4-01 	Electric Guitar 	4:42
4-02 	Electric Memphis Blue 	4:15
4-03 	All Night Long 	4:11
4-04 	Born Bad 	3:46
4-05 	Let's Start Again 	3:52
4-06 	What I'm Looking For 	4:26
4-07 	Rules Of Love 	3:12
4-08 	What You Done To Me 	3:28
4-09 	Hobo Love Blues 	3:38
4-10 	Pass Me By 	3:06
4-11 	The Soul Of My Father's Shadow 	3:52
4-12 	My Blue World Says Hello 	4:06

Accordion – Ed Hession
Banjo – Gerry O'Connor
Bass – Sylvin Marc
Drums – Martin Ditcham
Guitar – Robert Ahwai
Producer – Andy Wilman, Chris Rea

A strain of country blues all its own, Memphis Blues gives the rise of two distinct forms: the jug band (playing and singing a humorous, jazz-style of blues played on homemade instruments) and the beginnings of assigning parts to guitarists for solo (lead) and rhythm, a tradition that is now part and parcel of all modern day blues -- and rock & roll -- bands. The earliest version of the genre was heavily tied to the local medicine show and vaudeville traditions, lasting well into the late '30s. The later, post-World War II version of this genre featured explosive, distorted electric guitar work, thunderous drumming, and fierce, declamatory vocals. ---allmusic.com

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01. Baby Come Home
02. Sweet Love
03. Electric Memphis Blues
04. Bob Taylor
05. Deep Winter Blues
06. My Baby Told Me (Gospel)
07. No Wheels Blues
08. Lucky Day
09. I Love The Rain
10. Wasted Love
11. Angellina
12. Cool Cool Blue
13. Irish Blues
14. That's The Way It Goes
15. Catfish Girl
16. Clarkson Blues
17. Hobo Love Blues
18. Sweet Sunday
19. Catwalk Woman
20. Lucifer's Angel
21. Sing Out The Devil
22.'Til I Find My True Love's Name
23. The Pain Of Loving You
24. All Night Long
25. Are You Ready
26. Big White Door
27. Forever
28. Houston Angel
29. My Blue World Says Hello
30. Somewhere Between Highway 61 & 49

British singer and guitarist Chris Rea enjoyed a run of popularity in Europe during the late '80s and early '90s after almost a decade of recording. Rea started out performing with a local group called Magdalene, taking David Coverdale's place; the band won a national talent contest in 1975 as the Beautiful Losers, but still failed to get a record contract. Rea left the band and recorded the album Whatever Happened to Benny Santini? (an allusion to a discarded stage name), which went gold on the strength of the U.S. Top 20 hit "Fool (If You Think It's Over)." Rea was not heard from again in the U.S. for some time, concentrating his efforts on his main fan base in Europe. A compilation of tracks from Rea's '80s albums, New Light Through Old Windows, was released in 1988 and sold well in the U.K. and Europe and charted in the U.S. Rea followed it up with the critically acclaimed The Road to Hell, which many regarded as his best album. The Road to Hell and its follow-up, Auberge, went to the top of the U.K. album charts, but did not prove as successful in the U.S., where he has failed to chart with his subsequent releases. He released his most ambitious project in 2005, an 11-album, 130-track box set of all new material inspired by the blues and his own paintings called Blue Guitars. The fun The Return of the Fabulous Hofner Blue Notes appeared in 2008. ---Steve Huey, allmusic.com

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01. Auberge 
02. Gone Fishing 
03. You're Not A Number 
04. Heaven 
05. Set Me Free 
06. Winter Song
07. Red Shoes 
08. Sing A Song Of Love To Me 
09. Every Second Counts 
10. Looking For The Summer 
11. And You My Love 
12. The Mention Of Your Name

Chris Rea - Guitar, Guitar (Classical), Harmonica, Organ (Hammond), Slide Guitar
Robert Ahwai - Bass
Simon Clarke - Sax (Alto), Sax (Baritone)
Martin Ditcham - Drums, Percussion
Anthony Dreman - Dobro, Guitar
Nick Hitchens - Tuba
Carol Kenyon - Vocals (Background)
Roddy Lorimer - Flugelhorn, Trumpet
Max Middleton - Piano, String Arrangements
Tim Sanders - Sax (Tenor)
J. Neil Sidwell - Trombone
Paul Spong - Flugelhorn, Trumpet
Linda Taylor - Vocals (Background)
Rick Taylor - Trombone

