Sunday, September 28

Led Zeppelin - Celebration Day 2007-12-10

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Bitrate: 320
Ripped by: ChrisGoesRock
Some Pictures Included

On December 10, 2007, Led Zeppelin took the stage at London's O2 Arena to headline a tribute concert for dear friend and Atlantic Records founder Ahmet Ertegun. What followed was a two-hour-plus tour de force of the band's signature blues-infused rock 'n' roll that instantly became part of the legend of Led Zeppelin. Founding members John Paul Jones, Jimmy Page and Robert Plant were joined by Jason Bonham, the son of their late drummer John Bonham, to perform 16 songs from their celebrated catalog including landmark tracks "Whole Lotta Love," "Rock And Roll," "Kashmir," and "Stairway To Heaven." Although 20 million people applied for tickets, the band's first headline show in 27 years was seen only by the 18,000 ticket holders who were 
fortunate enough to have secured seats through the worldwide lottery.

For someone who wasn’t fortunate enough to even be alive during Led Zeppelin’s powerful musical reign, seeing a film like Celebration Day certainly was a treat. Taken from the band’s one-off charity reunion show on December 10th, 2007 at London’s O2 Arena, this show saw the band really step it up, trying (and succeeding) to impress. In the five years since, bootlegs of the band’s rehearsals leading up to the show leaked online and you can find the rehearsal tape for Whole Lotta Love here.

Packed into a theater full of die-hard fans sporting Zeppelin apparel, everyone, especially those who hadn’t yet witnessed the live power of Led Zeppelin, was excited to finally see what the band has spent the last few months hyping up. The film began without any trailers as the theater darkened to the sound of a rabid crowd cheering. Suddenly, the screen lit up into the image of a massive projected television set sporting a video taken from a news report covering a Led Zeppelin show in Tampa, Florida. The news report introduced the band as they walked onstage to the roaring approval of the members of the crowd both at the O2 Arena as well as in the theater.

Led Zeppelin II Album Cover 1969

The band then began their hit-filled two hour set with Good Times, Bad Times, which had a much heavier feel to it with John Bonham’s son Jason sitting behind the kit. Everyone in the band was spot-on, excited to be there, and very energetic, especially Jimmy Page, who was drenched in sweat within two minutes of the first song. Segueing straight into Ramble On, all of Led Zeppelin was ready for a show. Throughout the entire set, Jimmy Page pulled out solos left and right, disproving anyone who had a thought that his age restricted him from nailing any solo thrown at him.

The turning point in the film came when John Paul Jones broke out the eery opening notes of Dazed and Confused, which eventually led into a full-on attacking solo from Jimmy Page that kept everyone’s eyes glued to the screen, watching his fingers perform intricate and seemingly effortless fretwork (although when the camera panned to his face, it seemed otherwise). It was then that Page pulled out the double-neck Gibson guitar which could only mean one thing: Stairway to Heaven. As Robert Plant stepped to the mic to sing the opening notes of the legendary ballad, everyone in the theater seemed to straighten and wake up, some even piping up and singing along with Plant. When the time came for Page’s solo, everyone was rocking in their seat. The band then concluded their main set with the epic Kashmir, which, once again, showed the pure talent of the group. From John Paul Jones’ flawless keyboard work to Robert Plant’s vocals, everything was spot-on, giving the feel that the band was still very much in their prime.

After returning to the stage for Whole Lotta Love, the film came to an end with a second encore of Rock and Roll. Throughout the entire film, Jason Bonham showed that he has what it takes to play his father’s role in the band and the show-concluding drum solo undoubtedly proved his worthy, leaving many in the theater smiling with no idea what other reaction to have and almost everybody in awe.

Celebration Day is a film that really exemplifies how Led Zeppelin will permanently have a place in the hearts of fans and always remain a rock and roll cornerstone. The film takes the opportunity to remind everybody that Zeppelin was, and always will be, one of the greatest groups that rock and roll has ever seen and that time will never hinder their pure power. Throughout the entire movie, people found themselves unconsciously tapping their foot to the beat, bobbing their head, or mouthing the words with Robert Plant as his shrill vocals cut through the surround sound speakers, hitting every note almost perfectly and leaving all in attendance with a smile on their face. So is Celebration Day worth seeing? Most definitely. No, it won’t be a life-altering experience, but it’s probably going to be the closest thing to seeing Led Zeppelin live in concert that you’re going to get. [Reviewer Unknown]

December 10, 2007, Led Zeppelin played one the of the most anticipated concerts ever, at London's O2 Arena. Reportedly there were over 20 million requests for the 16,000 tickets, and the audience came from all over the world. The band have sold over 200 million records since their debut in 1969, and that number will just continue to rise. I mention these numbers to emphasize just how big an event this performance was.

Led Zeppelin - Physical Graffiti  96 and 98 St. Mark's Place, NY, USA

The set-list has been available since the night of the show, and there have been numerous cell-phone bootleg videos of the concert posted online as well. But none of this comes close to preparing us for just how brilliant the band were that night, as captured on the newly released DVD/CD package Celebration Day.

When Led Zeppelin's drummer John Bonham died of alcohol poisoning in 1980, Jimmy Page (guitar), Robert Plant (vocals), and John Paul Jones (bass) decided to call it quits rather than attempt to carry on without him. Before the O2 concert Led Zeppelin had played a few songs at both Live Aid and at their induction into the Rock and Roll Hall of Fame. Neither performance was considered especially noteworthy though. At Live Aid, they had Phil Collins and Tony Thompson play drums, and for the Hall of Fame stint, they asked Bonham's son Jason Bonham to sit in.

It was with Jason Bonham in the drum chair that they performed the London concert, and he did an admirable job in filling in for his father. In fact, after six weeks of rehearsals, the whole band were absolutely on fire. They performed 16 songs that night, including the encores.

The concert opens with "Good Times, Bad Times," which just happened to be the first song on their 1969 self-titled debut. It sets the tone for the night perfectly, and also is a subtle display of the genius of the band in when it comes to structuring a set. As the set continues, one realizes that their talent for pacing remains perfectly intact.

"Good Times, Bad Times," is followed by "Ramble On," and "Black Dog," before Robert Plant addresses the audience with his trademark "Good evening." With this three-song introduction of classic Zeppelin tunes, the band and the audience have crossed over whatever initial trepidation surrounding the big night that may have existed. True to form, it is at this point that the group choose to up the ante.

Led Zeppelin - New Swansong Label

The fourth song is "In My Time of Dying" from the Physical Graffiti album, and it is an awe-inspiring display of musical talent. The studio version clocked in at 11:04, and was one of the most intense tracks on that sprawling masterpiece. Thirty-two years later, Led Zeppelin's courage of conviction regarding their music is unwavering, and the live version runs 11:01. Zep could have easily played a two-hour set with nothing but sure-fire crowd pleasers, but they chose to really stretch out, and this song is unbelievable.

