"Live At The Sahara Tahoe" is the first live album by American soul musician Isaac Hayes. The album, recorded live at the Sahara Hotel & Casino in Lake Tahoe, Nevada, was released in 1973, by Stax Records' Enterprise imprint.
Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century…
Live album recorded January 10th 1972 for broadcast on KMET Los Angeles. In the early 1970s, B.B. King was basking in the glow of crossover success, his brand of soulful blues reaching all audiences, not just African-American ones. On this 75-minute radio broadcast from 1972, his stinging guitar paces a mix of old and new classics, from his mid-‘50s R&B hit “Everyday I Have the Blues” to Leon Russell’s “Hummingbird”. Other highlights include the standard “Rock Me Baby” and his biggest hit, “The Thrill Is Gone”. (Note: There are different releases of these recordings, mentioning different dates for when this radio show was broadcasted. Some say October 1st, 1972, whilst this one says January 10th.)
Otis Redding’s third album, and his first fully realized album, presents his talent unfettered, his direction clear, and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding’s versions of songs by Sam Cooke, his idol, who had died the previous December, and all three are worth owning and hearing. Two of them, “A Change Is Gonna Come” and “Shake,” are every bit as essential as any soul recordings ever made, and while they (and much of this album) have reappeared on several anthologies, it’s useful to hear the songs from those sessions juxtaposed with each other, and with “Wonderful World,” which is seldom compiled elsewhere.
Jimmy Smith wasn't the first organ player in jazz, but no one had a greater influence with the instrument than he did; Smith coaxed a rich, grooving tone from the Hammond B-3, and his sound and style made him a top instrumentalist in the 1950s and '60s, while a number of rock and R&B keyboardists would learn valuable lessons from Smith's example.
The combination of King and the well-oiled Philly rhythm section that powered hits by the O'Jays, Spinners, and Stylistics proved a surprisingly adroit one. Two huge hits came from this album, the Stevie Wonder/Syreeta Wright-penend title track and "I Like to Live the Love," both of them intriguing updates of King's tried-and-true style.