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Even for a relatively brief (20-song) overview of Ray Charles's '60s output during the peak of his recording stardom at ABC-Paramount, Anthology covers a hell of a lot of styles. It couldn't be any other way, not when examining the period in which he hit the charts with transformed versions of half-forgotten standards ("Georgia on My Mind"), hip jazz instrumental takes on Clovers tunes ("One Mint Julep"), rocking uptempo R&B ("Hit the Road Jack") and mournful proto-countrypolitan ("I Can't Stop Loving You"). If any of those four titles means a thing to you, this primer on America's greatest singer is probably a disc you should own. --Rickey Wright ... Read more

Reviews (18)

Almost perfect.......
This is the best mini-collections one can get of Ray's music. I think it's a crime that so many of our legends that are still living are virtually invisible, drowned out by the thunder-thump of some of the digital wizards that pretend to be musical artists today. There is one song I really like that wasn't included her. It's "You Don't Know Me" ("You give your hand to me....and then you say hello...."). This is the music of my early childhood, and it was played around my house along with Cannonball Adderley, Lou Rawls, Nancy Wilson, Wes Montgomery..... oh man, the list could go on and on! I find myself reminiscing every time I come to these Amazon music pages! If you are on a budjet, this CD gives you the most for the least dough. Ray Charles is part of the royalty that gave us the best music of the 20th century. He will be eulogized and all after he passes away, but it's just a shame there isn't enough room in the mainstream spotlight for those that got us here.

A SAMPLER OF BROTHER-RAY'S BEST
In 1967 I was stationed at Ft. Benning, Ga. after doing my 1 yr."tour" of Viet Nam. I needed a healthy dose of Soul to re-invent my lost spirits, so I bought a double-album by Ray called "Ray Charles, A Man And His Music", I liked that album so much I kept it, and played it quite often for over 35 yrs. Yikes am I gettin old! I finally gave it away to a friend cuz my record player went to Hell.
Anyway if you like Ray's music even a little bit I think you'll like "anthology" Here are a few of my picks in different
music styles: 1- "I Don't Need No Doctor" (blues-rock) "Unchain my Heart" (blues-rock) 2-"I Can't Stop Loving You (mournful-blues ) "Lets Go Get Stoned" (hard-day-at-work blues)
Buy This One....I am cuz I know what's on it
Later on dudes!!
Blues-eyed Bob

Rest in peace, Genius
This CD features recordings from Ray Charles' 1960s heyday. (I have a first pressing of this CD, which features "Sticks and Stones" instead of "America the Beautiful".) This is all prime Ray Charles. He had (for the most part) stopped writing his own material at this point, and instead became an interpreter of any song that struck his fancy. He could take a song from any musical genre and make it his own. People said he was crazy when he decided to record an album of country songs, but it went on to become his best selling LP. This anthology is by no means complete, (it doesn't include his Number Two hit "You Don't Know Me"), but it is a solid hour-plus of Ray Charles at his best. Highly recommended.

Blues God
I own this CD and The Genius of Ray Charles. Both excellent, but between the two, I have to give my thumbs up to the Anthology. "Busted" is enough of a reason to own this album and the entire CD is just as good. Buy it, you won't be disappointed.

A Great Collection
If you're looking for one CD that has the best of Ray Charles on it, this is it. There are more complete collections, but this is the best overall. ... Read more

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New York guitar phenom walks tall in the blues tradition with this third album, jettisoning fiery riffs inspired by John Lee Hooker, B.B. King, Elmore James, and Albert Collins into the future with furious playing, a hard-rock sensibility, and a grizzled voice that owes a debt to Gregg Allman. Equally inspired by the Delta blues and the mid-'60s British blues boom, the young firebrand--who titled this CD after a Rod Stewart song penned while in the Jeff Beck Group--is able to fuse those two schools together, creating edgy blues rock. --Jaan Uhelszki ... Read more

Reviews (23)

As Blues As You Can Get...
"Blues Deluxe," the new CD from Joe Bonamassa, is promoted as his first 'official' blues CD. His former discs "So, It's Like That" and "A New Day Yesterday" are more classic rock (with a blues influence).

I came across this disc at a listening station in Barnes And Noble - and was immediately taken in by a rousing rendition of BB King's "You Upset Me Baby" followed by a foot-stompin' rendition of John Lee Hooker's "Burning Hell." You could immediately tell that Joe Bonamassa was not here to pay tribute to the blues, he was here to bring it to a new level.

This is not entirely a covers disc, "Woke Up Dreaming" is a blistering acoustic track (yes blistering -- the guitar is almost set on fire in the intro), and "I Don't Live Anywhere" is a dreamy-heartfelt ballad that shows Bonamassa can write with the best of them.

It is here where I can say this CD is a great listening experience. The song where Bonamassa brings "Blues Deluxe" to level above great, is in fact, the title track (a cover of the great Jeff Beck). The solo in this song is comparable to some of the best of the best (Stevie Ray Vaughan, Jimi Hendrix, and Eric Clapton). The raw emotion that filters through the guitar solo is enough to channel into anyone's soul, and make them nod in appreciation for what has been 'said'. I, in fact, am one of those souls.

No way joe
From Exqweezme: Have to dissent from some of the views here. Joe's guitar is certainly very good, however I feel he fails to make these songs his own. His guitar playing is a re-run of texas style blue-rock that we've heard before, and not as good as the truly exceptional artists that ply the trade like SRV, ZZ Top, or even the Fabulous Thunderbirds.

Furthermore, his lyrical arrangement and style seem rather trite. His vocalization reflects to much artificiality which lacks a serious understanding of what the blues is and how it should be played.

I'm willing to except these downfalls from a 15 year old Jonny Lang, but not someone like Joe who has been a proffesional musician for this long. Hopefully his future offerings will show a bit more substance than his current one. Until then I will continue to re-listen to older classics like Muddy Waters, Robert Johnson, B.B. King, and John Lee Hooker and anxiously await the modern masters of blues, Eric Clapton and Keb Mo (and maybe in the future Jonny Lang, Kenny Wayne Sheppard, and Susan Tedeschi).

Blues Deluxe is a Blues Lesson
A wonderful collection of cover songs with an original thrown in. Everything from hard driving bar room blues to ballad and delta blues sounds. It took me a few songs to realize he's not one of those that throws the whole bag of tricks at you in the first minute and is out of gas by the fourth song. Very tastefull playing that can go from in your face to mellow and sound great. Fans of Walter Trout, SRV, Buddy Guy, Roy Buchanan and guitar blues/blues rock will find something to catch their ear on this CD. One of the newer guns like Johnny Lang and Kenny Wayne Shepard but with a heavier sound. Never heard his other releases. This one will find alot of time in my playlist. Mainly a cover sing CD that benifits from classic songs performed by a great musician. I hope Blues Deluxe 2 happens sometime soon.

Phenomenal Masterpiece!
After recording two successful solo albums, mixing influences of classic rock and blues, Joe Bonamassa has released his first full-blooded blues album, Blues Deluxe on August 26, 2003 which marks his contribution to "The Year of the Blues". This CD is totally made up of Joe paying homage to The Blues Legends, never mind what CD is the best of 2003, this one reaches into your all time list and knowing that it was recorded in just 8 days is way to scary to even think about what this guy is capable of!

To be honest there are some great new blues/rock CD's that have come out this year, and I know of at least 3 or 4 others that I highly recommend as a must buy for 2003, but if you don't buy Joe Bonamassa's new CD, I promise you will live to regret it! After the first spin of this disc I was totally speechless, a total loss of words! I don't even know where to start describing the overwhelming sense of AWE that came over me, I mean the hair on the back of my neck literally stood on end about half way through the title cut Blues Deluxe! I knew this cat was good but is it really possible that he has gotten that much better? Damn right he has! From this day forth anytime the name Joe Bonamassa is spoken it should be followed immediately by these two words "GUITAR GOD" because they only people I have ever heard play like this is Jimmy Page, Jimi Hendrix, Eric Clapton, and Stevie Ray Vaughan. I have heard people flirt with music like this and become "GUITAR GREATS" but to just flat out kick it in the ass like this not only puts this cat in the category of the elite, but cements his place in guitar history! It's so very exciting to witness greatness like this in the making! Joe Bonamassa has perfect control over his instrument, it's like he will's it to speak to you without any effort at all.

