Barry Goldberg - It's All My Vault (2011)

2019-05-11T15:44:29Z

Barry Goldberg - It's All My Vault (2011)


1.After You're Gone (Empty Blues)	4:55 	
2.Holy High	4:43 	
3.Special Sauce	4:01 	
4.Never Too Late	3:35 	
5.Slip and Slide	3:31 	
6.Blue Dreams	4:24 	
7.Rollin' On	3:12 	
8.Goodbye so Long	3:17 	
9.Rock It	3:52 		
10.Goin' to Chicago		3:51 	
11.Crazy 'bout You Baby		4:50 	
12.You Gotta Move	4:36 	

Barry Goldberg (Hammond B-3, piano, Wurlitzer, keyboards)
Mick Taylor (guitars)
Carla Olson (guitars)
Terry Reid (vocals)
Melanie Herrold (vocals)
Brian Brown (guitars)
Rick Hemmert (drums)
Gregg Sutton (bass)
Jack Sherman (guitars)
Gary Mallaber (drums)
Mark Goldberg (bass)
Howie Epstein (guitars, bass)
Stan Behrens (harmonica)
David Raven (drums)

2011 collection of archival recordings from one of the most famous keyboard players in history. Goldberg formed the Electric Flag, played on Super Session with Al Kooper, Mike Bloomfield & Stephen Stills, formed the Barry Goldberg-Steve Miller Blues Band in the late ’60s, played on “Good Golly Miss Molly” by Mitch Ryder, produced many artists including Bob Dylan, and currently is a member of the Chicago Blues Reunion featuring Nick Gravenites and Harvey Mandel. These rare recordings feature guest appearances from Carla Olson, Terry Reid and Mick Taylor. ---lemonwire.com

Barry Goldberg has been on the music scene long enough to play with Bob Dylan, when he first went electric and with such blues legends as Muddy Waters, Otis Rush, and Howlin' Wolf. He formed his own Goldberg/Miller Blues Band, with none other than Steve Miller. He also worked as a session musician on famous songs like, Mitch Ryder's, "Devil with a Blue Dress", and with Jimi Hendrix at the Cafe Au Go Go. His song writing and music composing credits include over twenty feature films including Forest Gump and Dirty Dancing. Barry also won the BMI Pioneer Award for excellence for his body of work on film and television. He has worked with artists as varied as Bob Dylan, the Ramones, Rod Stewart, Gladys Knight, Percy Sledge, Joe Cocker, Steve Miller, Bobby "Blue" Bland, Gram Parsons and B. J. Thomas.

This is blues from one of its greatest homes and keyboard legends. The slow, working class blues that came north, up the Mississippi River to find its home is presented in its raw intensity. This is a great collection of some of the best music of that era and showcases Barry's talents well. If you like Chicago blues the way it used to be played you'll have to have this album in your collection.

"After You've Gone (Empty Blues)", opens with that Doors', "Cars Hiss By My Window" beat and organ to it. The guitar work is amazing and puts you in that same hazy summer relaxing mood. Nice way to open the album.

"Holy High" is a slow spiritual song full of great piano and slow guitar. The horn adds the high notes and bright rays to this slow dirge. On this one it's Barry on piano that is showcased well. The drums keep perfect rhythm with the guitar, as this wonderful procession moves on.

"Special Sauce" opens to a rockin' beat with Barry gliding smoothly over those organ keys. This is a nice traveling song. That grand organ sounds wonderful, bringing back that familiar sound. The drums are dynamic and full of sparkle. The guitar solos are fantastic on this instrumental.Boogie woogie, rockabilly piano opens "Never Too Late". Barry does a fantastic job building a great Chuck Berry melody with the keys. The bass and keys support well, with the lead guitar peeling back the years right through the middle.

"Slip and Slide" will bring back memories of the Blues Brothers soundtrack. But of course that was fictional. Barry lived the real thing and you can hear the power coming through in these songs. This one will have you up and dancing.

"Blue Dreams" is a slow groove blues track with Barry and Jack Sherman, on guitar, bringing this song to life. Perfect for relaxing on the front porch or real slow dances.