Chris Rea's voice is like the smoke off a prairie fire or the sparks and flame from a flint and steel. Coupled with his robust, tasteful songwriting, the effect is to pull the listener into a song or album, grabbing at the brain -- not just the ears. Auberge is the follow-up to Road to Hell, an ambitious, dark-toned album that found European and critical success. Auberge may not be as dark as its predecessor, but Rea seemingly can't sing a word without sharpening its flinty edges, making it a bit threatening. That said, his latest effort tempers that wariness with a mixture of cavalier spontaneity and sighing recall. It's the thoughts and feelings of a man on a meandering road trip, thinking over the things he's said and done. "Heaven" seems to recall a time when the afterlife was in reach, but it could just as easily be the song of someone who's finally found his way. The reggae-tinged "Every Second Counts" finds Rea adjusting his phrasing perfectly to the song's mellow upbeat, while the rousing title track and its accompanying set piece "Set Me Free" move from searching, tentative guitar noodlings into full-blown epics, sketching the album's story line with bluesy bottom end, blustering horns, backup singers, and Rea's own grainy vocal rumble. Auberge might be a bit tough to break into at first, like a road map that you just can't unfold, but that's because ambitious, rangy songwriting is going to take a few odd turns on its way to the scenic overlook where everything becomes clear. In Rea's case, that moment is summed up over the twisting guitar and swelling strings of "Gone Fishing." "You can waste a whole lifetime trying to be what you think is expected of you," he sings, and offers the simple act of casting a line as cure for life's wrong turns. --- Johnny Loftus, allmusic.com

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01 - Twisted Wheel
02 - The Things Lovers Should Do
03 - Dance! (Don't Think)
04 - Raincoat And A Rose
05 - Cenotaph/Letter From Amsterdam
06 - Deltics
07 - Diamonds
08 - She Gave It Away
09 - Don't Want Your Best Friend
10 - No Qualifications
11 – Seabird

    Chris Rea - vocals, guitar, keyboards, synthesizer
    Robert Ahwai- guitar
    Eoghan O'Neill - bass
    Kevin Leach - keyboards
    Max Middleton - keyboards
    Dave Mattacks - drums
    Adrian Rea - drums
    Martin Ditcham – percussion

Indeed, whatever happened to Benny Santini? The name that Magnet Records were considering using for their new solo signing but instead he went with his real name of Chris Rea, and Deltics was his second album after Whatever Happened to Benny Santini? and his first to reach the charts, althoug it didn't make much of an impact, only peaking at number 54 in the spring of 1979 -- not the best time for an introspective singer/songwriter to crash the charts. Named after the British Rail class 55 of diesel locomotive trains that were built in the early '60s and were just about to be withdrawn from service, Rea showed his interest in various forms of transport that would continue throughout his recording career. He took a leaf out of the Elton John songbook with the opening track "Twisted Wheel" which has a thumping piano running throughout and a melody not unlike Elton's song "Part Time Love." This style was continued on the song "Dance (Don't Think)" and the one single taken from Deltics, the track "Diamonds," but this was hardly surprising as the album was produced by Gus Dudgeon who had been influential in producing most of Elton John's albums to date. However, there was a variety on the album that showed great promise, from these uptempo numbers to the great atmospheric guitar work by Robert Ahwry on the title track and the ballads "She Gave It Away" and "The Things That Lovers Do." "Raincoat and a Rose" was obviously going to tug at the heartstrings with a string section during the intro and the chorus, and the song did turn out to be about forbidden love while the track "Cenotaph" was an interesting two-minute instrumental that led into the more rock-oriented "Letter from Amsterdam." Because Rea's career has lasted so long, still enjoying hit albums in the 21st century, his early work, which was not as commercially successful, is sometimes overlooked and Deltics is a prime example, a great album, hardly ever mentioned in discussions of Chris Rea's many recordings. --- Sharon Mawer, allmusic.com