Prior to Bonham's death, there was only one officially released concert film and album, The Song Remains the Same. It was filmed in 1973 at a concert in Madison Square Garden, and released in 1976. The show came at the tail end of the tour, and their performance was good, but not great. Physical Graffiti had not been released yet, so "In My Time of Dying" is a song I had never seen them play. At the O2 Arena, their performance is a revelation. Jimmy Page's slide work, and Plant's vocals are simply awesome. And, as he does throughout the show, Jason Bonham hits the drums with everything he has. John Paul Jones is right there too. It is an early transcendent high-point, of which there will be many more to come.

Once again, the pacing of the show is revealed to be brilliant as the band proceed from "In My Time of Dying." In what could be considered a set-within-the-set, they highlight the period of 1975-1976, and the two albums that marked (for some of us at least) their peak. The albums are the aforementioned Physical Graffiti, and the vastly overlooked Presence.

With the amazing guitar virtuosity Page displays during "In My Time of Dying" the crowd is rightfully stunned. Yet the band are just warming up. This night may have been nostalgic, but Led Zeppelin were out to do everything they could to make it much more than simply reliving the glory days. Apparently they had never performed "For Your Life" (from Presence) onstage before, as Plant introduces the song by saying "This is our first adventure with it in public" "For Your Life" is again dominated by Page's guitar, and it is a smoking blues number.

Led Zeppelin - German Single 1969

For the first time in the show, John Paul Jones trades his bass for the keyboards as he launches into another Physical Graffiti classic, "Trampled Under Foot." The band then revisit Presence for "Nobody's Fault But Mine." Although I did not recognize it at the time, both of these songs have a bit of a rockabilly flavor to them, as heard through the one-of-a-kind Led Zeppelin filter.

"No Quarter" has always been a showcase for John Paul Jones, and it remains so here. I am not sure if it qualifies as a "ballad" per se, but "No Quarter," and "Since I've Been Loving You" do slow the pace momentarily, allowing everyone to catch their breath.

That 16-minute interlude is definitely the calm before the storm to follow. "Choosing songs from ten different albums, there are ones that had to be there," says Robert Plant by way of introduction. The camera then turns to Jones, and as his bass intones the famous descending bass notes of "Dazed and Confused," and the crowd are on their feet again.

If there is one track that defines the whole black magic aura which once surrounded Zeppelin, this is it. When Page pulls out his violin bow in the middle of the song, it is almost unbelievable. I really did not expect it to happen, but that was a case of underestimating their resolve to play a true Zeppelin concert. It is a wild sight, and the sounds he gets out of it are about as "satanic" as anything I have ever heard.

Led Zeppelin - Australia EP 1969

The one-two punch comes with the follow-up, "Stairway to Heaven." The only thing missing here is Plant asking "does anyone remember laughter?" In the introduction to "Misty Mountain Hop," Plant talks about how the elder Bonhams used to sing together all the time, then mentions that Jason has inherited the talent. Jason sings back-up vocals on the tune.

With no introduction necessary, the band then delve into "Kashmir." This is another song that I had never seen them perform live, and watching them play it is fantastic. As I have mentioned, Jason Bonham does a stellar job behind the drum kit, but I think his finest moment comes during this song. The drums are such an integral part of it that John Bonham was given a songwriting credit, along with Page and Plant. Jason's playing is as ferocious as his father's was on the original.

As Plant said in his introduction to "Dazed and Confused," there are certain songs that had to be a part of the set, and "Whole Lotta Love" is another. Watching Page play some kind of crazed guitar-theramin device during this is incredible. The sounds are other-worldly, as is the sheer spectacle of him weaving his arms around the magic box to create them.

"Whole Lotta Love" was the first encore, and the second and final encore of the night is "Rock and Roll." Again, the symmetry is beautiful. "Rock and Roll" is a classic Zeppelin song which opened the concert filmed for The Song Remains the Same. It also just happens to be a great tune, and the perfect summation of what the night was about.

01."Good Times Bad Times" (John Bonham, John Paul Jones, and Jimmy Page) – 3:12 
02."Ramble On" (Page and Robert Plant) – 5:45 
03."Black Dog" (Jones, Page, and Plant) – 5:53 
04."In My Time of Dying" (Bonham, Jones, Page, and Plant) – 11:11 
05."For Your Life" (Page and Plant) – 6:40 
06."Trampled Under Foot" (Jones, Page, and Plant) – 6:20 
07."Nobody's Fault but Mine" (Page and Plant) – 6:44 
08."No Quarter" (Jones, Page, and Plant) – 9:22 
09."Since I've Been Loving You" (Jones, Page, and Plant) – 7:52 
10."Dazed and Confused" (Page; inspired by Jake Holmes) – 11:44 
11."Stairway to Heaven" (Page and Plant) – 8:49 
12."The Song Remains the Same" (Page and Plant) – 5:47 
13."Misty Mountain Hop" (Jones, Page, and Plant) – 5:08 
14."Kashmir" (Bonham, Page, and Plant) – 9:07 

First Encore 
15."Whole Lotta Love" (Bonham, Willie Dixon, Jones, Page and Plant) – 7:26 

Second Encore 
16."Rock and Roll" (Bonham, Jones, Page, and Plant) – 4:35 

[Track Review by:]

01. Good Times Bad Times (3:10) - The night starts exactly the same way Led Zeppelin's discography with the first song on the first side of their first record. The crowd explodes into a frenzy as their three idols all dressed in black focus intently. My initial thought is Plant sounds awful, not sure if he was nervous or he was not warmed up properly, but his voice did not display the distinct rawness he displayed 38 years earlier on the record. Nonetheless Page kicks into a mini solo close to the end of the song with a smirk on his face that promises a good ride for the viewer.

02. Ramble On (5:37) - With no pause we get taken to Zeppelin II and the guys are still all business. Not exactly full of the confident swagger that made them rock gods, they are starting to sound really good and Plant is still clearly the weakest link. Page kicks in his guitar magic in a fairly straightforward rendition of the song

03. Black Dog (5:18) - Jimmy Page takes off his shades and starts to get sweaty. At this point it is evident that the camera work is incredible adjusting between the four musicians and the loud fifth member (with most of them spending their time with cell phones and cameras in the air) at the appropriate times. Plant finally shows the confidence that made him the Golden God as he is clearly starting to loosen up.