High points on this disc are the front and back cover, and everything in between! There isn't a week spot on the whole disc. Some of my favorites are the B.B. King cover "You Upset Me Baby", the title track which was wrote by Rod Stewart "Blues Deluxe", "Woke Up Dreaming" which features Joe's amazing speed on acoustic guitar, the T-Bone Walker-inspired "Long Distance Blues" and the Freddie King cover of "Pack It Up"! Also "Wild About You Baby" is some great smokin' slide stuff. Bonamassa is a great musician and showman if you miss the chance to see Joe live then you will be left in the dark at what this guy is all about, his guitar work is beyond words you must experience him in person, I truly believe that Joe Bonamassa is the future of the Blues!!!

Bonamassa has secured his place in Blues History. Phenomenal Masterpiece!
Review by The Bandit

just awesome!
i cant stop listening to this cd. get it if you love blues and awesome guitar playing. Remember www.bonamassabluesrock.com!! ... Read more

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This two-CD box contains all 41 recordings Johnson made, including 12 alternate takes, and each cut remains a classic. This set's release in 1990 caused quite a stir, selling more than 500,000 copies, and, on the basis of endorsements from Eric Clapton and Keith Richards, introduced a great number of rock fans to Delta blues. Amazingly, Johnson built his enormous legacy on the strength of just two recording sessions: the first session, in November of 1936, produced among others "I Believe I'll Dust My Broom," "Sweet Home Chicago," "Cross Road Blues," and "Walkin' Blues," making it perhaps the most influential single session in blues history.--Marc Greilsamer ... Read more

Reviews (84)

Invaluable document of a great talent
The irony of Robert Johnson's superstar status is hard to miss. He was almost completely ignored by the music-buying public of his day, even in the market his records were aimed at. Yet in the present day, he's practically the only country blues artist most people know about. On one level, this is because of relentless championing by other blues artists, not least Eric Clapton. On another level, Johnson's fame rests on the fact that he was able to write, or more properly pull together from his various mentors and influences, his songs and make them complete unto themselves. His songs have made an impact, and have been covered time and again by countless artists. That counts for something.

Part of who Robert Johnson was as a singer and songwriter is obscured by his legend, which has been retold so often it borders on cliche. But even after the hype has been dismissed, this box set shows Johnson as a powerful, innovative, soulful blues man, a great performer and a great songwriter (in the context of blues songwriting) with his own unique sound.

Johnson was not without his influences, and if he had lived he would have told you that himself. However, the interesting thing was that he managed to transform his influences and personalize them into his own vision of the blues, a blues that was one of the first steps away from country blues toward city blues - a vision that would eventually become Chicago blues.

It has been fashionable in blues circles to put Robert Johnson down recently, and to gripe about how Johnson's influences should be as well known as he is. This is a valid point. However, Johnson became an influence himself, and as such, he still deserves a good deal of respect. This box set, which contains every recording he is known for, is a just tribute to a brilliant singer, songwriter and performer.

The remastering is surprisingly good, considering the sources. Johnson's voice and guitar playing come through vividly and illustrate his wealth of talent. The only possible drawback to this box set, for the casual listener, is the number of alternate takes included. They show that Johnson was an adept performer, because a lot of the alternates are similar to the "released" versions. This showed that he was no closet bluesman or flash-in-the-pan, but was adept at entertaining an audience. And to this day his guitar playing is astonishingly fluid and innovative. However, the repetitiveness of the alternate takes can become trying to people who are not students of the blues, and for the casual listener a single-disc set would probably be sufficient.

This box set, is, and remains, a worthy overview of a talent that received its due far too late. I would advise the listener not to be put off by people who would place Johnson's influences over him, but to listen to Johnson on his own merits. My guess is that he'll win you over, as he has generations of listeners.

Perhaps the 29 most influential songs of the 20th century
Robert Johnson is most emulated of the Mississippi bluesmen and one of the most influential musicians of the 20th century. His inovative guitar style was extensively copied by the early rock stars and and has continued to influence modern musicians. When a country hick named Elvis Presley was auditioning for Sun Records in the early 50s he played several Robert Johnson tunes. Other musicians deeply influenced by Johnson include Chuck Berry, Eric Clapton, Jimi Hendrix, B.B. King, Fleetwood Mac, the Rolling Stones and Stevie Ray Vaughan.

Johnson had very large hands so his songs are almost impossible to immitate due to the incredible difficulty of fretting them. Keith Richards said "I was hearing two guitars, and it took me a long time to realize he was actually doing it all by himself." According to legend Johnson got his amazing guitar skills by selling his soul to the Devil at a Mississippi crossroads one evening in 1930. People say the evidence is in songs like Crossroad Blues, Up Jumped the Devil, Me and the Devil Blues, and Hell Hound on My Trail. Johnson had only recorded these 29 songs before he was poisoned by a jealous husband in 1938 when he was only 26 years old.

Johnson's songs are characterized by an intensity of raw emotion and incredible creativity. The lyrics are haunted and really stick in your mind. My favorites are Crossroad Blues, Last Fair Deal Gone Down and of course, Love in Vain, one of the most beutiful blues songs ever written. No true blues fan would deny that Robert Johnson was the greatest bluesman of all time.

Best blues I have ever heard!
This is one of the first blues C.D.s I ever bought, and it is the best. I have since perchaced C.D.s by Muddy Waters, Charley Patton, Son House, Skip James, Blind Lemon Jefferson and several others, and while they are all very good none of them are as good as Robert Johnson. I definitely recomend this to anyone even slightly interested in the bles.

I would like to point out that the reviewer calling himself Tony Thomas is RACIST. I have read several of his reviews and he uses the term "bleus lovers" derisively put into quotes to refer to whites. When he says real blues people he obviously is talking about blacks. These slightly hidden racist slurs and his general tone is elitist and offensive. I would have thought that amazon would be ethical enough not to post this sort of RACIST PROPAGANDA!

The Greatest Music Ever!
In ''Robert Johnson : The Complete Recordings'', you will hear the most powerful blues there is. Robert Johnson's music is more than great, it's magic, it's indefinable. I've never heard anything like that and I know I never will find anything similar. He creates a blues world of his own where everything is possible. He brings you in his visions, his fears, his joys, his hopes, his loves, his travels... Also, his guitar skills are fantastic, his emotion is truely unique and his lyrics really define the everyday life of a traveling black blues musician in the 30's and also visions (or not) he had (Me And The Devil Blues, Hell Hound On My Trail, Cross Road Blues), inspiring incredibly dark and superb lyrics of an artist who died way too young.

Most people know Robert Johnson's story, so I'm not going to write it A G A I N, but I would just like to say to people who think Robert Johnson's music sucks because 'his singing is bad, he plays acoustic, he sings stupidities and the sound quality is awful' that they prove their lack of musical culture. Robert Johnson is without a doubt an icon in blues music, and music in general. He's - to me - the greatest musician ever (whatever the time period or the style). This Complete Recordings is definitely an item you should own, but we aware that the sound quality isn't as good as modern CDs (that box set was issued in 1990, and the tracks come from 78's of the 30's), but the music inside is extremelly powerful. Also be aware that this box set, who's said to contain each Robert Johnson's takes, actually doesn't contain 'Traveling Riverside Blues (take 2), which does appear on a more recent compilation called 'I'm A Steady Rollin' Man' (who also has the 41 other tracks available here). But that's a very small complaint, since they haden't yet realized - back in 1990 - that the second take of that song was on the 1961 LP : King Of The Delta Blues Singers.