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1 	Walkin' Country Blues 			3:41 	
2 	Man Gone Missing 			4:40 
3 	Can't Stay Blues 			4:58 
4 	KKK Blues 			4:33 	
5 	Too Much Drinkin' 			4:52 	
6 	Catwalk Woman 			4:32 	
7 	If You've Got a Friend in Jesus 			4:24 	
8 	Head Out on the Highway 			4:41 	
9 	Wild Pony 			4:10 
10 	Steam Train Blues 			3:50 	
11 	Going Up to Memphis 			4:20 	
12 	Somewhere Between Highway 61 & 49 			6:06 	
13 	Ticket for Chicago 			5:16 	
14 	Dance All Night Long 			4:33

Accordion – Ed Hession
Banjo – Gerry O'Connor
Bass – Sylvin Marc
Drums – Martin Ditcham
Guitar – Robert Ahwai
Producer – Andy Wilman, Chris Rea
Written-By – Chris Rea

Old-time blues, acoustic blues, deep blues, traditional blues, pre-war blues, folk blues, primitive blues or Country blues, it has many names, but in its essence it is the pure, ethereal, original music of rural African-Americans that originated in the Southern USA during the 1920s and 1930s. Today, people of all ethnicity and origins play it worldwide. The blues has found kindred musical souls, celebrating the commonality of the human spirit. This website has one simple message: The acoustic blues is alive and well in the 21st Century––nothing more, nothing less. The musicians included here are keeping the traditions alive while helping the old-time blues progress and stay vibrant. --- thecountryblues.com

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1. West Africa 
2. Cry For Home 
3. The King Who Sold His Own 
4. White Man Coming 
5. Where The Blues Come Form 
6. Lord Tell Me It Won't Be Long 
7. Work Gang 
8. Praise The Lord 
9. Sweet Sunday 
10. Sing Out The Devil 
11. Boss Man Cut My Chains

Musicians:
Chris Rea - electric guitar, piano, harmonica, dobro, mandolin, banjo, slide guitar, bass, calimba, balafon, vibraphone, hammond organ, percussion, drums
Robert Ahwai - guitar
Sylvin Marc - bass
Gerry O'Connor - banjo
Ed Hession - accordion
Martin Ditcham – drums

The first album of the set deals with the very beginnings of the Blues, tracing its ways back to its African roots.

Living conditions were hard, many African natives were taken captives and transported across the ocean to be sold as slaves, sometimes even betrayed by their own people, which is vividly depicted in the song The King Who Sold His Own.

All in all it was an environment, where it was only natural for the Blues to develop, and even though the instrumentation and the construction of the songs was still very different from what we now know as Blues, the basics were already there: the sadness, the strain, the burdens, the depression, the feeling of "blue" and of course the underlying musical structure. --- thepiratebay.se

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1.   My Baby Told Me (Blues)(60s/70s) - 2.55
2.   Got To Be Moving - 4.03
3.   My Baby Told Me (Gospel) - 3.19					play
4.   Heartbreaker - 2.58
5.   Yes I Do (Instrumental) - 3.28
6.   Wasted Love - 4.44
7.   Cool Cool Blue - 4.15
8.   Clarkson Blues - 5.09
9.   Who Killed Love - 4.27
10.   Never Tie Me Down - 4.13
11.   Mindless - 3.55
12.   Ain't That Just The Prettiest Thing - 5.20
13.   Nobody But You - 3.55								play
14.   Waiting For Love - 4.57
15.   Blue Morning In The Rain - 4.50

Chris Rea - electric guitar, piano, harmonica, dobro, mandolin, banjo, slide guitar, bass, calimba, balafon, vibraphone, hammond organ,
 percussion, drums, author, producer, paintings
Robert Ahwai - guitar
Sylvin Marc - bass
Gerry O'Connor - banjo
Ed Hession - accordion
Martin Ditcham – drums.

Blue Guitars is a Blues album released by Chris Rea on October 14, 2005 consisting of eleven CDs, one DVD and a full colour book, including paintings by the artist, liner notes and song lyrics. The album is an ambitious project with the 137 songs recorded over the course of 1½ years with a work schedule - according to Chris Rea himself - of twelve hours a day, seven days a week. Initially the project was inspired by Bill Wyman's "Blues Odyssey" and can be called an "odyssey" in its own right, for depicting a journey through the various epochs of Blues Music, starting at its African origins and finishing with modern-time Blues from the 60s and 70s. Subsequently the eleven CDs are titled the following: "Beginnings", "Country Blues", "Louisiana & New Orleans", "Electric Memphis Blues", "Texas Blues", "Chicago Blues", "Blues Ballads", "Gospel Soul Blues & Motown", "Celtic & Irish Blues", "Latin Blues" and "60s & 70s".