04. In My Time Of Dying (11:01) - Plant acknowledges the crowd with a "Good Evening" and a big smile on his face and its time for the blues. For many this song represents the best of what Zeppelin was - thunderous re-interpretation of the delta blues. This particular song is a re-interpretation of an old blues staple called Jesus Make Up My Dying Bed (even Dylan recorded a version in 1962). As if the rusty old car was just starting to warm up, this song reflects the point where everything is firing on all cylinders and the warm up is complete. Perfectly executed this is the Zeppelin we all adore and worship. Easily within Plant's current vocal range the spotlight is on Page's slide finger and as the song picks up Bonham truly pounds the drum kit with a rage of a man on a mission. Page's guitar solo at the end is incredible and of course John Paul Jones continues to be the steady foundation that this band needs. Highlight of the DVD - Robert Plant singing "Oh My Jesus, Je, Je, Je Je ..." at 25:13 of the DVD. Go watch, words cant describe the majesty of that scene. After the song Plant starts to joke with the crowd for the first time this night and thanks them for the 1000's of emotions that the band has had the last few months.

05. For Your Life (6:08) - Zeppelin fans rejoice - a song that the band has NEVER played live before (no idea why not). True to the album version this one seems like a breeze technically after the intense previous song. "You said I was the only, With my lemon in your hand" is how it starts and continues through to another mini Page solo and while there have been suggestions he was down-tuned for this concert to compensate for Plant's voice, there is no evidence of any short cuts here. 

06. Trampled Under Foot (6:02) - A tribute to Robert Johnson's 1936 song Terraplane Blues that Plant introduces as having been recorded 1000's of times. John Paul Jones now sits on they keyboards and impressively nails his piano part. The interplay with between keys and guitar is paramount and the audience roars in appreciation. The song may have its roots in the blues, but this is the biggest dancing song of the night with its funky beat. As if to reflect the speed of the song, the camera shots alternate at dizzying speeds and not staying on a subject more than 5 seconds.

07. Nobody's Fault But Mine (6:24) - Continuing the theme of paying tribute to the old blues greats this time one is from Blind Willie Johnson who wrote similar lyrics in the 1920's and which Plant claims they heard in church in 1932 before Johnson had his first shot. Plant brings out the harmonica and plays it as needed to fill out Page's riffs. The band spends a good portion of the song feeding off each others energy in front of Bonham's drum kit, and you can clearly see the magical bond the three originals have. Jones is back on bass for this but not for long.
08. No Quarter (9:00) - As Jones takes they keys again the audience know its time to mellow out and get ready for the Zeppelin trance that used to captivate audiences in the 70's and created a communal bond that the rock concerts of today can only dream of achieving. The smoke machines roll fog off the stage and contibute to the trance. Page kicks into a tight solo halfway in the song that I am certain the audience wished would continue for another 10 minutes.

09. Since I've Been Loving You (7:35) - The slowed down and moody portion of the set continues with familiar Page licks at the beginning of the song. This song sounds very familiar to the version we heard on the Page/Plant collaborations of the mid 90's. Perfectly executed again the DVD continues to remind us of why Zeppelin is so revered by fans all over the world.

10. Dazed And Confused (11:19) - Here is the one instance where the band deviates from the album version of the songs. The song as heard on the record 6:27 but Zeppelin was notorious for extending this one during their live shows. Tonight they unfortunately did not extend the song to 30 minutes or so like they did on The Song Remains The Same movie but they gave the hardcore fans a sample of the "jam band" spirit that they were known for. Page of course brings out the violin bow for this one and makes the eerie electric distortion sounds he is known for. All the while he is standing in a laser pyramid that circles around him as the smoke machine fills his space. Magical!

11. Stairway To Heaven (8:28) - This song concludes with Plant declaring "Hey Ahmet, we did it". Of all the suffocating pressure put on the band to perform well, the epicenter of the pressure lay firmly on Stairway To Heaven. The song that defined Zeppelin for many generations, the most played song in rock radio history, the song that every Zeppelin fan knows every note to, this was the one that everyone would talk about after the show. They delivered a very solid version which features Page on that all iconic double neck guitar. The solo in this song is widely considered the best guitar solo of all time, but the wizard did not disappoint as he delivered a clean and concise solo and put the big pressure point away forever. It is odd that the whole time I was watching this song it was like watching a student to see if they did enough homework to pass the final exam. I felt guilty about this as this is Led Zeppelin, who was I to have any doubt about the greatest band in the universe. 

12. The Song Remains The Same (5:35) - Things liven up again as if the hard part of the concert was over and the celebration day continues. An uplifting song that transitions the concert while Plant keeps on the double neck from the previous song. Bonham on the drums is the highlight of this song and honestly there was nobody that had more to prove tonight than the junior Bonzo. Fairly straight forward rendition of the feel good song of the night.

13. Misty Mountain Hop (4:48) - Continuing the free spirited approach of the last song, Misty Mountain Hop begins with Plant recounting stories of Jason Bonham's youth being sung to by his parents and how he turned out to be a pretty good singer himself. Lo and behold Bonham provides Plant with backing vocals for this song. I don't believe this is something Bonzo ever did so it was very cool to hear some added power to this excellent song. Jones kept repeating the song's main rhythm to keep the beat steady.

14. Kashmir (8:48) - A highlight of the night. The guitar face Page puts on in the first few seconds of this song says it all. The boys have passed the test, they know it and the fans in attendance know it. Time for the exclamation mark in the form of a flawless, and emotional main set highlight. Plant's wail right before the line "baby, baby, I've been dying" will bring goosebumps to Zeppelin fans as he draws something deep within his soul to achieve such commanding vocal strength. The three originals fire on all cylinders but this is where Jason proves that there is a Bonham behind the kit, and only a Bonham should have the right to be there on this night. The band released this song on YouTube and you can see it below.

15. Whole Lotta Love (6:49) - After all four members take a bow at the conclusion of Kashmir they walk of stage as the main set finishes. When they come back on, there really isnt much doubt that we will hear the chords of Whole Lotta Love. It seems sped up as they rush through it to get to the main highlight which of course is the psychedelic middle part of the song where the grand wizard of the electric guitar takes his pose as green lasers shoot out from the stage. It is theramin time boys and girls where Page waves his hands in front of an antenna and distorts the electric field all round his space. Unfortunately Plant could not deliver the "loooove" scream that used to be considered his most powerful vocal display. Nonetheless the audience helps by screaming it out themselves. The song ends with another bow from the band at the front of the stage before they rush off.

16. Rock and Roll (4:19) - This is it - possibly the last performance of the new Led Zeppelin and they could not have picked a better song. The party atmosphere at the O2 must have been bitter sweet as everyone must have known their gods will only be on stage for just a few more minutes. The band nails the song and Bonham again is the highlight with a beatiful and powerful finale drum solo. Page gives him the biggest smile I have ever seen on Pagey's face and he kisses his guitar before he puts it down. The screen behind the band puts up the familiar Led Zeppelin logo and the band waves as they walk off.  Last to leave the stage is Jason Bonham .... 

