?

Review:
Blues took a fresh turn with Blak and Blu, where Gary Clark Jr. mixed traditional blues with rock, hip-hop, and R&B elements. “Bright Lights” and “When My Train Pulls In” are standout tracks, showcasing his raspy vocals and versatile guitar playing. This album proves that blues can evolve while keeping its emotional core.

Why It Stands Out:

A modern, genre-blending approach to blues.

Brings blues to a new generation.

Electrifying guitar and soulful delivery.

  1. Keb’ Mo’ – BluesAmericana (2014)
Untitled 6 The Best Blues Albums after 1980?

Review:
Keb’ Mo’ takes a softer, roots-oriented approach to BluesAmericana, blending acoustic blues with folk and Americana influences. Songs like “The Worst is Yet to Come” and “More for Your Money” have a warm, storytelling charm. His smooth vocals and clean guitar work create an inviting and modern blues experience.

Why It Stands Out:

This is a fresh take on acoustic blues.

Strong songwriting and storytelling.

Accessible yet authentic blues sound.

  1. Christone “Kingfish” Ingram – Kingfish (2019)
Untitled 7 The Best Blues Albums after 1980?

Review:
At just 20 years old, Christone “Kingfish” Ingram released Kingfish, a stunning debut album proving that the blues is alive and well. His guitar work is mature beyond his years, with influences from B.B. King, Muddy Waters, and Hendrix. Tracks like “Outside of This Town” and “Fresh Out” (featuring Buddy Guy) showcase his blistering technique and deep blues roots.

Why It Stands Out:

A young blues artist with an old soul.

Explosive guitar work.

One of the best modern blues debuts.

Final Thoughts

The blues has continued to evolve since 1980, with artists bringing their own influences while staying true to its roots. Whether through electrified blues-rock, smooth contemporary blues, or stripped-down acoustic blues, these albums prove the genre’s lasting power. I really enjoyed putting this list together. Mind you, any excuse for playing some classic, wonderful blues has to be a good thing. The order of the album is arbitrary, of course. On any other day Buddy Guy would have been top, probably.

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John Lee Hooker: The King of the Boogie Blues

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 John Lee Hooker: The King of the Boogie Blues

John Lee Hooker, was one of the most influential figures in the history of blues music. He carved his name into the annals of musical history with his gritty voice, infectious rhythm, and distinctive guitar playing. Born on August 22, 1917, in the Mississippi Delta. Hooker’s rise from humble beginnings to international stardom transformed him into a legend whose influence resonates in blues, rock, and beyond.

Early Life and the Mississippi Delta

John Lee Hooker’s was born in the Mississippi Delta. This was a region renowned for its rich blues heritage. It set the stage for his musical journey. Raised on a farm in the small town of Clarksdale, Mississippi. Hooker’s stepfather was a sharecropper and preacher. He played the guitar, and it’s said that Hooker learned his first chords from him. The sounds of the Delta, from gospel and field hollers to the raw blues of rural life, became the heartbeat of Hooker’s musical identity.

He was influenced by the hardships of his environment. He grew up in an era where economic struggle, racial tension, and disenfranchisement were common experiences. Music was a way of expressing sorrow, joy, resilience, and longing, and Hooker’s music would later reflect this potent mix of emotions.

The Birth of the “Boogie” Sound

Hooker’s early musical influences came from Delta blues legends like Charlie Patton, Robert Johnson, and Son House. However, Hooker’s approach to the blues was different — it was less about complex chord progressions and more about the rhythm, creating a groove that could command attention. His deep, raspy voice, combined with his steady, hypnotic “boogie” style of guitar playing, soon became his trademark.

In the late 1940s, after moving to Detroit, Hooker began recording for local labels. His first major hit, Boogie Chillen’ (1948), became a massive success and solidified his place in the music world. It had a driving rhythm and repetitive, hypnotic guitar riff. The song captured the essence of the boogie-woogie style. It is a genre that had emerged from jazz and swing music. Boogie Chillen’ was a breakthrough for Hooker, not just because of its commercial success, but because it showcased his unique sound, blending the Delta’s deep roots with a more urban, electric sensibility.

