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Recorded for a television program of the same name back in 1983, In Session bills itself as the only known recording of Stevie Ray Vaughan and Albert King, who was Vaughan's idol and mentor, playing together. That leads to some heavy expectations, which fortunately aren't disappointed, at least if you aren't expecting the customary over-the-top performances Vaughan was famous for. His playing here is much more laid-back and controlled, which is actually a recommendation--the stylistic similarities between teacher and student are that much more pronounced. The songs are mostly King concert staples, with the exception of "Pride and Joy"; highlights include the T-Bone Walker classic "Call It Stormy Monday" and one of King's own, "Overall Junction," which features some excellent guitar solo work. The snippets of recorded conversation between songs are interesting curiosities as well. --Genevieve Williams ... Read more

Reviews (97)

Sublime
If you're even remotely interested in the blues or guitars then you need to add this CD to your shopping cart immediately.

Rarely is such an energetic and explosive combination of guitar legends captured on tape so well. I just listen in awe whenever I play this CD. Stevie's playing is incredible - listen to Albert King's exclamations throughout the session. It's as though Stevie is channeling Robert Johnson, Jimi Hendrix and, yes, Albert King, all at once and those spirits are just flowing through his fingers. His improvisation is simply astounding. Albert King is content to sit back and let Stevie dominate while accenting the songs with his own trademark licks and riffs. But don't be fooled, Albert is still very much in charge here. It's clearly his session and Stevie's content to follow his idol's lead while blowing him away all at the same time.

I could write all day about how great this CD, but I won't. Just buy it. And when "Blues At Sunrise" comes on you can send me a little mental thank you.

This is an awesome CD!
This wonderfully recorded CD sheds light on the warm relationship SRV had with Albert King. This kinship comes across throughout the entire recording. SRV plays great guitar and takes many powerful and colorful solos. Here, we find a little known aspect of Albert King's guitar playing. He was also a fantastic rhythm player when he backs up Stevie! We should be grateful that this session has surfaced because it's as if the blues master passes the torch to the student. If you are a fan of Stevie Ray Vaughan or Albert King then this CD should be in your collection because it cooks from start to finish.

A blues lesson as told from father to son.
This is great stuff!! Two legendary blues guitarists which have a tremendous time together playing the blues. The CD contains fast rock/blues tracks but also long tracks of awsome slow blues. Sit down on your chair with a glass of beer and a cigarette and relax: this is some of the best blues you'll ever will get!

Respect!

in session albert king stevie ray vaughn
this is a great cd,albert was at his best and so was stevie ray.i was amazed how much albert king admired stevie's playing.all i can say outstanding.i always tell new blues fans to search this cd out.because it is so wonderful

The Best of Two Worlds-Then and Now
Two generations of blues masters come together in one dynamite CD...Austin's Stevie Ray and the Chicago Master, Albert King. Both left this life too quickly, King at 69 and Stevie Ray at 35 but their music will live on for future generations. You will love this one! ... Read more

Amazon.com essential recording

Heralded as one of the greatest live blues albums ever recorded, this set catches the singer-guitarist as his star was in ascent: in 1964 playing Chicago's answer to Harlem's Apollo Theater--the Regal. King's performance is visceral. He sings so hard that gravel flies even in his clearest high notes. And his trademark single-note guitar lines are sharp and steely, matching his voice with trembling vigor. He offers early hits like "How Blue Can You Get," "Worry, Worry," and "You Upset Me Baby" to what's essentially his adopted hometown crowd (by his own account, King had already played the theater hundreds of times). They give him a hero's welcome. In fact, the audience's screaming enthusiasm is distracting. But rarely has a love-fest of this magnitude between a performer and fans been documented. --Ted Drozdowski ... Read more

Reviews (28)

blues workout
B.B. King with his dearest, Lucille in action at the club The Regal. It is an absolutely incredible album in which you get drawn into further and further after each track. B.B.'s playing is top shelf and his audience surely lets him know. It is the raucous crowd that is audible during the whole show that seems to rub its excitement onto the listener. Anyway, this is a fantastic album that truly exemplifies how good a live blues album can really be. It is an album that is essential listening for any blues fan of any genre.

the definitive
From the opening introduction to the last note, this CD is simply amazing. Kings voice resonates clearly and moves your soul. An economical guitar players every note he hits floods your body with emotion. With the live crowd in a frenzy you feel like you are at the Regal that night. This is the King of the Blues at the height of his powers and this is the best live record ever.