Part 1: Link
Part 2: Link
Part 1: Link
Part 2: Link

Some Led Zeppelin Stuff for reading on a boring sunday....

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Saturday, September 20

Luther Allison - Amazingrace Evanston 1978-07-22 (Bootleg)

Size: 134 MB
Bitrate: 320
Found in Outerspace
Some Artwork

An American-born guitarist, singer, and songwriter who lived in France since 1980, Luther Allison was the man to book at blues festivals in the mid-'90s. Allison's comeback into the mainstream was ushered in by a recording contract with an American record company, Chicago-based Alligator Records. After he signed with Alligator in 1994, Allison's popularity grew exponentially and he worked steadily until his death in 1997.

Luther Allison Fillmore West Concert 1970 Poster
Born August 17, 1939, in Widener, AR, Allison was the 14th of 15 children, the son of cotton farmers. His parents moved to Chicago when he was in his early teens, but he had a solid awareness of blues before he left Arkansas, as he played organ in the church and learned to sing gospel in Widener as well. Allison recalled that his earliest awareness of blues came via the family radio in Arkansas, which his dad would play at night. Allison recalls listening to both the Grand Ole Opry and B.B. King on the King Biscuit Show on Memphis' WDIA. Although he was a talented baseball player and had begun to learn the shoemaking trade in Chicago after high school, it wasn't long before Allison began to focus more of his attention on playing blues guitar. Allison had been hanging out in blues clubs all through high school, and with his brother's encouragement, he honed his string-bending skills and powerful, soul-filled vocal technique.

It was while living with his family on Chicago's West Side that he had his first awareness of wanting to become a full-time bluesman, and he played bass behind guitarist Jimmy Dawkins, who Allison grew up with. Also in Allison's neighborhood were established blues greats like Freddie King, Magic Sam, and Otis Rush. He distinctly remembers everyone talking about Buddy Guy when he came to town from his native Louisiana. 

After the Allison household moved to the South Side, they lived a few blocks away from Muddy Waters, and Allison and Waters' son Charles became friends. When he was 18 years old, his brother showed him basic chords and notes on the guitar, and the super bright Allison made rapid progress after that. Allison went on to "blues college" by sitting in with some of the most legendary names in blues in Chicago's local venues: Muddy Waters, Elmore James, and Howlin' Wolf among them.

His first chance to record came with Bob Koester's then-tiny Delmark Record label, and his first album, Love Me Mama, was released in 1969. But like anyone else with a record out on a small label, it was up to him to go out and promote it, and he did, putting in stellar, show-stopping performances at the Ann Arbor Blues Festivals in 1969, 1970, and 1971. After that, people began to pay attention to Luther Allison, and in 1972 he signed with Motown Records. Meanwhile, a growing group of rock & roll fans began showing up at Allison's shows, because his style seemed so reminiscent of Jimi Hendrix and his live shows clocked in at just under four hours!

Although his Motown albums got him to places he'd never been before, like Japan and new venues in Europe, the recordings didn't sell well. He does have the distinction of being one of a few blues musicians to record for Motown. Allison stayed busy in Europe through the rest of the 1970s and 1980s, and recorded Love Me Papa for the French Black and Blue label in 1977. He followed with a number of live recordings from Paris, and, in 1984, he settled outside of Paris, since France and Germany were such major markets for him. At home in the U.S., Allison continued to perform sporadically, when knowledgeable blues festival organizers or blues societies would book him.

As accomplished a guitarist as he was, Allison wasn't a straight-ahead 
Chicago blues musician. He learned the blues long before he got to Chicago. What he did so successfully is take his base of Chicago blues and add touches of rock, soul, reggae, funk, and jazz. Allison's first two albums for Alligator, Soul Fixin' Man and Blue Streak, are arguably two of his strongest. His talents as a songwriter are fully developed, and he's well-recorded and well-produced, often with horns backing his band. Another one to look for is a 1992 reissue on Evidence, Love Me Papa. In 1996, Motown reissued some of the three albums worth of material he recorded for that label (between 1972 and 1976) on compact disc.

Well into his mid-50s, Allison continued to delight club and festival audiences around the world with his lengthy, sweat-drenched, high-energy shows, complete with dazzling guitar playing and inspired, soulful vocals. He continued to tour and record until July of 1997, when he was diagnosed with inoperable lung cancer. Just over a month later, he died in a hospital in Madison, WI; a tragic end to one of the great blues comeback stories. 1998's posthumous Live in Paradise captured one of his final shows, recorded on La Reunion Island in April 1997. Thomas Ruf, who was inspired by and became a friend of Allison's shortly before the bluesman's death, issued Underground on Ruf Records in 2007.

Luther Allison (August 17, 1939 – August 12, 1997) was an American blues guitarist. He was born in Widener, Arkansas, and moved with his family, at the age of twelve, to Chicago in 1951. He taught himself guitar and began listening to blues extensively. Three years later he began hanging outside blues nightclubs with the hopes of being invited to perform. He played with Howlin' Wolf's band and backed James Cotton.

His big break came in 1957 when Howlin' Wolf invited Allison to the stage. Freddie King took him under his wing and after King got his big record deal, Allison took over King's house-band gig on Chicago's west side. He worked the club circuit throughout the late 1950s and early 1960s and recorded his first single in 1965. He was signed to the Delmark Records label in 1967 and released his debut album, Love Me Mama, the following year. A well-received set at the 1969 Ann Arbor Blues Festival resulted in his being asked to perform there each of the next three years. He also toured nationwide and, in 1972, was signed to Motown Records, one of the few blues artists to do so. By the mid 1970s he began touring Europe and moved to France in 1977. Allison was known for his powerful concert performances, lengthy soulful guitar solos and crowd walking with his Gibson Les Paul. Allison lived briefly during this period in Peoria, Illinois, where he signed briefly with Rumble Records, resulting in two live recordings, "Gonna Be a Live One in Here Tonight", produced by Bill Knight, and "Power Wire Blues", produced by George Faber and Jeffrey P. Hess. Allison played the "bar circuit" in the USA during this period, spending eight months per year in Europe at high-profile venues, including the Montreux Jazz Festival. In 1992, he played as a duo with legendary French rock'n'roll star Johnny Hallyday for 18 shows in Paris, also playing during the intermission.

