Bitrate: 320K/s
Year: 1978
Time: 45:24
Size: 105,5 MB
Label: Red Lightnin'
Styles: Blues
Art: Front + Back
Year: 1978
Time: 45:24
Size: 105,5 MB
Label: Red Lightnin'
Styles: Blues
Art: Front + Back
Tracks Listing:
1. There's Gotta Be A Change - 3:02
2. Ice Cold - 3:45
3. Same Old Blues - 5:43
4. You Send Me - 4:29
5. Rock Me - 7:18
6. Going Back To Oakland - 3:37
7. Blues At Midnight - 6:15
8. Steal Away - 5:31
9. Honky Tonk - 5:44
1. There's Gotta Be A Change - 3:02
2. Ice Cold - 3:45
3. Same Old Blues - 5:43
4. You Send Me - 4:29
5. Rock Me - 7:18
6. Going Back To Oakland - 3:37
7. Blues At Midnight - 6:15
8. Steal Away - 5:31
9. Honky Tonk - 5:44
Born in Vancouver Washington, Isaac Scott showed his gifts early, playing in bands and backing up vocalists in the Portland area while still a teenager. Soon he was invited to join The Five Blind Boys of Mississippi and toured the country with them, playing all the premier venues on their circuit.Isaac moved to Seattle in the mid seventies and took the town by storm. He was hired by Tom McFarland in 1974 and soon met and became close friends with Albert Collins. Isaac and Albert played some legendary shows in Seattle and Portland in the late '70's. Collins was instrumental in getting Isaac his first record deal with Red Lightin' Records. Isaac made a strong impression at the San Francisco Blues Festival in 1978 with his own band and released “Live At The Roadhouse” in the mid '80's. His first studio release, “Big Time Blues Man”, recorded in the '80's, received a favorable review in Downbeat Magazine and featured a remarkable version of The Beattle's Help. Isaac became known as “The King of Seattle Blues”, playing all over the Pacific Northwest for over 25 years. Isaac always had a large fan base at his performances and it didn't take long for newcomers to realize that they were witnessing something special. He could grab 'em and he could keep 'em. Through the years an Isaac Scott Band alumni was built, full of talented musicians that carry with them Isaac's essence. He always insisted that the music be real, that it be expressive and that it be filled with spirit.
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