Superlative live performance
It must have been a truly amazing night at the Regal Theater. I saw BB King perform at a stadium show a couple years ago, and he was still a fine performer even then, but this recording is the man in his prime in an intimate venue. The audience response complements the music rather than distracting from it. King clearly had these people in the palm of his hand. Judging from the clarity and power of his guitar playing and nuanced singing, it is not hard to understand why.

Simply put, marvelous.
This cd is one of the all time great vlues albums, and I am thankful that it has been restored onto cd, for further generations of bleus fans. This is classic BB in fine voice, and playing jazz riffs on his guitar.

Blues People & Riley King
As has been noted, this is one of the essential albums, one of the records that everyone is supposed to have like John Coltrane and Johnny Hartman, like Robert Johnson, like the music Billie Holiday made with Lester Young for Columbia, like Louis's Hot 5s and Hot 7s, like Elvis's Sun Sessions.

Beyond that, this is something that has become increasingly rare, a live blues recording where the music is played for blues people, African American working class and middle class blues people in an urban center. This all about singing and swinging and jiving and talking to the audience and the audience talking back.

When I was in Mississippi in the mid 1960s doing civil rights work, I met Blues People who loved BB King who didn't know that he played the guitar. The expression always was and still is 'BLUES SINGER," not blues guitarist. He sang the blues the way they needed to listen to and in a Blues People venue the folks will talk back to him too.

My favorite, classic moment of the blues dialog here is in "It's my own fault baby" where Riley sings "I gave you seven children, and now you want to give 'em back." All the sistas in the audience scream. Gruffer sounds came from the men.

What is essential to blues performance for BLUES PEOPLE is the constant dialog between the singer and the audience that is the heart of the native blues experience. The dialog isn't about the impeccable guitar playing on this record, or the totally righteous playing of the band, or even the fine voice of Riley B. King here, but it is about what the words the lyrics speak to the lives of the audience, and what the audience responds to the singer. That's the center of blues, not heavy guitar licks that the post-folk-post rock blues fan thinks is the essence of heavy blues.

It's a shame the audience for the blues has almost disappeared, that blues stars no longer play in big "Chitlin' Circuit" theaters like the Regal, the Apollo, the Howard, the old non hippie Fillmore, or that you can't see Riley or Bobby Blue Bland in smoky little night clubs in the ghetto.

Perhaps, I am showing my age here, because time has to roll on. I am sure that night at the Regal there was someone who could remember when the sistas and their men would be shouting back at things Bessie Smith, or Big Maceo and Tampa Read, Lonnie Johnson, or Memphis Minnie had sung to them from that same stage without the electric instruments.

The real Black blues when it was based among us, was about singing, about commentary. For even the greatest guitarists like Riley, Lonnie Johnson, T-Bone Walker, Johnny Lee Hooker, Guitar Slim, the guitar playing and the band were just ways to emphasize how the to talk to audience. This brings to mind that great Betty Carter Album, "The Audience and Betty Carter." This is the Blues People and Riley King talking to each other. That's priceless, get it, and listen to it. ... Read more

Amazon.com essential recording

One of the greatest concert recordings of all time. How could it be less, with B.B. King performing some of his best material before a literally captive audience in an Illinois prison? "Worry, Worry" and "How Blue Can You Get" take on deeper meanings here, although King works the latter's camp lyrics as if he were in a juke joint. His mix of down-home humility and commanding stagecraft is instantly appealing. And his guitar barks, sings, and squeals with such authority that this is a bravura performance from the first bent, soul-searing note. A true desert-island disc. --Ted Drozdowski ... Read more

Reviews (27)

The King at his best!
When people talk about B.B. King's greatest albums they normally narrow the fight down to two albums: Live at the Regal and Live in Cook County Jail. For years blues fans have fought about who is the better of these two blues heavyweights. However any way you slice out Cook County Jail is the clear favorite.

The main reason that I think this is the superior recording is that it captures the King at his peak as a guitar player. This album is the reason he is one of the greatest guitar players ever. In the Regal he depended too much on his horns group, so we didn't hear enough of Lucille.