The collection is the fifth and last release in a line of Blues recordings Chris Rea has made since recovering from a serious disease at the turn of the millennium and promising himself a return to his Bluesy roots in the event that he survived. According to Rea "Blue Guitars" will be his last solo effort; however, he will continue to release albums as a member of the band "Memphis Fireflies".

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01-chris_rea-josephine
02-chris_rea-on_the_beach
03-chris_rea-road_to_hell
04-chris_rea-fool_(if_you_think_its_over)
05-chris_rea-stainsby_girl
06-chris_rea-lets_dance
07-chris_rea-someday_my_peace_will_come
08-chris_rea-dancing_the_blues_away
09-chris_rea-long_is_the_time_hard_is_the_road
10-chris_rea-baby_dont_cry
11-chris_rea-speed
12-chris_rea-born_bad
13-chris_rea-sometimes
14-chris_rea-blues_for_janice
15-chris_rea-the_shadow_of_a_fool

Instruments [All Instruments Played By], Performer – Chris Rea 

Chris Rea released "Fool (If You Think It's Over)" in April of 1978 in his homeland, but the song failed to make any impact. By July of that same year, Rea had his first American Top 40 single with the same song, as "Fool" made it to number 12 on the Billboard charts. The song helped its parent album, Whatever Happened to Benny Santini?, reach number 49 in Britain, eventually selling 500,000 copies and earning Rea a gold disk. After the song's success in America, the U.K. gave it another chance, and the second time around it peaked at the number 30 spot. Although it was nominated for a Grammy, the song didn't win, but this recognition gave Rea incentive to focus more on his writing, which led to his decision of not touring to support the album, despite the fact that his label wanted him to. Of course, Rea's strongest attribute is his nearly hoarse but soothing voice, which is what gives "Fool" (and the bulk of his material) its appeal. Rea's marbly texture makes this average love song seem much more emotive and passionate, cloaking his voice over the music's fragile tempo but stirring up enough movement to keep it from being a sleeper. Its gentle harmony is barely noticed, since most of the attention is focused on Rea's laid back and low-key style. In 1982, England's Elkie Brooks fared better than Rea did with her version of the song, taking it to number 17 on the British charts. Chris Rea's career increasingly improved in Europe throughout the '80s, especially after the release of 1985's Shamrock Diaries, which sported solid songwriting that pertained to his English surroundings. --- Mike DeGagne, allmusic.com

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1. Two Days Missing Down The Viper
2. Who Cares If I Do
3. What Made Me Love You
4. You Got Dixie
5. One Night With You
6. Talking 'bout New Orleans
7. Le Fleur De La Vie
8. Catfish Girl
9. Only A Fool Plays By The Rules
10. Baby Come Home
11. Dance Avec Moi
12. L'ete Sternal

Primarily (but not exclusively) piano- and horn-driven, New Orleans Blues is enlivened by Caribbean rhythms, an unrelenting party atmosphere, and the "second-line" strut of the Dixieland music so indigenous to the area. There's a cheerful good-naturedness to the style that infuses the music with a good-time feel, no matter how somber the lyrical text. The music itself uses a distinctively "lazy" feel, with all of its somewhat complex rhythms falling just a hair behind the beat. But the vocals can run the full emotional gamut from laid-back crooning to full-throated gospel shouting, making for some interesting juxtapositions, both in style and execution.---allmusic.com

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1. Last Call
2. Maybe That's All I Need To Know
3. Deep Winter Blues
4. If I Ever Get Over You
5. I Love The Rain
6. My Soul Crying Out For You
7. If That's What You Want
8. There's No One Looking
9. What Became Of You
10. My Deep Blue Ways

The term blues ballad is used to refer to a specific form of popular music which fused Anglo-American and Afro-American styles from the late 19th century onwards. From the 20th century it was also used to refer to a slow tempo, often sentimental, song in a blues style.

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