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Lurrie Bell The Devil Ain't Got No Music (CD)

Artikel-Nr.: CDABG2

Gewicht in Kg: 0,107


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Lurrie Bell: The Devil Ain't Got No Music (CD)

(2011 'Aria B.G.Records') ((47:38/12) Mit diesem wunderschönen Album führt uns Lurrie Bell zurück in die Tage seiner Kindheit, als er vom siebten bis vierzehnten Lebensjahr in verschiedenen Kirchen in Alabama, die seine Familie besuchte, Gospel Music spielte. Mit 15 ging er nach Chicago und ließ Gospel hinter sich. Dieses Album ist derart intensiv und bewegend, dass man sich seiner Faszination nicht entziehen kann. Lurrie singt mit beeindruckender Leidenschaft. Dazu passt die sparsame Besetzung, zumeist nur akustische Gitarre und Percussion, perfekt. Ein beeindruckendes und schlicht wunderschönes Album. Ein Muss


Lurrie Bell - The Devil Ain't Got No Music (CD) Medium 1
1: Swing Low  
2: It's A Blessing  
3: Search Me Lord  
4: Don't The Devil Ride  
5: Why Don't You Live So God Can Use You  
6: The Devil Ain't Got No Music  
7: Peace In The Valley  
8: Way Down In The Hole  
9: Lo And Behold  
10: I'll Get To Heaven On My Own  
11: Trouble In My Way  
12: Death Don't Have No Mercy  


Artikeleigenschaften von Lurrie Bell: The Devil Ain't Got No Music (CD)

  • Interpret: Lurrie Bell

  • Albumtitel: The Devil Ain't Got No Music (CD)

  • Artikelart CD

  • Genre Blues

  • Music Genre Blues
  • Music Style Classic Chicago Blues
  • Music Sub-Genre 911 Classic Chicago Blues

  • SubGenre Blues - Electric

  • EAN: 0626570619840

  • Gewicht in Kg: 0.107

Interpreten-Beschreibung "Bell, Lurrie"

Lurrie Bell

By the time Lurrie Bell (born December 13. 1958) was in his early twenties, he was the Next Great Hope of Chicago blues. Well steeped in the idiom via his harmonica great father Carey Bell, his Godfather Eddie C. Campbell. and a circle of well-known friends and relatives, he made his studio debut in 1977, record-ing behind his father (later issued as Heartaches And Pain, Delmark 666) and Campbell. drafted to add funk to the bass line on the title track of Eddie's King Of The Jungle album while on hand to watch his father participate. A 1978 trip to Berlin with the New Generation Of Chicago Blues pack-age and a stint with Koko Taylor gave him his first real road exposure. In 1982 he and Carey record-ed Son Of A Gun for Rooster Blues.

Life seemed full of possibilities. But what Lurrie calls "my trials" are well-known (many are chronicled in the remarkable DVD Mercurial Son and a chapter in David Whiteis' excellent book Chicago Blues: Portraits and Stories): substance abuse, living on the streets, then. as he was regaining his bearings, the loss of his twin babies a few weeks apart, his devoted lady Susan Greenberg and finally his father in 2007. I have told Lurrie more than once that he is the most inspirational person I know. It's not just that he's persevered through such a daunting barrage.

It's that he never lets his knees buckle; it's close enough for horseshoes to all sunny side up and indefatigably positive. Lurrie has held on to faith and music for sustenance. With those allies, and the love and sup-port of an impressive roster of friends and family, he has managed to rack up accolades. recognition like multiple Living Blues Artist and Guitarist Of The Year awards and a 3Arts Grant. and more raves and renown for his recent CD The Devil Ain't Got No Music (including the French 12Acadernie du Jazz Prix Du Blues Award for Best Blues Recording of 2012) and his tracks on both volumes of the highly acclaimed Chicago Blues: A Living History gather-ings (netting a Grammy nomination).

As part of the belated stabilization and renais-sance of his career, Lurrie's last two CDs (on his Aria BG label, named for his surviving daughter) have been about stretching him (successfully) to showcase the breadth as well as the magnitude of his art (and to fulfill a long-held goal of his and Susan's of recording some of the gospel on which he was raised as a church musician during his southern childhood years).

While Lurrie demon-strated convincingly how interesting his facets can be and how boldly he can meet artistic challenges, for this project he just wanted to get back to the solid foundation of Chicago-styled traditional guitar blues, done with his rare blend of reverence, in-volvement and individuality and framed largely by and picked a balanced program's worth of keepers. With a little nudging, he wrote a nicely varied three more. "24 Hour Blues" is a loping shuffle with a groove evocative of Magic Slim, recorded on the sad day of our longtime friend's passing (February 21)

Ifs not just that he's persevered through such a daunting barrage. Its that he never lets his knees buckle: it's close enough for horseshoes to all sunny side up and indefatigably positive."

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