Allison's manager, and European agent, Thomas Ruf, founded the label Ruf Records in 1994. Signing with Ruf Records, Allison launched a comeback in association with Alligator Records. Alligator founder Bruce Iglauer convinced Allison to return to the United States. The album Soul Fixin' Man was recorded and released in 1994, and Allison toured the U.S. and Canada. He won four W.C. Handy Awards in 1994. With the James Solberg Band backing him, non-stop touring and the release of Blue Streak (featuring song "Cherry Red Wine"), Allison continued to earn more Handys and gain wider recognition. He scored a host of Living Blues Awards and was featured on the cover pages of major blues publications.

In the middle of his summer of 1997 tour, Allison checked into a hospital for dizziness and loss of coordination. It was discovered that he had a tumor on his lung that had metastasized to his brain. In and out of a coma, Allison died on August 12, 1997, five days before his 58th birthday, in Madison, Wisconsin. His album Reckless had just been released. His son Bernard Allison, at one time a member of his band, is now a solo recording artist.

He was posthumously inducted into the Blues Hall of Fame in 1998. In 2000, the Chicago Sun-Times called him "The Bruce Springsteen of the blues". He was a chief influence on many young Blues guitarists such as Chris Beard and Reggie Sears.

Allison is buried at Washington Memory Gardens Cemetery in Homewood, Illinois.


01. I Wanna Be Your Lover Man
02. Night Life
03. Messin' with the Kid
04. Ain't Nobody's Business 
05. Look on Yonder's Wall
06. Star Spangled Banner > Auld Lang Syne 
07. Mama's Little Baby
08. Johnny B Goode
09. Rock Me Baby
10. Good Time Charlie

1. Link
2. Link

Sunday, September 7

Not to be missed: Plan 9 - New York 1982-12-09 FM Broadcast (Bootleg)

Plan 9 Poster

Size: 105 MB
Birate: 320
Found in a trash can 
Some Artwork

Plan 9 was one of the first bands in the late 70's to orient by the 60's psych/garage scene.

They had their best time in the early 80's after releasing the Frustration-EP in 1981 and their first album Dealing With The Dead in 1983. The band is still existing but according to WIKI now tending more to Progrock?!? So this show has a lot of great 60's Farfisa & Fuzz if only the radio announcer....

Who knew? Or...Then came Bob Fagan...Or back way up to 1979 and let me tell ya... from the beginning... and I'm gonna try not to leave ANYTHING out, though you'll probably wisht I had.

Enter, John DeVault asleep on the couch, Holly Scanlon if we ever needed a singa, Mike Meehan learning to play guitar but could actually play the drum kit, John Florence with a Tele bass as long as he was tall, Deborah D shy but willing and Eric Stumpo who could sing like Morrison and Arthur Lee and other snotty vocalists of garage psych, while ripping out the meanest guitar solos. Since Tori was still in Junior High and liked to hang around, we were hired for her graduation dance. 

We punked it out to the max, in pink fur pants, hi heels and back-up 8mm films. We played everything we knew, for 4 hours, rousting covers of every cool record from our ever expanding collection of 45's, the grittiest and grungiest garage tunes that were 3 chord wonders and easy to jam on. That was 1979, just prior to beginning an association with BOMP's Greg Shaw, that would eventually lead to the TRANCE-E-DELLIC improv's of Plan 9 2003!

Plan 9 was cool in 1979, enough to attract the attention of guitar punks Tom Champlin, & Eric Vandelin. The deal then was that if they helped us move out to the RED HOUSE they could join the jam. And while getting stupid was the No.1 priority, ultimately they began our wall-of-guitar sound, which had expanded to 3 guitars, all in tune on occasion.

Plan 9 - Frustration Album Promo Shot
Deb found a VOX Super Continental organ at a yard sale. Evan Williams, currently Medicine Ball co-creator and guitar generator, needed a place to live, had a car and a Gibson SG, left handed that he covered with illustrations that were really good, came in one night. We jammed on Dirty Water by the Standells for an hour. He realized the common denominator in our demos, silly love songs as they were, Gotta Move, Frustration, I Can Only Give You Everything, cool music so... we became the "4 guitar 9 member psychedelic experience" started to practice more... oh and I almost forgot about Mikey RIPAMAN who got a Burns guitar for the occasion, had played with us in Newport early on and looked like Eddie of Flo &, and was simply a funny funny man. The idea became apparent to us that we should be Plan 9, to honor the absurdity of the then little known sci-fi debacle, to which we felt akin, P-9 from Outer Space, the one they will certainly remember Ed Wood for.

Enter the texas punk 45 auctions and monumental trades for really great records. We were finding a lot of local stuff too, like the OTHERS Can't stand This Love Goodbye, Buzzards, NightRockers, and East Coast Surf stuff, along with the Trod Nossel records from Connecticut... and Greg Shaw wanted to get some of them, and oh btw Greg, are you looking for bands?

Plan 9 - Dealing with The Dead Album
Midnight Records became a real drag... and we had to get out of our contract, because Enigma was looking for us for soundtrack music, and Midnight refused to cooperate. So Mikey titled up I'VE JUST KILLED A MAN, I DON'T WANT TO SEE ANY MEAT which is borrowed from a certain lousy Italian western movie, dubbed. It gains something in the translation. We recorded live @ Brothers III in New Haven, and the Rat in Boston, and somewhere else, who knows... the sides were pretty cool, the cover art awesome and we could say "See ya" to Midnight. Although, in fairness, they did release the Midnight Christmas Mess where all Midnight Artists at the time were asked to produce a Christmas Song, the 45 with picture cover resulted, which remains a favorite one that took Eric all of an afternoon to write - MERRY CHRISTMAS/WHITE CHRISTMAS, that's an old pose of Santa gesturing with his nose, no longer used to promote the holiday. The B-side is all Mikey, whistling like Bing , and Deb fumbling through the chord changes, produced at Trod Nossel.

At about this time, also, Brian T was trying to put a band together. He had written a few songs, but his band fell apart, so we worked up a side project with Brian and Jane, a 3 song EP titled BRIAN T & PLAN 9. Colin Cheer did the cover for this one as well, a drawing of John Florence in another state of mind in New York City at Dino's Mad Violet house.

The band hosted a 2 day Love Party in Shannock at the Village Café, a dozen cool bands came in on the 14th of February and stayed a while. We recorded the entire event, but alas the tapes are still missing, perhaps stored safely in a dishwasher somewhere in Maine...


