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The Blues Project


Among the initial album-oriented, “underground” groupings in america, the Blues Task offered a power brew of rock and roll, blues, folk, pop, and also some jazz, classical, and psychedelia throughout their short heyday within the mid-’60s. It isn’t quite accurate to categorize them being a blues-rock group, although they do a lot of that sort of materials; they were similar to a Jewish-American equal to United kingdom rings just like the Yardbirds, who utilized a blues and R&B bottom to explore any music that interested them. Erratic songwriting skill and too little a truly excellent vocalist avoided them from increasing to leading type of ’60s rings, but they documented a lot of interesting materials during the period of their initial three albums, prior to the departure of the most creative associates had taken its toll. The Blues Task was produced in Greenwich Community within the middle-’60s by guitarist Danny Kalb (who acquired played periods for several Elektra folk and folk-rock albums), Steve Katz (a guitarist with Elektra’s Also Dozen Jug Music group), flutist/bassist Andy Kulberg, drummer Roy Blumenfeld, and vocalist Tommy Flanders. Al Kooper, in his early twenties a practiced vet of rock and roll sessions, joined up with after seated in in the band’s Columbia Information audition, although they finished up putting your signature on to Verve, an MGM subsidiary. Early member Artie Traum (electric guitar) slipped out during early rehearsals; Flanders would keep after their initial LP, Live on the Cafe Au-Go-Go (1966). The eclectic réamountés from the music artists, who originated from folk, jazz, blues, and rock and roll backgrounds, was shown in their selection of materials. Blues by Muddy Waters and Chuck Berry music ran alongside addresses of modern folk-rock music by Eric Anderson and Patrick Sky, along with the group’s very own originals. We were holding generally penned by Kooper, who acquired already constructed songwriting credentials because the co-writer of Gary Lewis’ large smash “This BAND,” and set up a status as a significant folk-rock shaker along with his efforts to Dylan’s middle-’60s information. Kooper also offered the band’s instrumental shows along with his glowing body organ riffs. The live debut noises rather tame and derivative; the group really strike their stride on Projections (past due 1966), that was, disappointingly, their just full-length studio documenting. While they experienced straight blues figures with reputable energy, they actually shone best in the folk and jazz-influenced monitors, like “Journey Apart,” Katz’s lilting “Steve’s Tune,” Kooper’s jazz instrumental “Flute Thing” (an underground radio regular that’s most likely their most well-known monitor), and Kooper’s brutal adaptation of a vintage Blind Willie Johnson amount, “I CANNOT Avoid Crying.” A non-LP one from this period, the pop-psychedelic “VIRTUALLY NO TIME Like the Best Period,” was their ideal achievement and something of the greatest “great strike singles that hardly ever were” from the 10 years. The band’s extremely eclecticism didn’t augur well because of their long-term balance, and in 1967 Kooper still left within a dispute over musical path (he provides recalled that Kalb compared his wishes to include a horn section). After that Kalb mysteriously vanished for months following a poor acid solution trip, which successfully finished the initial incarnation from the band. Another recording, Live at City Hall, was an especially half-assed project provided the band’s stature, pasted collectively from live tapes and studio room outtakes, a few of that have been overdubbed with applause to provide the impression that that they had been documented in concert. Kooper surely got to fulfill his ambitions for soulful horn rock and roll as the innovator of the initial Blood, Perspiration & Tears, although he remaining that music group after their 1st recording; BS&T also included Katz (who remained onboard for a long period). Blumenfeld and Kulberg held the Blues Task taking a 4th album before developing Seatrain, as well as the group re-formed in the first ’70s with numerous lineups, Kooper rejoining for any live 1973 recording, Reunion in Central Recreation area. The very first three albums from your Kooper days will be the just ones that count number, though; the very best materials from these is definitely on Rhino’s best-of compilation.

Quick Facts

Music Songs Steve's Song, Wake Me, Shake Me, Catch the Wind, Flute Thing, Two Trains Running, I Can't Keep From Crying, No Time Like the Right Time, Back Door Man, Caress Me Baby, Cheryl's Going Home, I Want to Be Your Driver, You Can't Catch Me, Way My Baby Walks, Goin' Down Louisiana, Spoonful, Violets of Dawn, Who Do You Love, Mean Old Southern, Gentle Dreams, Where There's Smoke, There's Fire, Love Will Endure, Friday Night City, You Go and I'll Go With You, Visions of Flowers, Little Rain, Lost in the Shuffle, Black Night, Jelly Jelly Blues, Louisiana Blues, Dakota Recollection, I'm Ready, Have You Ever Had The Blues?
Albums Projections, Live at The Cafe Au Go Go, Live at Town Hall, Planned Obsolescence, The Blues Project Anthology, Live At The Matrix September 1966 (Remastered), Through the Storm, Voodoo Soul Blues, Anthology

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1 Members have included Al Kooper, Danny Kalb, Steve Katz, Andy Kulberg, David Cohen, Don Kretmar, Bill Lussenden, Eric Pearson, Tommy Flanders, Roy Blumenfeld.



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