However, this item is great and is one you should have in your collection. Whatever the kind of music you listen to, you will find yourself in admiration before the legacy a certain Robert Johnson left more than sixty-five years ago...

Statistics for statistics buffs, not music
Look: There are forty-one tracks on this album, but only twenty-nine songs. How to account for the discrepancy? Well, I can't. All I can say is that someone who wants to listen to multiple takes IN A ROW of the same songs EVERY TIME he listens to an album is NOT interested in music. Next time, if we really have to have alternate takes, let's confine them to a separate disc, please. Thank you very much. ... Read more

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"I can't even crack a frown since the blues slipped out of town," sings Keb' Mo' on "Prosperity Blues," with a patented big wide grin you can practically hear. It's a witty and accurate assessment of his approach to the often lowdown genre. Even on the album's title track, where Mo's tough National steel slide playing is most prominent, he's concerned with the daunting amount of coffee choices at his local java emporium. Call it the middle-class blues then, as Mo' wraps his grits-and-honey voice around another set of gently rolling, melodic, and warm compositions. Similar to, say, James Taylor, he spins beautifully crafted, meticulously produced, uncluttered roots-influenced music that is no less satisfying because of its smooth qualities. Traces of gospel, folk, and even bluegrass sprinkle these pop-oriented tunes, and while most of the edges here are sanded off--nobody will mistake him for Howlin' Wolf--Mo's cushy voice and charm create another winning entry in his catalog. Sophisticated and burnished, Keep It Simple goes down easy thanks to alluring songs that beckon you back like the memories of an old flame. --Hal Horowitz ... Read more

Reviews (16)

Depends on what you like!
Keb Mo has done 3 of my favorite albums (CD's...I am an old dog) of all time. Keb' Mo, Just Like You, and Slow Down are the three. The Door and Keep It Simple don't get me. He is still a great voice and guitar player but the music just doesn't move me. I think, as has been noted, that he is moving away from the blues and that is fine. I hate to see artists get pigeon holed into something they don't have their heart in. And in all fairness, none of the CD's are totally blues anyway. But I will say that if blues is your bag, then certainly start with one of the early works. If you like a littele more pop sound then buy Keep It Simple or The Door. By the way, I happen to enjoy Big Wide Grin, which is all covers, more than Keep It Simple or The Door. The selections are interesting and well performed. I stand Keb's version of America the Beautiful up with Ray Charles' version. And Everybody Be Yo'self is one of my favorite Keb' Mo recordings. I wait with interest to see where he goes next. I will continue to follow but will always gravitate to the first three works. One more thing, his Sessions at 54th make me want to see him live. He has a great stage persona.

"saw" the album live!
A collection of warm sunshine -- Saw Keb live at the House of Blues for his debut of this album, where he unbelievably played STRAIGHT for 2 1/2 hours and came on back for more -- TWICE--- there was no stoppin him!
The songs on this album from You Don't Have to Shave Your Legs to Let Your Light Shine -- they are so filled with that beautiful Keb Mo' energy that you can't help but catch that big wide grin he's forever flashing-- he's a good man with a big heart and warm sweet beautiful message, and way, about him -- gonna get the cd just to bring me back to that night. This is what music is all about! Relax and smile and enjoy!!!

Birthing the Hybrid
Keb' Mo' has launched a brilliant career that is evolving. "Slow Down" was his first CD I heard, and may still be my very favorite. His appearances on "Touched by an Angel" and their CDs, his frequent guest appearances on others' CDs including the new comeback disc by Melissa Manchester, his "I'm So Lonesome I Could Cry" cover on the "Timeless" Hank Williams tribute CD and several soundtrack cuts like "Glory of Love" from the "One Fine Day" soundtrack and "Crapped Out Again" from "Tin Cup" soundtrack show a great versatility.

On "Keep It Simple" Keb' blends blues and pop to arrive at a hybrid that isn't strictly blues, nor strictly pop, but draws incredible strength from both types. My favorite track that is currently in my personal top ten is the buoyant "Let Your Light Shine" with its great bass backbeat and the incredibly positive lyric, "Step into your greatness, don't be afraid, there's a place that you will rise up to; no one else can do what you do." My other favorite is the romantic "Closer" with Munyungo Jackson's delightful percussive touches and Andrea Zonn (whose "Love Goes On" is a fine CD) on violin, "Turn the lights down low, I need to let you know I'm so in love with you." The opener "France" has infectious toe-tapping shuffle with the lyric reflecting the restlessness of dreaming." The other tracks are also strong from the humor of "Shave Yo' Legs" to the self satisfaction of "Prosperity Blues" to the wistful sadness of the closer "Proving You Wrong." This is an excellent set by one of our young emerging legends. If I had any criticism, I'd probably have enjoyed a couple of strong uptempo tunes to sparkplug the set, but the mellow groove that Mo' sets is exquisite. Enjoy!

thoroughly enjoyable
Heard "France" while in Durango, CO. Went there to mountain bike but they got a foot of snow! So, I bought the CD and spent the weekend drinking red wine and enjoying "Keep It Simple." You should try it!!!

Upbeat ? Blues ?
Keb Mo combines upbeat and positive lyrics with a beautiful mellow blues style that results in something really original and fun to listen to. His lyrics sometimes make me laugh out loud and the mellow groove of his tunes is infectious. This is really great music. Another reviewer below already referenced my favorite verse in the whole cd re: the coffee store, etc. This is my first Keb Mo CD but I am ordering the others. I hope they are as good as this one. ... Read more

Reviews (34)

Guitar Heaven by Eric Clapton!
Few albums have had greater impact than the landmark John Mayall With Eric Clapton "Blues Breakers." Released by the Decca label in Britain on 22 July 1966, literally days after Clapton quit the Bluesbreakers and just a week before Cream's debut, it went all the way to #6, a pretty mean feat since Mayall's band had never had a hit single. This may have been a first in Britain.

Of course, this is the album that set the blues and guitar worlds aflame and established Eric Clapton's name worldwide as the most passionate of musical interpreters. If you haven't yet heard "Beano" (as the album is affectionately known, because Clapton is pictured reading "The Beano" comic book on its cover), then you ain't heard nuthin' yet!

From the album's first notes, you realize that you're in guitar heaven, as "Slowhand" shows us the way electric guitar can and should be played. Clapton's virtuoso playing is white-hot throughout. Playing with maturity beyond his 21 years, the young Eric Clapton was so influential that Gibson eventually reissued the (out-of-production since 1960) Les Paul model guitar, which Clapton then played.

John Mayall's Bluesbreakers served--and still serves today--as a finishing school for great musicians and sidemen (Clapton, Peter Green, Mick Taylor, John McVie, Jack Bruce, Aynsley Dunbar, Mick Fleetwood, Coco Montoya and others). Mayall's proselytizing the blues (he's 69 years old!), his songwriting skills, and his other musical talents should not be ignored nor taken lightly.

A Classic that Gets Better with Age--and Remastering!
When I was 15 years old (which was also 15 years ago), I was quickly becoming a major Eric Clapton fan, and was essentially working my way backward through his impressive catalog. At the time, everyone kept telling me that if I wanted to hear Clapton at his best, I needed to listen to his recording with John Mayall and the Bluesbreakers. Because I was also obsessed with the likes of Buddy Guy, Albert/Freddie/BB King, Otis Rush, and Muddy Waters, among many other players, I relished the opportunity to spend what was a reasonable price for a CD at the time and buy the Mayall/Clapton CD.