♣ Eric Stumpo - Lead Vocals, Guitar
♣ Deborah DeMarco - Organ
♣ Evan Williams, John DeVault, Tom Champlin - Guitar
♣ John Florence - Bass
♣ Michael Meehan - Drums
♣ Michael Ripa - Vocals, Tambourine

01. Crackin' Up (The Wig) (fading in) 
02. How Many Times (The Rovin' Flames) 
03. Where Is Love (Shyres) 
04. Can't Stand This Love, Goodbye (The Others) 
05. Move (State Of Mind) 
06. Beg For love (Plan 9) 
07. You Don't Want Me (Plan 9) 
08. It's One Thing To Say (The Riddles) 
09. Looking At You (MC5) 
10. Try To Run (Plan 9) 
11. Can't Have You (Plan 9) 
12. Keep On Pushin' (Human Beinz) 
13. Frustration (The Painted Ship)
14. speech 
15. Action Woman (The Litter)

1. Plan 9
2. Plan 9

Thursday, September 4

Not to be missed...The Byrds - 1968-11-02 and 1969-05-23 (Bootleg) (Superb Sound Quality)

Size: 339 MB
Bitrate: 320
Found in OuterSpace
Some Artwork Included

Notes from the sleeve... 
Possibly the earliest recorded show to feature the Clarence White - Gene Parsons - John York lineup, and in fact, York couldn't have been in the Byrds more than a week or so. And, as Roy Josephson comments, there are some real highlights and some disappointments. Clarence is absolutely incredible here, especially in the first part of the tape. His guitar is very out front. There appear to be 2 sets. Old Blue is great; Time Between excellent - McGuinn forgets what album it's on. Clarence adds a whole new dimension to Mr. Spaceman - possibly his best work at this show. Blue Suede Shoes is a real hoot. 

Goin Back, Rock 'n' Roll Star, This Wheel, Back Pages and He Was a Friend are the same versions as on the FM broadcast tape. Drug Store Truck Driving Man is a dasslc with a long Ralph Emery story from Roger, harmony from Clarence, and Clarence doing the steel part on his stringbender. Stanley's Song is incomplete but good, done during the pre-show sound check I'd say, although it's In the middle of the tape. Pretty Boy Floyd is done with all guitars - it appears McGuinn says he left the banjo at the hotel. A strong version indeed. 

The show deteriorates toward the end of the tape in the second set. 

A second R & R Star is not as strong as the first. McGuinn just can't cut Hickory Wind, and York is no better. And King Apathy and Bad Night at the Whiskey are just shadows of what's on the album. There are feedback problems. York gets a little carried away on harmony. Clarence's guitar fades to the back of the mix on some numbers. There's feedback, bad distortlon, poor mix and cutting out. I don't hear Gene Parsons on anything but drums. There's lots of commentary from McGuinn. Some guy In the audience hollers for 100 Years and McGuinn does an impromptu first verse. It really didn't sound like there were many people in the audience. Nashville West is a strong closer though. I think Clarence and Gene could play that in their sleep by then. 

Recorded in late '67 and released early '68 the album "The Notorious Byrd Brothers" became a Byrds masterpiece and one of the greatest rock albums ever. Struggles within the band led to a creative high peak  but also to the firing of David Crosby. Although the album sleeve showed only the remaining members Crosby had contributed his part on almost half of the songs on the album. Soon after its release Michael Clarke also left the group.

McGuinn and Hillman who had proved their potential as a songwriting team on "Younger" and "Notorious" were joined by  Hillman's cousin Kevin Kelly on drums and Gram Parsons on guitar and vocals. McGuinn and Hillman at first intended to continue the folk-jazz-country-rock direction of the "Notorious" album but Parsons convinced Hillman to do some more pure country stuff.

After McGuinn had accepted the idea the album "Sweetheart Of The Rodeo" became another innovational work of the band who had always refused to walk the easy road. The Byrds toured Europe in May 68 with Doug Dillard (picture right) on banjo as touring member but, after more hassles within the band Parsons quit not long after, followed by Kevin Kelly. The lineup during the South Africa Tour in July wasHillman, Carlos Bernal, McGuinn, Kelly

McGuinn and Hillman added Clarence White and Gene Parsons to the line up and fulfilled some contractual obligations but it didn't take long and Chris Hillman left the band to form The Flying Burrito Brothers  together with Gram Parsons leaving Roger McGuinn as the only original member. McGuinn decided to go on with White, Gene Parsons and bassist John York. The Burritos'first album "The Gilded Palace Of Sin" was released March '69.

In the summer of 1968 Gene Clark  teamed up with Doug Dillard to form  Dillard And Clark . They recorded "The Fantastic Expedition Of Dillard And Clark"  mostly with Clark originals and cooperations between Clark, Dillard and Bernie Leadon combining bluegrass, folk and rock. Although a minor classic of its era and with good reviews the album sold dissapointingly. 

The Byrds were back in the studio  in 1969 to record the album "Dr.Byrds And Mr.Hyde", released in March with a new Dylan song "This Wheel's On Fire" and some strong McGuinn compositions, one of them a collaboration with Gram Parsons from the "Sweetheart" days, "Drug Store Truck Drivin'Man". The new line up could set stages on fire, especially with White's lead playing but missed the vocal quality of the original band.

The Byrds - Netherland Single 1969
Dillard & Clark recorded their second album "Through The Morning, Through The Night" in the summer of '69 with the help of Hillman, Sneaky Pete amongst others. Bernie Leadon had quit the band before to join the Burritos. The album included some Clark classics like "Kansas City Southern" and "Polly" but missed the freshness of the recordings in '68. Michael Clarke joined the band in summer but became jobless again when Dillard & Clark broke up. Michael found a new engagement in the Flying Burrito Brothers the same year and took part on the recording of the group's second album "Burrito Deluxe", released in May 1970. 

Soon after its release founder member Parsons was fired because of his unreliability towards band's obligations. He was replaced by Rick Roberts with whom the Burritos recorded their third album "The Flying Burrito Brothers" in 1971. Another change within the band happened in 1969 with the quitting of Chris Ethridge who was replaced by Bernie Leadon. The band's last album "The Last Of The Red Hot Burritos" was recorded live in 1971 and released in February 1972. At that time the line up had changed again with Al Perkins replacing Sneaky Pete on pedal steel guitar and Kenny Wertz replacing Bernie Leadon on guitar. Bernie Leadon had left after their third album to form The Eagles.

The Byrds - Netherland Single 1965
After the "Red Hot" release Hillman called it a day and disbanded the group. Relived in 1975 by Pete and Ethridge and performing in different line-ups this kind of Burritos never found the acceptance of Hillman.

After having been fired from the Byrds David Crosby found new partners in Stephen Stills (ex-Buffalo Springfield) and Graham Nash (Hollies) to form American supergroup Crosby, Stills and Nash. Their first album "Crosby, Stills And Nash"  became a huge success with its sparkling harmonies and fantastic guitar work. CSN were accompanied by Dallas Taylor on drums. The Byrds recorded the album "Ballad Of Easy Rider" in the autumn of 1969 bringing the band back to a minor fame. The bad times for McGuinn were over and there was even a new audience especially in Europe that didn't mourn after the loss of the original members but enjoyed the Byrds' full power stage appearances.

