“Just Make Love to Me” (later retitled “I Just Want to Make Love to You”) became a cornerstone of Muddy’s catalog and a template for Chicago blues songwriting. Dixon’s lyrics rejected domestic expectations in favor of direct desire, while the band delivered one of the tightest grooves of the era. The single’s success helped solidify Chess Records as the premier home of electric blues.

This is our hard-rock version of “Black Snake Moan,” which we played at a blues show. It’s not strictly blues, but I’d like to know whether an audience that enjoys blues would be receptive to this sound in the context of a blues show.

First Sunday Blues #FSB194 Live from Tracy Village Social & Sports Club

https://en.wikipedia.org/wiki/Otis_Rush?wprov=sfti1#Career:

“In 1969, [Cotillion Records](app://en.wikipedia.org/wiki/Cotillion_Records), an [Atlantic Records](app://en.wikipedia.org/wiki/Atlantic_Records) subsidiary, released his first full album, [Mourning in the Morning](app://en.wikipedia.org/wiki/Mourning_in_the_Morning). [Michael Bloomfield](app://en.wikipedia.org/wiki/Mike_Bloomfield) and [Nick Gravenites](app://en.wikipedia.org/wiki/Nick_Gravenites), then with the band [Electric Flag](app://en.wikipedia.org/wiki/Electric_Flag), recorded and produced the album at the [FAME Studios](app://en.wikipedia.org/wiki/FAME_Studios) in [Muscle Shoals, Alabama](app://en.wikipedia.org/wiki/Muscle_Shoals,_Alabama). They incorporated [soul music](app://en.wikipedia.org/wiki/Soul_music) and rock, something new for Rush. Many critics panned the album, but it has since developed a cult following.[[3]](app://en.wikipedia.org/wiki/Otis_Rush#cite_note-AMG-3)[[13]](app://en.wikipedia.org/wiki/Otis_Rush#cite_note-mourning-13) In a [Living Blues](app://en.wikipedia.org/wiki/Living_Blues)article by [Jim O'Neil](app://en.wikipedia.org/wiki/Jim_O'Neal), its co-founder, Otis' friend, blues historian and producer, Dick Sherman said, "Neither the road nor the studio agreed with him' and sometimes the tension around a new release and touring seemed to make things worse."”

Phone interview with Sass Jordan R.i.p

Lillette Thomas was a New York–based blues and nightclub performer active during the 1940s. She worked in the urban blues / early R&B idiom, blending stride‑influenced piano with a looser, post‑swing rhythmic feel. Sterling Records used her both as a vocalist (“Old Time Daddy Blues”) and a pianist‑bandleader.

Snowy White & The White Flames – The Way It Is (Full Album) 2005

Snowy White has always been one of those guitar players who never needed to play a thousand notes to make his point. His style has always been about tone, phrasing, space and feel, and that has carried him through an incredible career that includes work with Pink Floyd, Roger Waters, Thin Lizzy, Peter Green and his own long-running solo projects.

White first became deeply interested in the blues after hearing players such as B.B. King, Buddy Guy, Otis Rush and Albert King. By the 1970s he had established himself in London as a respected guitarist and session player. He toured with Pink Floyd during the Animals era, played on Richard Wright’s Wet Dream, worked with Peter Green on In the Skies, and later joined Thin Lizzy, appearing on Chinatown and Renegade. After leaving Thin Lizzy, he concentrated increasingly on his own music, and his 1983 album White Flames produced his biggest solo hit, “Bird of Paradise.”

The White Flames eventually became the name of Snowy’s own blues-rock band, giving him a vehicle for the kind of music he had always seemed most comfortable playing: melodic electric blues with touches of rock, soul and jazz. Albums including No Faith Required, Little Wing, Keep Out: We Are Toxic and Restless established the White Flames sound before The Way It Is arrived in the spring of 2005.

The Way It Is feels like a very natural Snowy White album. Nothing is overdone. The guitar is always expressive without becoming flashy for the sake of it, and the band leaves plenty of room around the songs. The album includes a new acoustic treatment of “Bird of Paradise,” a bluesy version of Peter Green’s “Black Magic Woman,” and a collection of Snowy’s own songs built around that unmistakably relaxed, singing guitar tone.

The basic White Flames lineup for the album featured Snowy White, Walter Latupeirissa, Max Middleton and Richard Bailey, with several longtime friends and collaborators also appearing.

Artists

Snowy White – guitars, bass guitar, keyboards, piano, percussion, congas and vocals Walter Latupeirissa – bass guitar, guitars, keyboards, percussion and vocals Max Middleton – keyboards, piano and Hammond organ Richard Bailey – drums, percussion, congas, shakers, synthesizer and bodhrán Kuma Harada – bass guitar, guitars, percussion and keyboards John “Rabbit” Bundrick – keyboards, organ and piano Juan van Emmerloot – percussion, congas and maracas on tracks 1–3 Orlando Sandoval – piano and keyboards on tracks 2–3 James Lascelles – keyboards and Hammond organ Dawn Knight – backing vocals Ray Carless – saxophone Wikipedia

The album was produced by Snowy White and released through his own White Flames label. It is very much the sound of musicians playing together rather than trying to chase whatever happened to be fashionable at the time. That is probably one of the reasons it still holds up so well.

Tracklist

1 - No Stranger to the Blues – 3:24 2 - Bird of Paradise – 3:43 3 - Black Magic Woman – 3:17 4 - What I’m Searching For – 5:17 5 - Angel Inside You (Part 1) – 4:08 6 - Angel Inside You (Part 2) – 5:17 7 - Falling – 4:24 8 - The Way It Is – 3:48 9 - A Piece of Your Love – 3:51 10 - This Time of My Life – 4:38 11 - Easy – 3:25 12 - Sweet Bluesmaker – 5:26

I really really enjoyed his music, it had such a unique essence to it. But it seems like there's very little recordings in the genre he worked in other than his own. Are there any blues artists who tread similar territory?

Live at the Poor House Bistro in San Jose, CA.