When I listened to it for the first time, I actually didn't care for it much. Although Clapton's playing was formidable, especially for someone of his age at the time, the album seemed a little lacking, like the recordings of a lot of British bands at the time who tried playing the blues. Maybe I was too used to hearing the actual American blues masters from whom the British musicians largely borrowed their material, I'm not sure, but I remember feeling that these were just another group enthusiastic musicians who, with the exception of Clapton, were mediocre bluesmen at best. I sold the disc and went back to listening to what I thought was the "real stuff" (i.e. American blues).

Recently I purchased this CD again, because it had been a long time since I had heard it, and I was curious about the newly remastered edition with two extra tracks. I took it home, turned it on, and was completely floored! Through the amazingly crisp mix of this remastered CD, I was able to hear every nuance of the instruments, especially the thick, creamy, crispy tone of Clapton's Les Paul guitar and Marshall amplifier. I have listened to this disc repeatedly since then, and I have to say that this album is very deserving of its reputation as being of one of the best blues albums of all time.

What caused the difference in my opinion, being a decade removed from first hearing it? It is in part due to the vastly improved sound of the CD, of course, but there are other factors as well. John Mayall was a tremendous influence on the British blues scene and, being a little older now, I can appreciate how much he immersed himself in the tradition to sing competently and play his instruments with precision. As far as Clapton is concerned, after hearing his performance on this album, I actually realize how stagnant his music has become, particularly on albums like "Pilgrim" or "Reptile." There was a time long ago when Clapton was not an "adult contemporary" performer, but a blues and rock machine. His playing from his days in the Bluesbreakers through Derek and the Dominos solidified his reputation as one of the greatest guitarists of all time, and deservedly so. I would love to hear him play again with the creative inventiveness and fire that defines this John Mayall recording. Anyone who wants to resist mellowing along with Clapton or needs a little musical inspiration should buy this CD. It is the real deal, and it will always be a classic--something that, unfortunately, will not be said about Clapton's recent work.

Clapton is God
This is the album on which Eric Patrick Clapton, Slowhand, emerged as one of the most innovative and original guitarists in the world. Clapton created a new sound when he combined a sunburst Gibson Les Paul Standard through a Marshall amplifier. And while blues guitarists like B.B. King, Bobby "Blue" Bland, Buddy Guy, Freddy King, Otis Ruch, Albert King had pioneered the electric blues guitar idiom, Eric Clapton brought it into the popular mainstream and transformed it. The blues guitar now became an integral part of popular music and rock and roll. This is where Claton showed how it could be done. He perfected on the Beano album of 1966.

Clapton had begun the transformation of the electric guitar while he was with the Yardbirds. He had electrifying solos on the Yardbird's GOODMORNING LITTLE SCHOOLGIRL and on GOT TO HURRY. Clapton wanted to develop and evolve his guitar style with the Yardbirds. But when they decided to go commercial and release pop material, Clapton quit the band. But Beano merely continues where Clapton left off with the Yardbirds. Unlike with the Yardbirds, however, John Mayall lets Clapton take center stage and allows him to realize his vision of the electric guitar. What results is a landmark recording. This album had a major impact in transforming the electric guitar from a secondary instrument to center stage. Eddie Van Halen cited Beano as the album that most influenced him. Jimi Hendrix purchased a copy and wanted to duplicate Clapton's sound. Hendrix even bought a Marshall amp like Clapton so he could get that thick distorted sound that Clapton got on Beano.

Beano showed what you could do when you combined the blues and the electric guitar. The blues did not have to be a peripheral music form but could now take center stage. Claton showed everyone how. He had the vision and the commitment to make it happen. As Clapton himself said, he wanted to change the world and to shake up the music scene. And he did that with Beano.

The album opens with the powerful ALL YOUR LOVE, which Stevie Ray Vaughan covered. Clapton has blistering guitar solos. On DOUBLE CROSSING TIME, a song Clapton co-wrote with Mayall, Clapton's solos are searing. A nice touch to WHAT'D I SAY? is Clapton playing the Beatles' DAY TRIPPER riff in the second half of the song. Clapton scorches on Freddy King's HIDEAWAY. Clapton is on fire throughout the album.

There are two bonus tracks that comprise the single that was released at the time.

This is a must-own album for any guitarist. This is a landmark album that transformed the electric guitar and ushered in the guitar god or guitar hero. But Clapton was the first one. Clapton is indeed SUPERMAN INSIDE and God! Hear for yourself why they called Clapton god and why Jimi Hendrix wanted to first meet Clapton when he arrived in England in 1966.

The debate rages on
Why on earth anyone would give this LP a low rating because it's done by British white boys is beyond me. That smacks of puritanism at its finest. It's like saying Chet Baker was a lousy jazz guy because he was white. These guys were playing what they loved and emulating their heroes. Clapton plays with a passion and fire that transcends racial or gender issues. He was a young musician trying to make his mark and that's where we as listeners really benefit. His focus is on his music and the critics be damned. I'm originally from Chicago's southside and know the old southside (go sox) blues clubs intimately. You could walk in there and mention this albumn and the musicians (mostly black) and the patrons (mostly black) would sing its praises. The nay sayers need to get a grip. I've lived the Chicago blues scene and this albumn is a must. During a conversation I had with the late great Lefty Dizz he told me this was his favorite blues albumn. Go figure..a black blues musician disagreeing with the white purists. Does that make Hendrix a lousy rock player. Do youself a favor and but this albumn!

Clapton's got the blues...
John Mayall's Bluesbreakers With Eric Clapton (1966.)

In 1965, Eric Clapton bid farewell to the Yardbirds. The band's sound, in Clapton's eyes, was becoming too poppy and commercial - certainly not the kind of music that he had a desire to play. Following his departure of that group, he joined forces with an up and coming blues rocker named John Mayall. Mayall was an excellent performer of blues rock, but he really hadn't had any popularity or success yet. With Eric Clapton in his band, which he now dubbed the Bluesbreakers, would he create an excellent album that was well-received? Read on for my review.

To put it simply, if you're going to listen to this album expecting it to sound like the Eric Clapton that you know and love, you may as well not listen to it at all. This is blues rock, plain and simple - NOT the mainstream rock that Clapton fans tend to know and love him for. But, if you're a Clapton fan and you've got an open mind, or if you're just looking for some of the best blues rock out there, this release is for you. After disbanding from the Yardbirds, Eric Clapton must have felt that he needed to find his roots to be able to continue rocking. And on this album, he finds them. For many classic rock artists, the blues were very important, and that couldn't be more true of Eric Clapton. On this album, he and John Mayall serve up an onslaught of classic blues covers, as well as their own unique compositions. Through and through, Mayall and Clapton managed to create one of the finest blues-rock hybrid albums out there.

THIS TEXT REFERS EXCLUSIVELY TO THE "BLUES CLASSICS" REISSUE. This album was recently remastered and rereleased as a part of the Blues Classics series of album reissues. In addition to the remastering process, this release of the album also includes expanded liner notes, as well as two bonus tracks. The bonus tracks were originally single-only cuts, so it's good to finally have them on an album and on CD. There are several different reissues of this album available, and this is one of the best ones.