The song’s success marked the beginning of a long career that spanned several decades. Hooker would go on to release numerous albums and singles, many of which became staples in the blues genre.

A Career of Reinvention and Collaboration

While John Lee Hooker’s style remained rooted in his early boogie blues, he was never content to stay stagnant. Over the years, he explored different styles, from the raw, minimalist blues to a more electrified, urban sound. This flexibility helped him remain relevant across different generations of blues fans and musicians.

In the 1960s, Hooker’s fame grew internationally, particularly in Europe, where the blues had begun to gain traction. It was during this time that he collaborated with a variety of artists across different genres. One of his most famous collaborations was with the rock band The Rolling Stones, which helped introduce his music to a younger, more diverse audience.

His album The Healer (1989), which featured collaborations with artists like Carlos Santana, Bonnie Raitt, and others, marked a significant moment in his career. The album brought him widespread recognition and critical acclaim, further cementing his place as a bridge between blues and other genres, including rock and pop.

Legacy

John Lee Hooker’s legacy is undeniable. Inducted into the Rock and Roll Hall of Fame in 1991, and in 2000, he won a Grammy Award for Best Traditional Blues Album for Don’t Look Back. You can still hear his influence in the music of rock legends like Eric Clapton, Led Zeppelin, and Keith Richards, who all cite Hooker as a major inspiration. His raw style, deep voice, and emotive playing served as a blueprint for generations of musicians.

Hooker passed away on June 21, 2001, at the age of 83, but his impact on the blues, rock, and popular music at large continues to echo. His songs remain timeless, serving as a powerful reminder of the power of rhythm, emotion, and storytelling.

Conclusion

John Lee Hooker’s influence is deep in the fabric of modern music. His deep, soulful blues, characterized by his distinctive guitar boogie, continues to resonate with listeners around the world. He not only shaped the sound of blues but also helped elevate it into mainstream consciousness. As the “King of the Boogie Blues,” Hooker’s music transcends genres and generations, leaving an indelible mark on the world of music.

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On This Day – Big Boy, Big Gone

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On this day in 1974 the man who wrote That’s All Right covered so famously by Elvis died.

Arthur Big Boy Crudup was born in Mississippi in 1905. He became a blues singer and made his way to Chicago. He did not really do too well there as he was living in a packing crate when he was discovered by record producer Lester Melrose. Although he could barely make a living working solo in Chicago melrose saw something in Crudup. he introduced Crudup to Tampa Red and signed him to RCA Victor’s Bluebird Label.

His first recording session was in 1941. In some ways the start of his recording career which promised so much delivered so little. After each recording session he would have to return to the labour camp to get work to get enough money to live.

His records were selling but where were the royalties? He sued Melrose, but with no result. In the early 50s he even stopped recording altogether. Then, his songs were taken up by Presley. Surely, his fortunes would change now? Not a bit of it.

Still no royalties. So in 1971 he sued to get his hands on his royalties again. This time a cheque for $60,000 was written, but it was never signed………….

He was dead 3 years later, a poor man. The Father of Rock ‘n’ Roll, whose songs helped send Elvis to stardom, whose songs were recorded by so many rock artists died an honoured but poor man.

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On This Day – The Beatles Jam with Elvis

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beatles and elvis On This Day   The Beatles Jam with ElvisOn This Day in 1965 the Beatles were on their second US tour. Brian Epstein was able to arrange a visit to meet Elvis in his Bel-Air home. The visit lasted some 4 hours and while Col Tom Parker an Epstein played pool the Fab Four and The Hips told stories and chatted. They also jammed together. Want a copy of that recording? Well, tough luck no one thought to turn a tape recorder on!

Here is an excerpt from the book The Beatles Anthology talking about meeting Elvis.

PAUL We met Elvis Presley at the end of our stay in L.A. We’d tried for years to, but we could never get to him. He was our greatest idol, but the styles were changing in favor of us. He was a pretty powerful image to British people. You’d look at photos of him doing American concerts, and the audience would not even be jumping up and down. We used to be amazed, seeing them sitting in the front row – not even dancing.

