~ Bill Wyman
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~ Bill Wyman's Rhythm Kings
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~ Bill Wyman & the Rhythm Kings
|
~ Bill Wyman's Rhythm Kings
|
~ Bill Wyman's Rhythm Kings
|
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Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. Long Walk To DC | |||
| 2. Hot Foot Blues | |||
| 3. Hit That Jive Jack | |||
| 4. Love Letters | |||
| 5. Love's Down The Drain | |||
| 6. I Can't Dance | |||
| 7. Snap Your Fingers - What A Friend | |||
| 8. We Have In Jesus | |||
| 9. Get In The Kitchen | |||
| 10. Boogie Woogie | |||
See all 14 tracks on this disc
| |||
| Disc: 2 | |||
| 1. The Joint Is Jumping | |||
| 2. Brownskin Girl | |||
| 3. Tored And Sleepy | |||
| 4. Lonely Blue Boy | |||
| 5. Bye Bye Blues | |||
| 6. Where's The Money | |||
| 7. Jellyroll Fool | |||
| 8. Jealous Girl | |||
| 9. My Handy Man | |||
| 10. Rollin' & Stumblin' | |||
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See all 12 tracks on this disc
| |||
Product Description
Amazon.co.uk Review
No doubt sporting a wry grin when he decided to call this two-CD set Double Bill, the old Stones bassist is further consolidating his second roll. Wyman's done well from old material since 1997 and this project is even more explicitly nostalgic, involving a very thorough excavation of his record collection. The tune-choices are admirably diverse, avoiding predictable selections. Wyman rotates his trio of lead vocalists and calls up soloists from his impressive lead guitar pool. The Rhythm Kings band is now a road-hogging concern, turning into a combo with the rapport that's only found out on tour. The old-time styles all emanate from a blues base but also embrace Staple Singers gospel, Louis Jordan jump jive and Etta James throat-burning. The start of disc two best illustrates this genre-jumping attitude, flouncing through jazz, country, rock'n'roll and operatic swamp-pop soul balladry, all in the first four tracks. With guitarists Albert Lee, Martin Taylor, Andy Fairweather Low and a sweetly hovering George Harrison on board, nearly all the set's solos are string-sprung. These never outstay their welcome, keeping things concise and pointed. Wyman also contributes six originals, mostly delivered in his own gruff-deadpan slither, making a good contrast with the dominant mood of vocal slickness. Of the singers, Beverley Skeete sometimes adopts too much of a vibrato warble and the voice of Georgie Fame is a taste not easily acquired by some, leaving the husky-throated Gary Brooker to deliver most of the best lines. The backing chorus vocals are invariably too smoothly harmonised, almost sounding like The Andrews Sisters. Actually, the strongest vocal take comes courtesy of Adrian Byron-Burns, rasping heartily through Wyman's own "Rollin' & Stumblin'". Overall, the low-reverb production style will be far too prissy for most lovers of low-down dirty boogie, tending towards a certain stiff-upper-lipped bluesology. Full marks for the repertoire and technique, though. --Martin Longley
No doubt sporting a wry grin when he decided to call this two-CD set Double Bill, the old Stones bassist is further consolidating his second roll. Wyman's done well from old material since 1997 and this project is even more explicitly nostalgic, involving a very thorough excavation of his record collection. The tune-choices are admirably diverse, avoiding predictable selections. Wyman rotates his trio of lead vocalists and calls up soloists from his impressive lead guitar pool. The Rhythm Kings band is now a road-hogging concern, turning into a combo with the rapport that's only found out on tour. The old-time styles all emanate from a blues base but also embrace Staple Singers gospel, Louis Jordan jump jive and Etta James throat-burning. The start of disc two best illustrates this genre-jumping attitude, flouncing through jazz, country, rock'n'roll and operatic swamp-pop soul balladry, all in the first four tracks. With guitarists Albert Lee, Martin Taylor, Andy Fairweather Low and a sweetly hovering George Harrison on board, nearly all the set's solos are string-sprung. These never outstay their welcome, keeping things concise and pointed. Wyman also contributes six originals, mostly delivered in his own gruff-deadpan slither, making a good contrast with the dominant mood of vocal slickness. Of the singers, Beverley Skeete sometimes adopts too much of a vibrato warble and the voice of Georgie Fame is a taste not easily acquired by some, leaving the husky-throated Gary Brooker to deliver most of the best lines. The backing chorus vocals are invariably too smoothly harmonised, almost sounding like The Andrews Sisters. Actually, the strongest vocal take comes courtesy of Adrian Byron-Burns, rasping heartily through Wyman's own "Rollin' & Stumblin'". Overall, the low-reverb production style will be far too prissy for most lovers of low-down dirty boogie, tending towards a certain stiff-upper-lipped bluesology. Full marks for the repertoire and technique, though. --Martin Longley
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