When John Mayall and Eric Clapton joined forces, they proved that they were one hell of a blues-rock combo. It's just a shame that their partnership was so short lived - Eric Clapton wanted to start his own band, which he did later that year (I'm referring to Cream, for those of you who don't know.) But, the legacy of their short-lived partnership lived on in the form of this album. No fan of blues-based rock should be without this release. ... Read more

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Hubert Sumlin's famed for the shimmying riffs he laid all over classic Howlin' Wolf songs like "Killing Floor" and "Shake for Me," yet this excellent disc--which teams the 73-year-old firebrand with pals Eric Clapton, Keith Richards, James Cotton, Bob Margolin, and a host of other veterans--is a rocking, soulful tribute to another of his employers, Muddy Waters. Clapton bites into the licks and lyrics of Waters's "I'm Ready" and "Long-Distance Call," joining Sumlin in a passionate séance that raises the great spirits of '50s Chicago blues. Richards and Sumlin have an insouciant rapport that makes the stark "Still a Fool" and "Little Girl, This Is the End" sound like late-night conversations between lost, lonely hearts. But the real star is Sumlin, whose string sliding, deep tone, dizzy vibrato, acrobatic note bending, and tense, wily phrasing still sound as entirely original and vigorous as they did nearly a half-century ago. Buy this album--now. --Ted Drozdowski ... Read more

Reviews (6)

Real Blues with Class
Side-man to Howlin' Wolf, Hubert Sumlin comes across with class and grace that you'll only find in "the old school".With guest guitar sharks Eric Clapton, Keith Richards and Bob Margolin, along with a variety of greats like James Cotton, David Maxwell and various rythym section personnel;Mr. Sumlin plays lead on every track and brings home a delightfully strong production that is rare these days.This should be a must have for anyone ate-up with the blues.

A Good Way To Start the New Year!
Hubert Sumlin is a star in his own rights having shared the spotlight as Howlin' Wolf's lead guitarist from 1956 to 1976. Sumlin's flashy guitar work has been credited with influencing the work of Eric Clapton, Keith Richards, Jimi Hendrix and Stevie Ray Vaughan. Well along in years, some of the stars that he influenced return to help produce a great release to kick of 2005. The guests include Eric Clapton, Keith Richards, and harpist Paul Oscher. The band also benefits from Muddy Waters guitarist Bob Margolin and David Maxwell on piano. The tunes are covers of songs written by Muddy Waters and Willie Dixon. Everything about the CD is first rate.

Hubert is blues guitar
Hubert Sumlin is a living page of blues history. To have him putting out new material in 2005 is a genuine treat. To have guest stars like Eric Clapton, Keith Richards and David Johansen is just frosting on the cake. If there were no vocalists at all, it wouldn't matter. You still have the sound of a lion in winter turning it up and putting it out. Check out "I'm Ready", "Still a Fool", "Iodine in My Coffee" and "Evil". When you do, you'll find the first top ten contender for 2005. Guaranteed.

Nice - but nothing particularly special
THE highlight of the disc is the final track and the only one featuring Hubert on vocals - he does a wonderful acoustic guitar interplay with Keith on a self-penned tune. Interesting that this is the highlight - as the theme of the (rest of the) album is Muddy Waters tunes.

The only problem, per se, with the rest of the album is that it only makes you (at least, me) wanna play the originals....none of these even sniff the greatness of the Muddy originals. In that respect, it reminds me alot of Jimmy Rogers' final album, Blues Blues Blues...a fine album (and one that also features Keith -- and Mick -- on 3 tracks)...but nothing ground-breaking. Both nice listens.

Keith turns in a serviceable vocal on Still a Fool (but, really he's not much of a blues singer). Clapton probably comes off the best among the vocal performers (aside from Hubert). Other nice vocal contributions by Blondie Chaplin, David Johansen and others.

Hubert's leads steal the show, here, though. If you're expecting some wicked guitar from Keith, you'll be disappointed. He's here as a sideman on three tracks - nice, but nothing special.

On your feet.
This sounds like a long-lost Chess treasure from about '62. Hubert calls in some favours from people who took (and ran with)what he laid down working with The Wolf and Muddy all those years ago. Some of the other 'originals' from that era shine here too but it's Keith Richards for me who shows the spirit of Chicago is still alive and well - albeit with an English accent that's more Southend than Southside. The producers of this CD (great sound!) should now get Hubert and Keith back in the studio with just two acoustic guitars and a stand-up bass player. These are good times for septugenarians; see John Mayall's recent offering, also featuring Eric Clapton. So buy this CD and read Moanin' at Midnight (James Segrest, Mark Hoffman) as you listen - you'll find out how Hubert learned to play. ... Read more

Reviews (63)

"Stevie Ray & D.T.'s best (1983 - 1989) & 1 rarity"
This 11 track compilation of Stevie Ray Vaughan and Double Trouble's best work from "Texas Flood (1983)" to In Step (1989)" is highly essential. All of his four studio releases for Epic records are represented here, as well as a cover of Jimi Hendrix's "Little Wing" & the rare track "Taxman", originally by The Beatles. It's nice to have the tracks "Texas Flood", "Couldn't Stand the Weather", "Life Without You", and "Change It" collected on one convenient CD. Six great years of blues-based rock is represented here, and the inclusion of the radio staples "Crossfire" & "Pride & Joy" will surley make even the minor fans happy. NOTE: The import of this album, features three additional tracks: "Love Struck Baby", "Voodoo Chile (slight return) (hendrix)", & The Sky is Crying."

The Sky is Cryin!
I love blues, it's one of my favorite kinds of music. As an avid lover of the rain and all things rainy, I can't help but think about the rain coming down when I hear those depressing notes. Blues and rain go together like peanut butter and meat loaf (hey, don't knock it till you try it!). Stevie Ray Vaughan was one of the greatest blues guitarists of all time. Besides the fact that he was a very talented guitarist, he wrote not one, not two, but THREE songs about the rain! Wow! "Texas Flood", "Couldn't Stand the Weather", and "The Sky is Cryin". I don't really like "Couldn't Stand the Weather" that much, because it kinda sounds like he's saying that rain is bad. Awesome video, though. I give this four stars because "The Sky is Cryin" is NOT ON HERE!... That is one of the greatest blues songs of all time, MUCH better than "Couldn't Stand the Weather"! If you like this album, you should check out my fave band, Candlebox. Their guitarist, Peter Klett, is even better than SRV, and they also write bluesy, rainy music. Long live Stevie Ray. The sky cries for thee.

Great music, mediocre compilation
A really great compilation makes the artist in question seem better than he actually is.
Really, it does. It compiles all of the artist's best material, leaving out the fat and the gristle, thus making the albums it summarizes - and by extension, the artist - seem better than they are.

Stevie Ray Vaughan's "Greatest Hits" does the opposite.
It has some magnificent songs, sure, but it is much too brief, and too many of these eleven selections, particularly "Crossfire", "Couldn't Stand The Weather", the instrumental "Little Wing", and Vaughan's cover of "Taxman", aren't really among Vaughan's most memorable. They are not bad, far from it, but the track list just doesn't demonstrate how great Stevie Ray actually was. And besides, the compilers could have fitted another half dozen songs onto the disc had they wanted to.

Now, the new "Greatest Hits 2" goes a very long way towards rectifying these problems, but this album by itself just doesn't do it. Sure, "Pride And Joy", "Texas Flood" and "Cold Shot" are here, but way too many great songs are not: "Ain't Gone 'N' Give Up On Love", "Scuttle Buttin'", "Love Struck Baby", "I'm Cryin'", "Dirty Pool" and "Willie The Wimp" to name but a few.

If you are looking for a really good Stevie Ray Vaughan compilation, go for the double-disc "The Essential Stevie Ray Vaughan And Double Trouble".
That one costs less than "Greatest Hits" and "Greatest Hits vol. II" put together (and features 33 songs, as opposed to 27), and if you really want to limit your SRV-collection to just one or two discs, "The Essential Stevie Ray Vaughan And Double Trouble" should be the one.

The Lamest Guitarist Ever!
This compilation could've been trimmed (mercifully)down to about 30 seconds if there was a rule against repeating the same tired licks. SRV may have been a nice guy, but he was one sorry excuse for a guitar player-more proof that all you have to do to satisfy the vast legion of dullards is turn it up. "Passion" doesn't replace his lack of technique, taste, originality, etc,ad nauseum.

The Best Greatest Hits Complination
Their have been many Steive Ray Vaughan greatest hits albums. Including The Greatest Hits Volume 2, and The Essential Stevie Ray Vaughan but this Stevie Ray Vaughan Greatest Hits album is the best complination. I bought this at a used CD store and I just loved it I did own almost all of his CD's but except for this one. The real reason I bought this greatest hits was because of the first track TaxMan, I always loved the Beatles version, and I loved Stevie Ray Vaughan's music at the same time so I had to here the song beside the fact I loved all the other songs and thought it included Stevie Ray's best greatest hits on one CD.

