Then play on
Fleetwood Mac
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Reviews (3)
Uncut
d. 6. Feb. 2017
By
By
Nigel Williamson
d. 6. Feb. 2017
"Allison's blues were jazzy and sophisticated. His piano playing was a hybrid of boogie-woogie, stride, swing, Nat Cole, Errol Garner and early Ray Charles embellished with bebop improvisations. He sang in a sly, slack-jawed voice with a distinctive rural diction and his lyrics were smart and witty, littered with puns and moonshine wisdom, indebted as much to Mark Twain's Huck Finn as to the Delta argot of Johnson, Charley Patton and Son House. As Jamie Cullum noted almost half a century later, Allison was "a genre in his own right" ... Equally influential on British R'n'B were Allison's early covers of Willie Dixon's "Seventh Son", Big Joe Williams' "Baby Please Don't Go" and Sonny Boy Williamson's "Eyesight To The Blind", which arguably became better-known than the versions by the original artists".
theartsdesk.com
d. 27. Nov. 2016
By
By
Kieron Tyler
d. 27. Nov. 2016
"For non-completists, getting handle on Allison has previously been difficult as a concise, single-disc collection compiled with an eye towards his influence on British music has been lacking until now ... I'm Not Talkin' collects 24 tracks from 1957 to 1971, over which Allison recorded for four labels: Prestige, Columbia, Epic and Atlantic. His favoured means of getting the music across was as a pianist in a trio but, in the early Seventies, he also played an electric piano and worked with a filled-out band. Such a sweep suggests I'm Not Talkin' could be a disparate experience and not hang together. In the event, it's a unified listen. It also has good, enthusiastic liner notes".
fRoots
2017 Jan/Feb
By
By
Ian Anderson
2017 Jan/Feb
"His songs like Parchman Farm, Young Man Blues and Everybody Cryin' Mercy got covered by The Who, Georgie Fame (who completely adopted Mose's vocal style), Van Morrison, John Mayall, The Clash, The Yardbirds, Eric Clapton, Elvis Costello and Bonnie Raitt, and his music influenced many more from the Stones to Hendrix, Tom Waits and beyond. Even his covers of blues classics by others, like Sonny Boy Williamson's Eyesight To The Blind or Willie Dixon's Seventh Son and I Love The Life I Live - all included here - became the iconic versions beyond the originals ... Excellently compiled and with extensive notes by Dean Rudland, and great remastered sound by Duncan Cowell, this is a fabulous testament to those early years and, if you're new to him, as fine a belated introduction to his work as you could ask for".