JOHN LENNON : When I first heard “Heartbreak Hotel,” I could hardly make out what was being said. It was just the experience of hearing it and having my hair stand on end. We’d never heard American voices singing like that. They’d always sung like Sinatra who enunciated well. Suddenly, there’s this hillbilly hiccuping with echo and all this bluesy background going on. We didn’t know what the hell Presley was singing about or Little Richard or Chuck Berry. It took a long time to work out what was going on. To us, it just sounded like great noise.

PAUL We tried many times to meet Elvis, Colonel Tom Parker, his manager would just show up with a few souvenirs, and that would have to do us for a while. We didn’t feel brushed off we felt we deserved to be brushed off. After all, he was Elvis, and who were we to dare to want to meet him? But we finally received an invitation to go round and see him when he was making a film in Hollywood.

GEORGE HARRISON Meeting Elvis was one of the high-lights of the tour. It was funny, because by the time we got near his house we’d forgotten where we were going. We were in a Cadillac going round and round along Mulholland, and we’d had a couple of “cups of tea” in the back of the car. It didn’t really matter where we were going – it’s like the comedian Lord Buckley says, “We go into a native village and take a couple of peyote buds, we might not find out where we is, but we’ll sure find out who we is.” Anyway, we were just having fun, we were all in hysterics. (We laughed a lot. That’s one thing we forgot about for a few years – laughing. When we went through all the lawsuits, it looked as if everything was bleak, but when I think back to before that, I remember we used to laugh all the time.) We pulled up at some big gates and someone said, “Oh yeah, we’re going to see Elvis,” and we all fell out of the car laughing, trying to pretend we weren’t silly, just like a Beatles cartoon.

JOHN It was very exciting, we were all nervous as hell, and we met him in his big house in L.A. – probably as big as the one we were staying in, but it still felt like “big house, big Elvis.” He had lots of guys around him, all these guys that used to live near him (like we did from Liverpool, we always had thousands of Liverpool people around us, so I guess he was the same.) And he had pool tables! Maybe a lot of American houses are like that, but it seemed amazing to us. It was like a nightclub.

RINGO STARR I was pretty excited. We were lucky because it was the four of us and we had each other to be with. The house was very big. We walked in, and Elvis was sitting down on a settee in front of the TV. He was playing a bass guitar, which even to this day I find very strange. He had all his guys around him, and we said, “Hi, Elvis.” He was pretty shy, and we were a little shy, but between the five of us we kept it rolling. I felt I was more thrilled to meet him than he was to meet me.

PAUL He showed us in. He just looked like Elvis – we were all major fans, so it was hero worship of a high degree. He said, “Hello, lads – do you want a drink?” We sat down and watched telly, and he had the first remote any of us had ever seen. You just aimed it at the telly and – wow! That’s Elvis! He was playing Charlie Rich’s “Mohair Sam” all evening – he had it on a jukebox.

JOHN He had his TV going all the time, which is what I do; we always have TV on. We never watch it – it’s just there with no sound on, and we listen to records. In front of the TV, he had a massive amplifier with a bass plugged into it, and he was up playing bass all the time with the picture up on the TV. So we just got in there and played with him. We all plugged in whatever was around, and we played and sang. He had a jukebox, like I do, but I think he had all his hits on it. But if I’d made as many as him, maybe I’d have all mine on.

PAUL That was the greatest. Elvis was into the bass, So there I was, “Well, let me show you a thing or two, El…” Suddenly he was a mate. It was a great conversation piece for me. I could actually talk about the bass, and we sat around and just enjoyed ourselves. He was great. Talkative. Friendly and a little bit shy. But that was his image. We expected that, we hoped for that.

JOHN At first we couldn’t make him out. I asked him if he was preparing new ideas for his next film and he drawled, “Ah sure am. Ah play a country boy with a guitar who meets a few gals along the way, and ah sing a few songs.” We all looked at one another. Finally Presley and Colonel Parker laughed and explained that the only time they departed from that formula – for Wild in the Country – they lost money.

PAUL She came in, and I got this picture of her as a sort of a Barbie doll – with a purple gingham dress and a gingham bow in her very beehive hair, with lots of makeup. We all said hello, and then it was, “Right, lads, hands off – she’s going.” She didn’t stay long. I can’t blame him, although I don’t think any of us would have made a pass at her. That was definitely not on – Elvis’s wife, you know! That was unthinkable – she didn’t need to be put away quite so quickly, we thought.