I loved the entire album for it was truely great. All of the songs included on this CD were his best work. Their are many songs missing but can be heard on The Greatest Hits Volume 2, and on The Essential Stevie Ray Vaughan. This whole album covers his best works from Pride And Joy, to Change It, also some other of my favorites include The House Is A Rocking, Little Wing, Crossfire, and Tightrope. The extra song TaxMan is perhaps the best new unreleased song on the entire album. I highly encourage anybody to pick up a copy of this masterpiece. Highly Recomened! ... Read more

Amazon.com essential recording

This guest-studded CD relaunched Buddy Guy's career and set him toward the pinnacle of contemporary blues. Despite turns from Jeff Beck, Eric Clapton, Mark Knopfler, and others, it's Guy who burns brightest--and loudest. He delivers roaring, exuberant performances of classic R&B ("Mustang Sally"), old-time blues ("Black Night"), and house rockers ("Where Is the Next One Coming From"). Most poignant, though, is his seven-minute instrumental "Rememberin' Stevie," which not only rekindles the fiery spirit of his own youth, but pays sensitive tribute to his late friend and admirer Stevie Ray Vaughan. This is the blueprint for Guy's current performing style. --Ted Drozdowski ... Read more

Reviews (2)

Where's Jeff Beck???
This is the expanded edition of what is already a classic blues album. All in all the expanded edition is OK. It was remastered by George Marino, who has remastered a lot of catalogs, most importantly the Led Zeppelin catalog. This edition sounds a little better than the old CD, but not that much. The two extra tracks are really outstanding. One is an instrumental jam where Buddy really lets loose and the other is a nice cover of Guitar Slim. No horns or big production, just Buddy and the band on these two. The big letdown: in 'Mustang Sally' Jeff Beck's contribution has been edited out completely!!! All the fills and his solo. Why, what happened???

How About Ten Stars
Next to B. B. King, Buddy Guy is the greatest living bluesman, and this is his finest album. When he is on his game, as he is here, Guy is an absolutely astounding electric guitarist. Some of his solos suggest what Jimi Hendrix would have sounded like if he had lived past his twenties. But that is really beside the point. Guy doesn't need Hendrix comparisons to validate his work. Guy, who remains the epitome of Chicago blues, playsguitar with all of the vitality, sorrow, humour, passion, anger, pain, and transcendance that he can muster, and the end result is just marvelous, thrilling music. And there is not a throwaway song on the entire CD. If there is a better blues CD out there, I don't know what it could possibly be. This is a CD that will never age. ... Read more

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Talking Timbuktu is a groundbreaking record that vividly illustrates the Africa-Blues connection in real time. Ali Farka Toure, one of Mali's leading singer-guitarists, has a trance-like, bluesy style that, although deeply rooted in Malian tradition, bears astonishing similarity to that of John Lee Hooker or even Canned Heat. It's a mono-chordal vamp, with repetitive song lines cut with shards of blistering solo runs that shimmer like a desert mirage. Toure may be conversant with some blues artists, but it is unlikely that artists like Hooker or Robert Pete Williams ever heard these Malian roots, which makes the connection so uncanny. Ry Cooder, well versed in domestic and world guitar styles, is the perfect counterpoint in these extended songs/jams, his sinewy slide guitar intertwining with his partner's in a super world summit without barriers or borders. --Derek Rath ... Read more

Reviews (24)

Talking African Blues
Ry Cooder brings another great musician to light. Ali Farka Toure is a leading singer-guitarist from Niafunke, Mali and Ry Cooder has made quite a discovery in this artist. His music is quite good, and very bluesy, though it's a laid back blues. It has been said all along (I don't know by whom, but it has been said) that most of American Blues is just transformed African music, and I think this album clearly illustrates that. The resemblance between this music and just about any album by John Lee Hooker is quite amazing at times.

The lyrics are somewhat repetitive in that African chanting style, but the music that weaves under and around the lyrics is phenomenal at times. Ry Cooder does a good job of extending some more traditional blues stylings into the great music that is led by Toure, just as he has with so many other international artists.

My favorite track from this CD is "Gomni" this track is a very emotional song about hard work and the effects it has on the individual. The melody is trance like at times but changes around enough that it feels almost vivacious in its sound. There are quite a few other great songs on here like "Bonde", "Amandrai" and "Keito" but they all have to be listened to truly appreciate their beauty. The CD as a whole works very well and seems to present a unified face of music that winds around your heart and your ears, much like the Niger river that flows through Toure's homeland.

My one complaint about this CD is that maybe Ry left this CD too much up to Toure, Cooder's great work is almost overpowered by the singer/guitarist wonderful sounds. I think that Cooder achieved a much better synthesis on the Buena Vista Social Club and on BVSC presents Ibrahim Ferrer, where he works with some Cuban musicians. I've also heard that his work on A Meeting by the River is really good, where he teams up with Vishwa Mohan Bhatt and looks at classical Indian music.

If you like this CD I would recommend any of the ones mentioned above as well as Kulanjan where the Blues artists Taj Mahal teams up with another Mali artist Toumani Diabate. I think Taj Mahal's work is actually superior to Cooder's mainly because he injects himself more into the CD.

Nonetheless, I would recommend this CD to anyone who wants to hear where American Blues music really came from, or for anyone who is ready for something a little different. It's a great CD overall.

Unbelievable "Feel Good" Bluesy Music of Mali - The Best
I have 6 or 7 CDs of music from Mali and find myself listening to this one most often. While I love them all --- the combination of musicians: Ali Farka Toure and Ry Cooder is unbeatable. Track #1 "Bonde" sung in Peul begins with a fantastic guitar introduction by Ali Farka Toure. Each note is drawn out just right to hook the emotions. The congas played by Oumar Toure provides an infectious rhythm. One male voice begins while a chorus responds in rhythmic unity, telling the story of why some women are unsuitable for marriage. Track #2 "Soukara" is sung in the Bambara language ... it has the sound and feeling of music from the Caribbean with a suitable ambient melody. The male vocalist pours his heart out to his lover at night, so say the liner notes. Another favorite track is #5 "Amandral" sung in the Temasheck language. The rhythms and sounds of this desert tribe is familiar. They are unforgetable on the CDs, "Festival in the Desert" and "Radio Tisdas Sessions", both of which are highly recommended. As each guitar note is plucked, the feelings of the listener are hooked. The feelings rise ... ever higher in resonance with the melody and mood expressed on the slide, acoustic and bass guitars, drums, calabash, and congas. Without exaggerating, I feel this CD contains some of the finest guitar playing on the planet. Other favorites are: #6, "Lasidan" (#6) which has a peppy, cheerful and upbeat tempo and #7, "Keito", which has musical elements of India and Pakistan or is it the Meditarranean? Ry Cooder plays the tamboura, Ali Farka Toure plucks and strums the electric guitar. There is a syncopated rhythm played on the congas and calabash. The music of Mali is highly distinct and very appealing. It is the best music from Northern Africa, and to this listener, the best from the whole continent of Africa. Erika Borsos (erikab93)

Love Ali Farka Toure and Salif Keita
I am in love with music from Mali. It is music that touches the soul. The region have deep traditions...Then when you understand the lyrics....then you say God has really blessed them with wisdom. The region has over 700 000 manuscripts and old universities where people from all over came to study in Timbuktu, Djenne...you can find more information on the web at http://www.timbuktufoundation.org

A Simply Gorgeous Album
The liner notes tell us that Toure speaks eleven languages and that on this album he sings in Songhai, Bambara, Peul and Tamasheck. And do you know what? It doesn't matter that I don't understand the words. Music is a universal language and the music on this disc is gorgeous! I first bought this album because Ry Cooder is one of the best guitarists on the planet. I've now added Ali Farka Toure to that list. HIGHLY RECOMMENDED

Hauntingly beautiful
Probably the most satisfying CD of Ali Farka Toure. Ry Cooder has assembled an excellent cast of musicians to back him, including the immortal Clarence "Gatemouth" Brown on violin. The songs are hauntingly beautiful, echoing the Blues, but indebted more to the pervasive Muslim inflence in West Africa. Toure is one of the grand masters of Malian music, which has an incredibly rich heritage. He is a purist at heart and this music reflects that approach, although it has been jazzed up to reach a broader audience. "Soukora" and "Ai Du" will leave you breathless.