"Rollin' On" is full of great drums and Barry playing the keys to Sherman's guitar. "Goodbye So Long" is a wonderful boogie woogie full of great guitar from Howie Epstein. "Rock It" is a harmonica filled, fast paced blues number.

Melanie Herrold's vocals rock "Going to Chicago (Live)", along with Barry's keys, Sherman's guitar and Stan Berhen's blues harp. Get up and dance!

Melanie is back for "Crazy About You Baby (Live)". The blues harp, Barry's piano and Sherman's guitar work blends well with those exploding drums from David Raven.

Fred McDowell's "You Gotta Move (Live)" is the closer on this set of music. The slow grinding keys and Berhen's harmonica build the story with sound here. Terry Reid brings the vocal power along with Gary Malliber's drums. ---Mark Johnson, seaoftranquility.org

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The Barry Goldberg Blues Band - Blowing My Mind (1966)

2019-03-06T12:00:20Z

The Barry Goldberg Blues Band - Blowing My Mind (1966)


A-1 	Gettin' It Down 	2:09
A-2 	Mean Old World 	3:49
A-3 	Twice A Man	2:28
A-4 	Whole Lotta Shakin' Goin' On 	2:37
A-5 	Big Boss Man 	2:57
B-1 	Blowing My Mind 	2:57
B-2 	That'll Be The Day 	2:22
B-3 	Can't Stand To See You Go 	2:24
B-4 	Put Me Down 	1:53
B-5 	Think 	2:37

Bass Guitar – Roy Ruby
Drums – Maurice McKinley
Harmonica – Charlie Musselwhite
Lead Guitar – Harvey Mandel
Organ, Vocals – Barry Goldberg 
+
Slide Guitar – Duane Allman (A-3)

Chicago-style blues practitioner Barry Goldberg (keyboards/vocals) first came to prominence after appearing with Bob Dylan (guitar/vocals) at the 1965 Newport Folk Festival. Shortly after that he teamed up with Steve Miller (guitar/vocals) to form the Goldberg-Miller Blues Band, releasing a pair of mostly ignored 7" singles. After Miller split to the Bay Area to form his own blues band, Goldberg and the remnants of the short-lived Goldberg-Miller union headed to Music City U.S.A. to cut Blowing My Mind (1966) . Joining Goldberg were several up-and-coming notables, including Charlie Musselwhite (harmonica), Harvey Mandel (guitar), Roy Ruby (bass), and Maurice McKinley (drums). This quintet drives through a blend of high-energy originals as well as an interesting combination of equally commanding cover tunes. However, Goldberg's "Mean Old World" stands as an anomaly. It mirrors a decidedly traditional blues style and incorporates a slower -- if not somewhat methodical -- pace with plenty of room for well-crafted solos. Mandel's projections notably help to coalesce the band's sound and overall direction. On tracks such as the rowdy and playful "Twice a Man," he foreshadows the aggressive and full-bodied approach that his solo fretwork would eventually follow. The same side is also highlighted by Musslewhite's remarkable ensemble interplay as he interjects some tasty amplified mouth harp accents. The title cut is a midtempo Goldberg/Ruby tune with an edgy garage rock feel, slightly reminiscent of Dylan's "Positively Fourth Street." The pair also contribute the upbeat and soulful "Put Me Down." McKinley really shines with a solid backbeat that is fleshed out by some clever licks and fills. Again, front and center is Musslewhite's reserved yet expressive co-lead as he responds to Goldberg's vocals. "Whole Lotta Shakin' Going On" and "That'll Be the Day" are recommended reworkings that perhaps best exemplify the bluesy synthesis that defined the Barry Goldberg Blues Band, at least on this initial effort. Rather than attempting a note-for-note re-creation, they fuse their own blend of electric blues onto the well-known and already established melodies. The same holds for the cover versions of Jimmy Reed's "Can't Stand to See You Go" and Jimmy McCracklin's seminal side, "Think." The 1998 CD reissue on the Collectables label also includes a previously unreleased and highly effective reading of Geoff Muldaur's "Ginger Man." ---Lindsay Planer, AllMusic Review

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