The Byrds
Avalon Ballroom, San Francisco 
California November 2 1968
Excellent stereo soundboard

01. Old Blue
02. My Back Pages - Baby What You Want Me To Do
03. Mr Spaceman
04. Time Between
05. Goin' Back
06. Blue Suede Shoes
07. He Was A Friend Of Mine
08. So You Want To Be A Rock N Roll Star
09. Drug Store Truck Driving Man
10. This Wheel's On Fire
11. Stanleys Song
12. Pretty Boy Floyd
13. Eight Miles High
14. You Don't Miss Your Water
15. So You Want To Be A Rock 'N' Roll Star
16. Hickory Wind
17. King Apathy III
18. Bad Night At The Whiskey
19. Nashville West 

Bonus Concert:
The Byrds Ash Grove 
Los Angeles May 23, 1969
Excellent stereo soundboard

01. Lover Of The Bayou
02. You AIn't Going Nowhere
03. Welcome Back Home
04. Old Blue
05. My Back Pages
06. Baby What You Want Me To Do
07. He Was A Friend Of Mine
08. Truck Stop Girl
09. guest intros
10. Break My Mind - with Linda Rondstat
11. I'm Moving On - with John Hammond
12. Take A City Bride
13. Chestnut Mare
14. This Wheel's On Fire
15. It's Alright Ma - Ballad Of Easy Rider
16. Jesus Is Just Alright
17. Turn! Turn! Turn!
18. Mr. Tambourine Man
19. Eight Miles High (incomplete)

Part 1: Link
Part 2: Link
Part 1: Link
Part 2: Link
Avalon Ballroom, San Francisco today
Avalon Ballroom in the 60's concert picture (Band Unknown)

Sunday, August 31

Rare 1st Album: Little Walter -The Best of Little Walter (1st Album US 1957)

Size: 87.6 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Best of Little Walter is the first LP record by American blues performer Little Walter. First released in 1958, the compilation album contains ten Little Walter songs that appeared in the Top 10 of the Billboard R&B chart from 1952 to 1955, plus two B-sides. The album was first released by Checker Records as LP-1428, which was the first LP record released by Checker, and then released on Chess Records with the same catalog number.

The album cover features a black-and-white photo portrait shot by Grammy award winning photographer Don Bronstein of Little Walter holding/playing a Hohner 64 Chromatic harmonica and liner notes by Studs Terkel, who had written Giants of Jazz. The original LP featured a black label.

Little Walter, born Marion Walter Jacobs (May 1, 1930 – February 15, 1968), was an American blues musician and singer, whose revolutionary approach to the harmonica earned him comparisons to Charlie Parker and Jimi Hendrix, for innovation and impact on succeeding generations. His virtuosity and musical innovations fundamentally altered many listeners' expectations of what was possible on blues harmonica. Little Walter was inducted to the The Rock and Roll Hall of Fame in 2008 in the "sideman" category making him the first and only artist ever inducted specifically as a harmonica player.

Jacobs was born in 1930 in Marksville, Louisiana and raised in Rapides Parish, Louisiana, (although recently uncovered census data suggests he may have been born earlier, possibly as early as 1925) where he first learned to play the harmonica. After quitting school by the age of 12, Jacobs left rural Louisiana and travelled around working odd jobs and busking on the streets of New Orleans, Memphis, Helena, Arkansas and St. Louis. He honed his musical skills on harmonica and guitar performing with much older bluesmen such as Sonny Boy Williamson II, Sunnyland Slim, Honeyboy Edwards and others.

Little Walter - Color outtake from first album cover.
Arriving in Chicago in 1945, he occasionally found work as a guitarist but garnered more attention for his already highly developed harmonica work. According to fellow Chicago bluesman Floyd Jones, Little Walter's first recording was an unreleased demo recorded soon after he arrived in Chicago on which Walter played guitar backing Jones. Jacobs reportedly grew frustrated with having his harmonica drowned out by electric guitarists, and adopted a simple, but previously little-used method: He cupped a small microphone in his hands along with his harmonica, and plugged the microphone into a public address system or guitar amplifier. 

He could thus compete with any guitarist's volume. However, unlike other contemporary blues harp players such as Sonny Boy Williamson I and Snooky Pryor, who like many other harmonica players had also begun using the newly available amplifier technology around the same time solely for added volume, Little Walter purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica, or any other instrument. Madison Deniro wrote a small biographical piece on Little Walter stating that "He was the first musician of any kind to purposely use electronic distortion."

Jacobs made his first released recordings in 1947 for Bernard Abrams' tiny Ora-Nelle label, which operated out of the back room of Abrams' Maxwell Radio and Records store in the heart of the Maxwell Street market area in Chicago. These and several other early Little Walter recordings, like many blues harp recordings of the era, owed a strong stylistic debt to pioneering blues harmonica player Sonny Boy Williamson I (John Lee Williamson). Little Walter joined Muddy Waters' band in 1948, and by 1950, he was playing acoustic (unamplified) harmonica on Muddy's recordings for Chess Records. 

The first appearance on record of amplified harmonica was Little Walter's performance on Muddy's "Country Boy" (Chess 1452), recorded on July 11, 1951. For years after his departure from Muddy's band in 1952, Chess continued to hire Little Walter to play on Waters' recording sessions, and as a result his harmonica is featured on most of Muddy's classic recordings from the 1950s. As a guitarist, Little Walter recorded three songs for the small Parkway label with Muddy Waters and Baby Face Leroy Foster (reissued on CD as "The Blues World of Little Walter" from Delmark Records in 1993), as well as on a session for Chess backing pianist Eddie Ware; his guitar work was also featured occasionally on early Chess sessions with Muddy Waters and Jimmy Rogers.

Jacobs had put his career as a bandleader on hold when he joined Muddy's band, but stepped back out front once and for all when he recorded as a bandleader for Chess's subsidiary label Checker Records on 12 May 1952. The first completed take of the first song attempted at his debut session became his first hit, spending eight weeks in the number-one position on the Billboard R&B chart. The song was Juke, and is still the only harmonica instrumental ever to be a number-one hit on the Billboard R&B chart. (Three other harmonica instrumentals by Little Walter also reached the Billboard R&B top 10: Off the Wall reached number eight, Roller Coaster achieved number six, and Sad Hours reached the number-two position while Juke was still on the charts.) Juke was the biggest hit to date for Chess and its affiliated labels, and one of the biggest national R&B hits of 1952, securing Walter's position on the Chess artist roster for the next decade.