Then there's B.B. the performer. Something about these 2000 some odd prison inmates gave the King a buzz that night, because he was very loose that day, having fun with the crowd and going through fantastic versions of How Blue Can You Get, Worry Worry, Three 'o' Clock Blues, and (most notably) the always essential The Thrill is Gone. All coming with a flair that only he could have produced.

There are some albums that a blues fan should simply own so that he can declare himself a blues fan. Cook County Jail makes one. Live at the Regal makes two. Both are all time classics, and represent B.B. King at his all time greatest. So if you love great blues, jazz, and soul meshed together, which normally means you love great music, then you must own these two CDs. You ain't a blues fan if you don't.

B.B. and Lucille, live and great as ever
Live in Cook County Jail is a wonderful live B.B. King record. I have only two complaints: The songs are soooooo short! Everyday I Have The Blues is like one minute long! The CD ends way too quickly. Also, B.B.'s live records tend to feature the same songs over and over. Several of the songs on Live In Cook County Jail can be found on Live At The Regal, and they're performed in very much the same way. Having said that, though, any live B.B. is great. His voice and guitar are amazing as always, and he has a great rapport with his audience (even when it consists of prison inmates).

quite remarkable indeed
i was 12 years old when i first heard b.b. king and it was this exact album.it is still relevalt to me today as it was 15 years ago.this album was recorded live and as such it captures the very essence of a live act,touching and delivering a great emotinal impact followed by a great deal of exitment of the crowd.
it is a rare moment and you can take part in it.

Blues you have GOT to have
I had this record in the '70's. I bought the CD in the '80's and I have never gotten tired of listening to it. This is one of the best all time CDs, blues of otherwise. My favorite BB King CD, and that is saying a great deal. Thank you BB!

King Knew He Was Having A Good Day !
This is one of the very first BB records I ever purchased. It stands the test of time as a very great live blues record. What stands out the most is BB's playing on it. Lucille had an amazing tone too. This is a blues record through and through, don't let other less knowledgable reviewers throw you. It's pretty cool he knew at the time too that is was a magical day as he announced "Me and Lucille feel very very good today...". His band is outstanding too. The only down thing I can say about it is that after repetitive listens, Worry, worry, worry seems to drag on. That's no big deal.... ... Read more

Reviews (5)

Together for the First Time BB King / Bobby Blue Bland
One hell of a great Soul album. Every track will knock your lights out a little more than the last one did. Its constantly building up to to the finally and leaves the listener begging pleading,for more.
Luckly, there is a Volume 2 named Together Again and it too will knock your socks off. Both of these albums, totally bring the pure excitment of being at the live show. I have seen both artists on numerous occasions, and these CD's are the next best thing to being there in person.

Great joking between performers, and the Soul is that type of Soul that is dripping with grease, and like Tina Turner says, "Nothin no good without the grease. These CD"s should be sold with moist towletts included. I'm ready anytime for Volume 3. Take the hint BB & Bobby.

this is a must have masterpiece
i was 10 years old when my father bought this on 8-track. i enjoyed it then and i still do. if my house caught on fire, this is one of the cd i will try to save.

Thanks to my Mom
when i was a Little Boy My Mom bought this Record&i enjoyed it alot.not knowing that much about B.B.King&Bobby blue Bland.but the way the two Artists Connected I wanted to know more.and as time has gone on this Live Album has become one of my All-time faves Live.you feel the Fun&High level Quality all through it.this is Classic Music&alot of Fun.

A great pairing.
Two legends in the world of the Blues, who have nothing but fun as they work together. A phenominal live album, which captures the joy they share in their work.

Hard to have much of the blues listening to these men, as they weave in and out of each other's lines in classic songs like "Don't Want a Soul Hangin' Round", "Its My Own Fault Baby", and "Three o'clock in the Morning". They both know the words, and neither once cares at the liberties taken in the lyrics by the other. For this reason (and just the fun they obviously have), this is probably not the album one should purchase as an introduction to this genre.

The songs herein have been done by this pair a million times, so they each know where they want to go (and more interestingly, how to throw the other just a tad off stride). Nothing but a lot of fun, though, as these two masters kid back and forth with the other.

