DAVE ALLEN "THE MAN" COLOR BLIND 1968 BLUES GARAGE AUTHENTIC I.A.

$

43

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 AUTHENIC INTERNATIONAL ARTISTS LABEL COLLECTIBLE

                     DAVE ALLEN

           "THE MAN"

          COLOR BLIND  

                      USA - (aqua) International Artists - IALP #11

BEAUTIFUL MINT... RARE & SOUGHT authentic old thick cardboard cover vintage issue on the legendary International Artists label, released some years later, the last official I.A. pressing from 37 years ago... a scarce hard to find and highly collectible issue

The 1968 recording features strong Texas blues rock with lots of tremelo guitar all over the place...

Surprisingly enjoyable slab of unpretentious Texas blues-rock… solid, rocking blues well worth seeking out by any fans of early Johnny Winter or the like.” Color Blind was Dave’s finest achievement and his most fully realized work, a cohesive album of all original songs featuring guitar lines that can easily stand alongside those of any blues legend one cares to name, with the blood-chilling vocals to match. Although not without its significant up-tempo moments, Color Blind is primarily a raw, incandescent glimpse into the heart of a genuine bluesman, and a foreshadowing of the events that would eventually overtake that man’s life. Black, white, Mississippi, Chicago or Texas—in the end and after the end, Dave Allen’s music speaks for itself.

Guitar and vocals: Dave Allen
keys: Larry Williamson
Bass: Charles Teague
Drums: Tommy “Bone” Crone

Side 1:

“Terp” – A paean to terpin hydrate elixir with codeine, Dave’s drug of choice in the ’60s and ’70s. Once considered relatively benign by the medical community, this over-the-counter medication proved to be highly addictive. As with most mind-altering substances, the user’s initial experiences are revelatory and account for this song’s jubilant leitmotif.

“How Can You Be So Cold” – The evolution of Dave Allen from a young pop singer to a mature blues artist is not only evident in his refined skill with the guitar, but also in a choice of lyrics that reflected a more world-weary view. The music itself is in some ways not unlike his earlier material, but there’s a surprising key change halfway through followed by a flurry of guitar notes that would not have been generally considered acceptable on recordings of the late ’50s.

“Baby, Please Don’t Try to Tell Me What to Do” – After years of fronting his own bands, Dave’s performances had become far more guitar-driven. With a bit of a lounge sensibility, his understated vocal on this track combines with an artful guitar part to exemplify what had by then become a signature Dave Allen sound.

“Dave’s Blues” – The album’s tracks are arranged in a certain order to re-create the dynamics of a typical Dave Allen set at the time. This number is an energetic instrumental with a remarkable element of swing and a measure of his trademark speed runs.

“Lord Have Mercy” – As hardcore as the blues ever gets. Suicidal lyrics, primal vocals and a vast outpouring of the soul through a Gibson electric guitar and an over-cranked Fender Twin amplifier. Written and recorded not in the aftermath of a drug withdrawal, but during one.

“Goin’ Back to Houston” – An upbeat tune and an overlooked “city song” about Dave’s hometown. His reference to Jensen Drive in Houston’s historic Fifth Ward recalls his countless nightclub appearances in this mostly African-American neighborhood.

Side 2:

“Poor Soul” – Dave referred to this composition in 6/8 time as a “jazz waltz.” Melodically engaging with a jazz-imbued guitar chart, but lyrically disturbing with death as the underlying theme.

“Livin’ in a World of Darkness” – “People, if you would just look around you, then you’d see what’s going on.” Dramatic blues with a gospel flavor, but with absolutely no promise or even suggestion of redemption.

“Bone’s Home” – A sophisticated jazz-blues instrumental with quirky but pleasing rhythm changes. Drummer Tommy “Bone” Crone gets a chance to showcase his impressive technique.

“Midnight Hour Blues” – Another straight-up slow blues that displays Dave’s mastery of the form. As he often did in live performances, Dave solos on the guitar as if he were being chased by one or two of his personal demons.

“Goin’ to St. Louis” – Dave had recorded this song on previous occasions and it had been a staple of his repertoire for years. He rearranged it with a more bluesy approach and a stronger emphasis on the guitar for inclusion on this album.

CONDITION: The Cover: is a TOP COPY "MINT" looks perfect! Very solid, been preserved well....all clean over all areas, no split seams, no bends, no writing, flat and square....

The Vinyl: is all clean and smooth MINT looks and plays TOP LEVEL...with clean aqua International Artists labels...a TOP COPY ...

A GREAT ADDITION TO ANYONE'S COLLECTION !

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EFFICIENT/CAREFUL GRADING

All imperfections are noted both cover & record