GEORGE I don’t remember even seeing Priscilla. I spent most of the party trying to suss out from the gang if anybody had any reefers. But they were uppers and whiskey people. They weren’t really into reefer smoking in the South.

JOHN It was nice meeting Elvis. He was just Elvis, you know? He seemed normal to us, and we were asking about his making movies and not doing any personal appearances or TV. I think he enjoys making movies so much, We couldn’t stand not doing personal appearances, we’d get bored – we get bored quickly. He says he misses it a bit.We never talked about anything else – we just played music. He wasn’t bigger than us, but he was “the thing.” He just wasn’t articulate, that’s all.

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On This day – ‘Scuse Me While I Kiss This Guy!

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On 18th March 1967* my friend Pete Sowter came up to me in school and handed me a single. “You must listen to this, it’s great!” he said (or something similar, it is 42 years ago). He also Said that he had no idea what it was about but the singer wanted to kiss a man, not something that was common on records in 1967.

Like thousands of others Pete had misheard the lyrics on one of the best singles ever released, one that is rightly now regarded as a classic. ‘Purple Haze’ by Hendrix was released and was a massive hit, in the UK, in the USA it only reached the mid 60’s in the Billboard chart. Once again proving that the UK was undoubtedly far ahead of the States when it came to music in the 60s. (Apart from Zappa, Lou, The Captain, It’s A Beautiful Day, etc………)

* I had it in my mind that Purple Haze was released on 26 August 1967 and that is why I started this entry. It was not until I had finished it that I checked the date, oops! Now that I think of it it could not have been August ‘cos I was in school when Pete gave me the single. In August school would have been on holiday. I must check some of the other ‘On This Day’ events that I have gathered into a schedule for future use. Either that or I could change to title to ‘On This Day, Probably’.

Anyway, it is a great excuse to show a great video.

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On This Day – Bobby Darin Leaves Vegas For The last Time

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bobby darin On This Day   Bobby Darin Leaves Vegas For The last TimeOn this day Bobby Darin finished performing at the The Las Vegas Hilton for the last time in 1973. He would be dead 4 months later after a heart operation.

Although not often remembered these days Darin was a versatile singer and actor. He was born with a heart condition that dogged him throughout his life but that did not prevent him from pursuing a glittering career. He is remembered as a rock ‘n’ roll singer (and for that dreadful single Splish Splash) and was inducted into the Rock ‘n’ Roll Hall of Fame in 1990 and the Songwriter’s Hall of fame in 1999.

He also moved into Jazz and is best remembered for a stunning version of Mack The Knife taken from Kurt Weill and Bertold Brecht’s wonderful Threepenny Opera. There was time when ,after this move into ‘serious’ music that Darin was compared favourably to Sinatra.

He also showed talent as an actor being nominated for an Oscar, winning the French Film Critic’s Actors award (1963), and being awarded a Golden Globe as the Most Promising Newcomer (1962).

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On This Day, Start Me Up

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rolling stones On This Day, Start Me UpOn this day in 1995 Windows 95 was released and, as all us oldies, will remember the song used in the adverts was ‘Start Me Up’ by the Stones. Not one of their best, from the Tattoo You album it seems that the Glimmer Twins were paid £12,000,000 ($17,500,000).

It was a great marketing move by Bill Gates as we were warned about what we were getting. Now, what were the lyrics again? “You make a grown man cry”. (He should have warned us about Vista as well)

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On This Day – Wanna Buy a Record Player?

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On this day, well nearly – actually on 22nd August 1906 – the Victor Talking Machine Company (New Jersey) started selling record players. The price was about $200 which must have been huge at the time. Records ranged from $1 to $7.

This was one of those pivotal moments in the history of popular music. There were some who said that it was the end of the world, culture available for the masses? A dreadful development. Having said that no Victrolar (that’s what it was called) and there would have been no James Blunt or Celine Dion and so the world would have been a better place. On the other hand, there would also be no Tim Fite, Nick Cave, Beefheart, Zappa, Patti, or Lou.