Singing the blues has never been this much fun. Neither has listening.

blues that make you smile
Much of bb king's stuff is "more of the same" but I can't stop listening to this one. It is a very casual and very inspired recording that is technically very well recorded. Just try not to smile as BB and Bobby try to catch each other in verses with no obvious rhyme. It is equal parts blues, soul, intimate riffs, big groovy horns, house rockin music, and down home storytelling. The interaction of these two artists with each other and with the audience is first class. Definately an overlooked gem. ... Read more

Reviews (11)

Awesome, but Wed & Thurs in SF even better!!!!
Albert is THE master!! This CD is truly powerful guitar playing and great vocals! A must for ALL Blues and rock fans.
As great as Live Wire / Blues Power is, it is very misleading to say that these were the best songs of the live SF shows. ALL songs were great, and the "leftovers" that were placed on the Wednesday night in San Francisco and Thursday night in San Francisco were just as good. All three CD's form the greatest collection of the sweetest guitar playing ever!!!! He was the TRUE master. It's amazing how few paople know about this secret pearl of music.

One Of The Great Live Blues Albums!
Legendary blues guitarist Albert King really hits his stride on this CD (originally released in 1969). Worth it just to hear the uptempo classic "Night Stomp". Arguably, this is King's best album. All the tracks are great, and this is one disc that really sticks-to-your-ribs, and one that you will go back and play again and again! A great disc for budding blues guitarists to listen to... you'll be hard-pressed to find a better teacher (with the possible exception of Freddie King). Regardless, this disc is a must for both blues and rock fans alike. Well worth the price.

king of the flying v's and more....
This is a seminal album....one of the finest live concert recordings ever, irrespective of genre. I saw King Albert twice at the Fillmore East in the old days [this one was recorded at Fillmore West], and this CD [or my old vinyl LP for that matter] captures him in all his live glory. Albert was a consummate professional who hadn't played large venues for the most part in his career when Bill Graham tapped him for the Fillmores, and he succeeded in pleasing [no, knocking out!!] audiences and turning them on to the blues....if you're counting your coins and wondering which next blues CD purchase will best serve your budget [or even if you're made of money and don't care either way but love the blues] - BUY THIS ONE!!!

Albert King's Most Influential Live Album!
Well the Blues is meant to be played live. It was never a genre for three minute radio songs. When Albert king signed at Stax he produced several hit singles beginning with "Laundromat Blues" and going on from there. This was his first live album- ever. He produced three recordings from it, this one and "Wednesday and Thursday Night in San Francisco". The latter two were not released until 1990 when the Stax label was ressurrected under the Fantasy organization. Albert plays a host of new material and reworkings for this LP. It was his first outing at the Fillmore where he was the headliner. He woos the young audience and introduces them to what the blues is all about. He opens the set with Herbie Hancock's "Watermelon Man", a tune he used for about a dozen years after this as his opening with his line "take off your shoes and slip them under the seat". He goes into the title track "Blues Power" from here. This a Talking Blues, a type that Albert excelled at. B.B. and Freddie never did any talking blues, Albert loved to talk! It is interesting that this type of blues originated in Appallacia with white players in the 1920s. Albert is the all time virtuoso of the talking blues witness "Matchbox", "Cold Feet" and others. This ten minute outing contains a comprehensive overview of his guitar style. It is very excellent and the tone of his guitar is fabulous. It of course has his signature stop break he first recorded at Chess in 1961 with "Won't Be Hangin Round". SRV used it in Texas Flood (Live)! This song has a lot of jargon that places Albert as an older player with a young audience, such as "Soda Fountain" and "Guys and Gals"..however, it's over their heads, they were into his guitar. The title "Blues Power" is of course the catch phrase of the sixties various "Powers" (Austen Powers!!) and like "Born Under A Bad Sign" (Age of Aquarius!!)these attempts at contemporizing the blues were lost in the fabulous guitar work outs. No one cared about the lyrics or content only the sound.