Little Walter scored fourteen top-ten hits on the Billboard R&B charts between 1952 and 1958, including two number-one hits (the second being "My Babe" in 1955), a level of commercial success never achieved by his former boss Waters, nor by his fellow Chess blues artists Howlin' Wolf and Sonny Boy Williamson II. Following the pattern of "Juke", most of Little Walter's single releases in the 1950s featured a vocal performance on one side, and a harmonica instrumental on the other. Many of Walter's vocal numbers were originals that he or Chess A&R man Willie Dixon wrote or adapted and updated from earlier blues themes. In general, his sound was more modern and uptempo than the popular Chicago blues of the day, with a jazzier conception and less rhythmically rigid approach than other contemporary blues harmonica players.

Upon his departure from Muddy Waters' band in 1952, he recruited a young band that was already working steadily in Chicago backing Junior Wells, The Aces, as his new backing band. The Aces consisted of brothers David and Louis Myers on guitars, and drummer Fred Below, and were re-christened "The Jukes" on most of the Little Walter records on which they appeared. By 1955 the members of The Aces/Jukes had each left Little Walter to pursue other opportunities, initially replaced by guitarists Robert "Junior" Lockwood and Luther Tucker, and drummer Odie Payne Others who worked in Little Walter's recording and touring bands in the '50s included guitarists Jimmie Lee Robinson and Freddie Robinson. Little Walter also occasionally included saxophone players in his touring bands during this period, among them a young Albert Ayler, and even Ray Charles on one early tour. By the late 1950s, Little Walter no longer employed a regular full-time band, instead hiring various players as needed from the large pool of local blues musicians in Chicago.

Jacobs was frequently utilized on records as a harmonica accompanist behind others in the Chess stable of artists, including Jimmy Rogers, John Brim, Rocky Fuller, Memphis Minnie, The Coronets, Johnny Shines, Floyd Jones, Bo Diddley, and Shel Silverstein, and on other record labels backing Otis Rush, Johnny Young, and Robert Nighthawk.

Jacobs suffered from alcoholism and had a notoriously short temper, which in late 1950s led to a series of violent altercations, minor scrapes with the law, and increasingly irresponsible behavior. This led to a decline in his fame and fortunes beginning in the late 1950s, although he did tour Europe twice, in 1964 and 1967. (The long-circulated story that he toured the United Kingdom with The Rolling Stones in 1964 has since been refuted by Keith Richards). The 1967 European tour, as part of the American Folk Blues Festival, resulted in the only film/video footage of Little Walter performing that is known to exist. Footage of Little Walter backing Hound Dog Taylor and Koko Taylor on a television program in Copenhagen, Denmark on 11 October 1967 was released on DVD in 2004. Further video of another recently discovered TV appearance in Germany during this same tour, showing Little Walter performing his songs "My Babe", "Mean Old World", and others were released on DVD in Europe in January 2009, and is the only known footage of Little Walter singing. Other TV appearances in the UK (in 1964) and the Netherlands (in 1967) have been documented, but no footage of these has been uncovered. Jacobs recorded and toured only infrequently in the 1960s, playing mainly in and around Chicago.

In 1967 Chess released a studio album featuring Little Walter with Bo Diddley and Muddy Waters titled Super Blues.

A few months after returning from his second European tour, he was involved in a fight while taking a break from a performance at a nightclub on the South Side of Chicago. The relatively minor injuries sustained in this altercation aggravated and compounded damage he had suffered in previous violent encounters, and he died in his sleep at the apartment of a girlfriend at 209 E. 54th St. in Chicago early the following morning. The official cause of death indicated on his death certificate was "coronary thrombosis" (a blood clot in the heart); evidence of external injuries was so insignificant that police reported that his death was of "unknown or natural causes", and there were no external injuries noted on the death certificate. His body was buried at St. Mary's Cemetery in Evergreen Park, IL on February 22, 1968. His grave remained unmarked until 1991, when fans Scott Dirks and Eomot Rasun had a marker designed and installed.

Music journalist Bill Dahl described Little Walter as "king of all post-war blues harpists", who "took the humble mouth organ in dazzling amplified directions that were unimaginable prior to his ascendancy." His legacy has been enormous: he is widely credited by blues historians as the artist primarily responsible for establishing the standard vocabulary for modern blues and blues rock harmonica players. His influence can be heard in varying degrees in virtually every modern blues harp player who came along in his wake, from blues greats such as Junior Wells, James Cotton, George "Harmonica" Smith, Carey Bell, and Big Walter Horton, through modern-day masters Sugar Blue, Billy Branch, Kim Wilson, Rod Piazza, William Clarke, and Charlie Musselwhite, in addition to blues-rock crossover artists such as Paul Butterfield and John Popper of the band Blues Traveler. Little Walter was portrayed in the 2008 film, Cadillac Records, by Columbus Short.

Little Walter's daughter, Marion Diaz Reacco, has established the Little Walter Foundation in Chicago, to preserve the legacy and genius of Little Walter. The foundation aims to create programs for the creative arts, including music, animation and video. Stephen King's novel Under the Dome (2009) features a character named Little Walter Bushey, based on Little Walter.

Personnel: The following people contributed to "the Best of Little Walter album":

Little Walter – lead vocals, harmonica
 Muddy Waters – guitar on "Juke" and "Can't Hold Out Much Longer"
 Jimmy Rogers – guitar on "Juke" and "Can't Hold Out Much Longer"
 David Myers – guitar
 Louis Myers – guitar
 Leonard Caston – guitar on "My Babe"
 Robert Lockwood, Jr. – guitar on "My Babe"
 Willie Dixon – bass, producer
 Elgin Evans – drums on "Juke" and "Can't Hold Out Much Longer"
 Fred Below – drums
 Studs Terkel – sleeve notes

Recorded: May 12, 1952 – January 25, 1955 in Chicago, Illinois, Checker LP 1428

01. "My Babe" (Willie Dixon)  2:44
02. "Sad Hours"  3:15
03. "You're So Fine"  3:07
04. "Last Night"  2:46
05. "Blues with a Feeling (Rabon Tarrant, re-written by Jacobs)"  3:10
06. "Can't Hold Out Much Longer"  3:03
07. "Juke"  2:47
08. "Mean Old World (T-Bone Walker, re-written by Jacobs)"  2:57
09. "Off the Wall"  2:52
10. "You Better Watch Yourself"  3:04
11. "Blue Light"  3:14
12. "Tell Me Mamma" 2:47

13. "Juke" (Alternate) [1952]  3:06
14. "Off the Wall" (Alternate) [1953]  2:57
15. "Last Night" (First Version) [1954]  2:55

1. Link
2. Link