OK, on the whole it was a good thing.

J P Sousa (a renowned conductor) was off the mark when he said that recorded music would be the end of the amateur musician. About as right as the head of IBM predicting that there would only ever be 7 mainframe computers in the world, or the American politician (can’t remember his name) who said that the Japanese did not make things that the American public would want to buy…….

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On This Day – Black Sabbath in London

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On This Day in 1970 The band formerly Known as Polka Tulk performed at The Roundhouse in North London under their new name, Black Sabbath.

Polka Tulk comprised Tony Iommi, Ozzy Osbourne, Geezer Butler, and Bill Ward. Where the name really came from is a matter of debate some say it was named after a clothing sgop in Birmingham (Pulka Tulk Trading coompnay) or a brand of talcum powder. Personally I like the idea of the softest stuff on earth giving us the name of what would become the hardest (and loudest) band on earth.

Black Sabbath is Born

Polka Tulk became Earth and was a blues rock band, as were so many bands at the time, at least in the UK. The band was playing the usual set list of blues covers but was keen to expand their repertoire. So Geezer began writing some original songs. Again, the truth is shrouded in the mists of time (in other words I have not tracked down a direct quote) but it seems that Geezer was reading a lot of books by Denis Wheatley. Wheatley wrote about magic and the occult (as well as thrillers in which he displayed his pro-monachy, empire, and class sysyem bias. But on the positive side his books, like him, were verhemently anti Nazi). It was the Occult series that gripped Geezer.

He wrote a song called Black Sabbath and, apparently, as soon as they played it live on stage for the first time they knew that they were onto something. The crowd went wild.

The lyrics, the loudness, the fact that Ozzy could not sing at all made record companies wary of them. However, they toured and toured. They built up a great live reputation but, in what might have been a mistake, they did not play any London venues. This would appear to be because London venue owners did not realise that music existed outside the capital and Liverpool. This also meant that the music critics, all based in London, did not see much of them and gave them a hard time in print.

However, the truth was that they were building a large and growing following. The gig at the Roundhouse and the record deal were ininevitable and hugely succesful. The eponymous first album was released on 13th February 1970 on Vertigo.

Scary Ozzy

(I still do not understand how anyone could have been intimidated by BS in those days, have you seen the pictures? Ozzy is no more than a pimply, overweight, idiot – or is that a recent photo?)

Say what you like about Sabbath, and I do, Sabbath were an influencial band. They helped define Metal. They were voted the Greatest Metal Band of all time by MTV came second to led Zep in VH1’s 100 Greatest Artists of Hard Rock. Paranoid, the second album sold 4 million copies in the US (still with little air play) total sales in the Us are more than 15 million. Their first 5 albums all top ten hits and all sold in the millions.

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On This day – The Dark Side Revealed!

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On this day in 1972 Pink Floyd started a four-night residency (can a residency really be just 4 days?) at London’s Rainbow Theatre during which they premiered Dark Side of the Moon – and I continued to lose Floyd.

During the 4 night ‘residency’ Floyd showed the forthcoming album to the world. The press was, of course, rapturous. “Of course” because the press loved Floyd at the time, they could do no wrong. Even though they had subjected us to Meddle and the dreadful Atom Heart Mother.

Meddle was a muddle. There was always going to be a transition between the Barrett Floyd and the non Barrett Floyd and perhaps meddle came out too soon. Anyway it was a mess. Atom Heart, dear oh dear……… What can I say? The moment I remember shaking my head (not in a good rythmic way) to Floyd was at the Colston Hall in Bristol as they fried eggs on stage. It was at that point when I thought that Floyd had lost it as far as I was concerned. To go from the wonderful Saucerful, the magnificent Ummagumma, to bacon butties on stage……..

Anyway, Darkside was recorded in two sessions at the Abbey Road studios between May ’72 and March ‘3. It then sold squidilions of copies all over the world and other minor planets. They ascended to demi god status and ruled over the progressive musical universe until it imploded and they self destructed in a collision of mega egos.

I am really sorry to the die hard, or the Johnny come lately Floyd fans who disagree with me but “Set the Controls” YES, “Money” NO.

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