One only wishes that Toure had the chance to meet John Lee Hooker, since the two seem like soulmates. When he heard Hooker, Toure apparently was so stunned that he said Hooker belongs in Africa. It just goes to show you that the Blues is firmly embedded in the African tradition. ... Read more

Amazon.com

Ry Cooder might have been tempted to bill this as the Chavez Ravine Social Club. After generating such popular and critical interest in Cuban music of decades past with the Buena Vista Social Club, Cooder applied a similar approach closer to home, extending his fascination with the Mexican-American culture that flourished in 1940s and '50s Los Angeles. The result is an CD that sounds like it's aspiring to be something far more ambitious: a DVD, a theatrical production, even a time machine. Cooder and a cast of seminal Chicano artists present a song cycle that conjures an era of UFOs, the Red Scare, and political machinations that leveled the Chavez Ravine barrio to lure the Brooklyn Dodgers to Los Angeles. In his celebration of a vibrant community that doesn't know it's on the verge of displacement, Cooder enlists Thee Midnighters vocalist Little Willie G. (whose songwriting collaboration with Los Lobos's David Hidalgo on "Onda Callejara" highlights the album) and Pachuco patriarchs Don Tosti and Lalo Guerrero, with the latter reviving his dancefloor favorite "Los Chucos Suaves." The accordion of Flaco Jimenez adds conjunto flavor to "Barrio Viejo." Throughout, Cooder plays a typically tasteful, understatedly virtuosic guitar; assumes a variety of vocal roles (including a cool Chet Baker homage with pianist Jacky Terrason on "In My Town"); and provides the provocative social context. --Don McLeese ... Read more

Reviews (60)

A Beautiful Collaboration
This cd makes a great soundtrack to any road-trip, to be sure. Norah's enchanting vocals compliment PMG's groovy tunes, creating a feel-good, head-nodding album. More up-tempo than Norah's debut, but trust me, this is a great thing. Faint echos of Bonnie Rait or *early* Sheryl Crow...

1) New York City - Title track. Begging to be stolen by some cheezy sitcom and ruined forever, that good. :)

2) Strange Transmissions - Slow, sensual build up, with a catchy musical hook that just makes you want to smile. This is a perfect mix between Mrs. Jones and Mr. Malick...hopefully shades of this will appear on Norah's next cd...

3) Deceptively Yours - Light rockin' song with a lot of soul. Think coctail lounge rock and you'll be closer. Blues-y and beautiful.

4) All Your Love - I heard a friend play this on his stereo and swore it was a young Bonnie Raitt. Traditional blues, with a *slight* modern distortion added in to the guitars. Seductive and sassy.

5) Heart of Mine - A Bob Dylan cover to slow things down a bit. Once more, Norah nails a classic song, while PMG's instrumentation drives her on, note for note.

6) Things You Don't Have to Do - The loudest song on the cd. This one will make you want to get up and dance, for sure. Don't be suprised if you find yourself smiling by the end of the song; It just has a feel-good vibe.

7) New York City (Radio Edit)

Overall - One of the best new cd's of the year...I find myself listening to it more and more every day...maybe now that it's hit the radio, it will encourage more people to experience this shining gem. One negative comment - at a running time of 30:04, it's too short! Though better to end it on a high note than to ruin the cd with a bunch of rushed renditions. Short 'n sweet. A must buy for any jazz/Norah/light rock fan. Expect to be hearing more of this on the airwaves.

Not the whole album
I can't give it a bad review as these are good songs well performed but this is only a subset of Peter Malick's 'Chance and Circumstance', an album that is so infectious it is almost never off my car stereo.

If you're only interested in the Norah Jones songs then fine, this is the one for you but for me 'Chance and Circumstance' is such a beautifully crafted work that anything less would feel like walking out halfway through the show.

Other people can review the musical style, I just wanted to let folks know.

bE
Bad album. Don't listen what other people is saing to you! Shakira is better! Don't buy it!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Good mix
I really enjoy the mix of Norah Jones voice with Peter Malick's guitar work. Good music to have in the background to hum along to.

NYC is a Disappointment
I borrowed this CD from my library in the hopes that since Norah Jones was featured on it, I would enjoy this album immensely.

I never imagined I'd listen to an entire recording with Norah Jones' voice and dislike it. Fans of Norah Jones' Come Away With Me probably wouldn't like this CD. I suppose a die-hard blues fan would like it, but I don't like the blues, therefore, this CD was a HUGE letdown for me. I liked New York City, but the entire album was enough of a disappointment for me to return to my library and forget about buying for myself. I would recommend Norah Jones' sophomore album before I would EVER recommend New York City.

P.S. This album really does not accurately capture the emotions of New York City. Really, it doesn't. ... Read more

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In this 2003 performance from the Austin City Limits series (also available on DVD), New England's Susan Tedeschi demonstrates a range that extends well beyond her blues base. Following the blueprint employed by Bonnie Raitt a few decades earlier, she covers John Prine's "Angel from Montgomery" (a signature tune for Raitt), inserting a snippet from the Grateful Dead's "Sugaree." The piano balladry of her "Wrapped in the Arms of Another" could fit just fine on a Raitt album. The set also finds her sampling from the songbooks of Sly Stone ("You Can Make It If You Try"), Bob Dylan ("Don't Think Twice, It's All Right"), and Stevie Wonder ("Love's in Need of Love Today"), in addition to the more straightforward blues of Koko Taylor ("Voodoo Woman"). Though Tedeschi's stinging lead guitar provides the focus, she receives strong support from a band featuring the interplay of electric pianist Jason Crosby (who doubles on violin) and William Green on Hammond B-3 organ. Highlights include a tribute to jam-band inspiration Col. Bruce Hampton on "Hampmotized" and the simmering "Wait for Me," with its echoes of Aretha Franklin.Tedeschi has yet to show the suppleness as a vocalist to complement her guitar chops, but the musical range she displays here bodes well for her artistic development. --Don McLeese ... Read more

Album Description

Sacramento-based blues, swing and jump masters Little Charlie & The Nightcats have much in common with their feline counterparts. They take great (musical) leaps and always land on their feet, they’re constantly on the prowl (gigging all over the world), and, with all of the various styles of music they play, they seem to have many lives.Their new CD, NINE LIVES, is the ninth album of their remarkable career.

