Essential Collection: The Classic Cobra Recordings 1956-1958 [ORIGINAL RECORDING REMASTERED]

Otis Rush

Product Details

• Audio CD (September 19, 2000)
• Original Release Date: September 19, 2000
• Number of Discs: 1
• Format: Original recording remastered
• Label: Varese Sarabande
• ASIN: B00004YLOA
• Average Customer Review: 4.9 out of 5 stars  See all reviews (13 customer reviews)
• Amazon.com Sales Rank: #6,600 in Music (See Bestsellers in Music)

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  #25 in	Music > Blues > Chicago Blues
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Track Listings

1. I Can't Quit You Baby

2. Sit Down Baby

3. Violent Love

4. My Love Will Never Die

5. Groaning the Blues

6. If You Were Mine

7. Love That Woman

8. Jump Sister Bessie

9. Three Times a Fool

10. She's a Good 'Un

11. It Takes Time

12. Checking on My Baby

13. Double Trouble

14. Keep on Loving Me Baby

15. All Your Love (I Miss Loving)

16. My Baby Is a Good 'Un

17. I Can't Quit You Baby [Take 3]

18. Little Red Rooster

19. Groaning the Blues [Take 3]

20. My Love Will Never Die [Take Unknown]

See all 24 tracks on this disc

Editorial Reviews

Product Description

No Description Available.
Genre: Blues Music
Media Format: Compact Disk
Rating:
Release Date: 19-SEP-2000

Customer Reviews

Most Helpful Customer Reviews

17 of 17 people found the following review helpful:

5.0 out of 5 stars Not Even Rush Could Top These Cuts, July 25, 2001

By	BluesDuke "A sacred cow is worth but one thin... (Huntington Beach, California) - See all my reviews

Otis Rush - the first of the legendary young guns on the blues scene in Chicago's West Side in the late 1950s to hit beyond the home turf (with the incandescent "I Can't Quit You, Baby") - has also had the hardest time topping his earliest recordings. He's had plenty enough moments in the years since he cut these tracks for the ill-fated Cobra/Chief operation, but the raw soul, fire, and lyricism he poured into two years' worth of cuts for Cobra have few equals among his contemporaries and successors alike.

It begins with "I Can't Quit You, Baby," the first hit for both Rush himself and for the Cobra operation. After all these years (and no few rather questionable covers, from a too-reverent turn by the original Savoy Brown Blues Band to a too-irreverent turn by Led Zeppelin) the gospel lacing in Rush's vocal and the supply-shaded phrasing in his guitar lines cut deep and true over that thundercrack rhythm section and through that striking minor-key (at the time a grand step forward for Chicago blues, as was the employment of an actual electric bass, as opposed to a guitarist playing the bass lines on the low strings or an upright bassist).

It continues with music that runs a pretty thick swath between gospel-inspired blues, jump blues shifted to a chunky backbeat, a dash of swamp blues (give a careful listen to "It Takes Time" and you might think Rush would have been just as much at home among the Louisiana swamp bluesmen then beginning their striking run of recordings with the Excello operation and its deep-and-booming reverb), and even a little Latinesque ("All Your Love (I Miss Loving)," whose effect on one Eric Clapton would become apparent in due enough course). But Rush is so powerful a blues presence and guitar phraser - and a very strong songwriter - even at this early point of his recording career that he just about wrings all those elements out into his own and leaves them all but wondering what hit them. Small wonder such of his Cobra cuts like "Three Times A Fool," "It Takes Time," "Double Trouble," "Keep On Loving Me, Baby" and "All Your Love (I Miss Lovin')" have become as enduring a round of blues classics as the Willie Dixon compositions which usually went on his singles ("I Can't Quit You, Baby," "Groanin' the Blues," "If You Were Mine").

His influence speaks for itself, and it only begins with Eric Clapton (whose scorching cover of "All Your Love" on the seminal "Blues Breakers" album speaks likewise), Elvin Bishop (who blistered on a soaring cover of "Double Trouble" on the third Butterfield Blues Band album), Mike Bloomfield (who liked to play "It Takes Time" in his live solo gigs and who was said to have jammed on occasion with Rush in Chicago), Jimmy Page, Jimi Hendrix (whose more unadorned blues outings owed more than a little to Rush's supple phrasing style), and his junior contemporary Buddy Guy. Bur for whatever reason - perhaps because it was just too overwhelming a job to try, even for its creator - Rush has never since equaled the deep immediacy of these two years' worth of sides. Don't hold it against him, though. You, too, would have an impossible time of it trying to top a beginning like this.

14 of 14 people found the following review helpful:

5.0 out of 5 stars amazing restoration, July 16, 2002

By	G. Wallace (Hilliard, OH USA) - See all my reviews (REAL NAME)

I've owned the music on this set in a number of formats and collections. Some, though not all, of this music is as good as blues gets. But the sound on this latest restoration is far better than I imagined it could ever be. I hear things I never heard before. The 'Keep on Loving' track might even be a take I've never heard before. Highly recommended; replace your Cobra box with this and the Magic Sam Essential Collection released at the same time.

15 of 16 people found the following review helpful:

5.0 out of 5 stars Seminal West Side recordings, January 6, 2003

By	R. Weinstock (Falls Church, VA USA) - See all my reviews (REAL NAME)

While Otis Rush certainly has grown as a blues giant, he never put together a body of compelling reordings as he did for the eight singles he recorded with Willie Dixon producing. Perhaps the focus necessary for three minute single sides make these so riveting. Rush's vocals are riveting while his guitar is brilliant throughout. One should not forget the notable contributions by Ike Turner, Walter Horton, Little Walter and others. Despite some of the material being somewhat lame (though Rush makes Violent Love listenable), the originals of I Can't Quit You Baby, My Love Will Never Die and All Your Love (I Miss Loving) are among the highpoints of fifties blues recordings. These recordings belong in any credible blues collection.