It’s been over 30 years since world-class musicians guitarist Little Charlie Baty and harmonicist/vocalist/songwriter Rick Estrin first teamed up and took hard Chicago blues, jump, Texas swing and jazz and mixed it with rockabilly, proto-rock’n’roll, jumping jive, bebop and Estrin’s sharply original lyrics, creating a sound one critic described as "Charlie Christian playing in Little Walter’s band." Their utter mastery of American roots music is fueled by Baty’s jaw-dropping guitar acrobatics and driven by Estrin’s captivating original songs, cutting vocals and brilliant harmonica playing. The new CD, NINE LIVES, features 13 original songs—including three smoking instrumentals—and showcases the band’s constantly growing repertoire and chops. ... Read more

Amazon.com essential recording

Band leader and lounge kingpin Louis Prima will be best be known for the classic, "Just a Gigolo," immortalized by David Lee Roth for a whole new generation of swingers. But Prima's output went much further: in his day he recorded for Capitol, acted in a movie or two, even owned a golf course. Prima's genius is infectious: lounge, swing, and Dixieland all fuse together into medleys that are fun, dance-worthy, and upbeat. Prima's duets with Keely Smith are the obvious highlights here: "That Ol' Black Magic," "Hey Boy! Hey Girl!," and "I've Got You Under My Skin" are essential Prima tracks. Sure, the cheese factor occasionally runs high, but it is a fun trip. --Jason Verlinde ... Read more

Reviews (59)

The joy of life!
This disk rocks, and is packed with great, upbeat music. It brims with humor and spirit. Even though it runs for well over an hour, I feel let down when it's over.

Unlike many of the people who have posted here before me, I have no particular interest in the swing revival, and I did not come across Louis Prima via Brian Setzer. Brian Setzer is, however, as good a link to Louis Prima as any. Prima was a mysterious figure who played heavily in the otherwise fictional 50's period Italian food film "Big Night" (1996). Intrigued, I bought this disk after seeing "Big Night" in the theatre.

True, the song "Beep Beep" is dated and corny, but it differs from the rest of the disk only in its space-age subject matter and "otherworldly" slide-guitar sound effects. It was topical during the late-50's space race. Everything else holds up perfectly well over 40-plus years.

Prima's band is tight, yet spontaneous and not sterile. He has a great onstage comic rapport with cohort Sam Butera, and also with his then-wife and straight-woman Keely Smith.

Example on "Won't You Please Come Home" --

Keely: (singing) "Won't you come get your baby..."

Louis: (stage whisper aside to audience) "Call from 'The Point'."

This disk is a must for any non-classical music lover with a pulse. This is in my top 5 CD's, out of perhaps 300 I own, and is certainly a "desert island disk." Deservedly, almost everyone on this page has given it 5 stars. It doesn't get any better than this, kids.

AN ALBUM YOU WILL TREASURE FOREVER!
Long before Brian Setzer did "Jump Jive N' Wail," and David Lee Roth did "Just A Gigolo," there was Louis Prima. He is one of the most underated and unappreciated American musicians of the 20th century! Just listen to Setzer's and Roth's (but don't waste your money buying their CD's) versions of those songs, and then listen to Prima's. Not only did Roth and Setzer literally rip off Prima (because they did little to embellish on what Prima had already done), but Prima was making this music 40 years before them! However, this is a testament to Prima's immense talent because his music is as hip today as it was 40 years ago when he was one of the greatest shows in Vegas. Prima was also a gifted songwriter and trumpet player. His voice is unique and no one else has a style like him. The music on this CD covers Prima in his prime and the sound qaulity is excellent. There is a remarkable timelessness to this album because the recordings sound so spontaneous. This album will kick any party into high-gear and will always put a smile on your face. If you really want the real Mcoy when it comes to swing, then Prima's music can't be beat. Prima was a pioneer in swing/jazz who's time has come. He deserves more than just Gap commercials and soundtracks to movies. His place in American music needs to be redefined as one of the greats whose genius was just as immense as Sir Duke's and Dizzy's. Get this album and you'll see what I'm talking about and then tell your friends where the real Swing comes from.

The Music Goes 'Round and Around
Songs are performed between 1956 and 1962 by Sam Butera and The Witnesses and by Luigi's wife Keely Smith. All the classics are here "Just a Gigolo/I Ain't Got Nobody" gave Dave Lee Roth a hit, "Jump, Jive, An' Wail" was a big hit for "The Brian Setzer Orchestra", "Sing, Sing, Sing" for Benny Goodman Orchestra. This is goddamn great Jump Blues!

BOOM!
If California has another power outage, just hook the generators up to this Louis Prima CD and pow!-- no energy crisis here! Louis is like that other Louis-- Satch of course-- juiced up on rocket fuel. Then you've got Sam Butera blowing the living daylights out of that howling sax. Keely Smith's clear smooth voice mellows it out a bit, but this thing jumps, jives, and wails all the way.

With that crazy New Orleans-- or is it Neapolitan?-- rhythm going on behind him, and Butera growling for a few bars, it doesn't matter if this is jazz, lounge, or whatever, it's just infectious as can be. Oh, and by the way, Prima plays a mean trumpet himself. And he wrote "Sing, Sing, Sing"

So for some screaming, super-hyped music, you simply can't pass this disc up.

so much fun
Louie Prima was a true original. He's been copied but no one has quite matched this level of joyous lunacy. Buy this and have a blast. And catch his wife Keely in concert if you have a chance. ... Read more

Amazon.com

Chester Burnett's ferocious growl was a staple of Chicago's electric-blues heyday. This 20-song compilation ranges from his 1951 debut "Moanin' at Midnight" with Willie Johnson on guitar to 1964's "Killing Floor" with Buddy Guy on guitar. His scratchy, sawed-off vocal approach and his energetic harmonica grace original classics such as "How Many More Years" and "Smokestack Lightnin'." By 1960, he became, along with Muddy Waters, the foremost interpreter of Willie Dixon's songs, lending his coarse voice to legendary Dixon cuts such as "Wang Dang Doodle," "Back Door Man," "Spoonful," "The Red Rooster," and "I Ain't Superstitious." Wolf's style was based on primal raw power, and he ranks among the genre's most distinctive performers. --Marc Greilsamer ... Read more

Reviews (26)

essential
Howlin' Wolf was already in his forties when he arrived in Chicago in the winter of 1953 and started recording for the Chess label. He quickly became Muddy Waters main and only rival on the city's club scene. With his six foot three, weighing well over 300 pounds, he had the stage presence of a mountain. Or perhaps a volcano is a better word, as he would regularly erupt, fall to his knees and howl at the moon. All his Chess recordings are essential listening for any serious blues lover, but if I had to pick one song to represent the Wolf in an anthology of the best American music from the 20th century, my choice would probably be Smokestack Lightnin'.

It's a simple song, just a few chords in a row actually, but it might be one of the greatest recordings ever recorded by a recording artist. I kid you not. Just as the Carmina Buruna belongs in the background of a classic, Freudian nightmare. Smokestack Lightnin' is the perfect soundtrack to a wild and sweaty one. It has a swampy feel bundled with images of trains and "little bittie boys". And the voice that sings it is just huge. I mean, the Wolf must have made the people around him feel like insects. It reminds me of the sound of a Harley, if you have the right pair of ears, you will only need to hear it once to remember it for the rest of your live.

The best single-disc overview of an amazing career
If you're only ever going to buy one Howlin' Wolf-album (why? why would you want to to that?), this is the one to get.

Howlin' Wolf recorded some two hundred songs during his long career, and with room for 20 only, some hard choices must have been made by the compilers.
Chester Arthur Burnett, the Howlin' Wolf, stood about 6'4" and weighed close to three hundred pounds in his prime, and his huge, gravelly roar of a voice sounds positively frightening on early cuts like "Moanin' At Midnight" and the clanging, piano-driven boogie of "How Many More Years".

The songwriting credits are shared about equally by the omnipresent Willie Dixon, who plays bass on most of the cuts as well, and the Wolf himself, and "Hidden Charms" features perhaps the greatest guitar solo ever comitted to tape, courtesy of the hugely underestimated Hubert Sumlin, Wolf's right-hand man for more than twenty years.
Other highlights include "Forty-Four", "Smokestack Lightnin'", "The Red Rooster" and the phenomenal "Killing Floor", written by Howlin' Wolf, shamelessly stolen by Led Zeppelin and covered by several others, but never surpassed, and featured here in the ultimate version, sporting an incredibly catchy guitar riff by Hubert Sumlin, and Buddy Guy on acoustic rhythm guitar.

This CD is a corner stone in a