Albert does a reworking of his first minor hit with King Records "Blues At Sunrise" with a small amount of Hendrix type feedback (he'd been doing this for a long time) and it's a great slow blues offering. He also does the closest thing to a slide riff he'd ever done with B.B. King's "Please Love Me". "Night Stomp" is an interesting reversal of the famous 9th chord runs he did in Overall Junction. He wrote this tune with the album's producer Al Jackson, Jr, the famous drummer of the MG's. He also wrote "Cold Feet" the talking blues, with Albert! The album closes with "Look Out" which was of course "Overall Junction" redone. This is interesting with the strange almost Buddy Guy bends he produced- it's different from anything he ever recorded.
This is a classic recording. It was at a time when the blues revival of the sixties was waning and Jimi Hendrix (who played with Albert) had taken the blues to a new level of blues-rock. Albert became accepted as an innovator of modern urban blues with his soulful recordings for Stax records. However, live he always played traditional blues and often his set included tunes from the 1940s (check out the other two albums e.g."Driftin Blues"). I saw him in 1990 and his set included "Stormy Monday" and "Move To The Outskirts of Town". Get all three of these CDs, they are an historic record of the blues influence on music of the 1960s.

Forget SRV? I dont think so.
I agree with all the positives about Albert King, he certainly is CLASS. I do disagree with the person who said "forget SRV" yeah right! He was CLASS too, wasn't he?? ... Read more

Reviews (7)

One of the classic live blues albums
Muddy Waters' July, 1960 appearance at the Newport Folk Festival was recorded and issued as one of the first live blues albums, and one of the very best as well. A bit short at only nine songs (plus four studio recordings), but that's just about the only complaint you could possibly lodge against this classic recording.

The sound on the remastered 2001 edition is simply excellent...the original masters have been transferred in high-resolution digital audio, bringing up Andrew Stephenson's bass overall, and moving Muddy's singing several layers forward in the mix.
And the result is superb. The Muddy Waters Band of 1960 included top-notch harmonica player James Cotton, guitarist Auburn "Pat" Hare, drummer Francis Clay, and the great Otis Spann whose superb piano playing graced almost all of Muddy's 1960s recordings (listen to the swing he adds to "I Feel So Good"). And Muddy Waters himself is in his prime, his big, confident voice possessing tremendous power.

Talking about highlights is a meaningless excercise..."Muddy Waters At Newport" features the definitive renditions of the classic "Got My Mojo Working" and the swaggering "I Feel So Good", but literally everything is superb, from the hits ("Hoochie Coochie Man", Big Joe Williams' "Baby Please Don't Go") to the little-known songs ("Soon Forgotten", the then-newly recorded "I Got My Brand On You" and "Tiger In Your Tank"). And the live portion of the album winds down with the slow lament "Goodbye Newport Blues", which is pretty generic and obviously slapped together for the occation, but it actually works really well (and pianist Otis Spann provides the lead vocal).

The original live recordings have been augumented by four bonus tracks recorded just prior to Muddy's Newport appearance, three of which appear "live" as well. Notice how the live recordings of "I Got My Brand On You", "Tiger In Your Tank" and the slow "Soon Forgotten" are almost twice as long as the studio versions.
The fourth song is one of Muddy's least-known songs...a mid-tempo blues shuffle anchored by a great rhythm section and with some superb harmonica playing by James Cotton. A fine little gem.

"Muddy Waters At Newport" is a must-have for any self-respecting blues fan, casual or fanatical, and one of the greatest items in Muddy Waters' catalogue.

Not too shabby!
I can't quite say I enjoyed this CD, but seeing as how this was my first Waters album, I have concluded it was a good place to start. It has some of his classics ("I Got my Mojo Working" and "Hoochie Coochie Man"), and a whole bunch of others.

Of considerable interest also would be the fact that not ALL of the tracks are live, both classics listed above are in pre-recorded format, along with another.

MUSIC ITSELF: 4
SOUND QUALITY 4
COVER, INSIDE SLEEVE: 5
OVERALL: 4

The concert that inspired British rock
This is the concert that inspired the likes of Eric Burdon, Clapton, Winwood, Jeff Beck, Keith Richards, Jimmy Page...this is a must for blues and rock n' roll collectors. The sound is live, probably Muddy's best live recording. I would like to find the video/35mm film to this. I also recommend "Hard Again" by Muddy with the help of James Cotton (who is also on this live recording) and Johnny Winter. The man is missed.

Great Acoustic Muddy!
A caveat. I like Muddy Waters' stinging electric guitar much more than I do his acoustic work, but this set from the 1960 Newport Folk Festival is what I play on those rare occasions when I'd rather have acoustic than electric. The remastered audio quality is excellent and Muddy is just phenomenal. This is probably up there with BB King's Live at the Regal as one of the all-time best live blues albums. Both are very different, but both are also very, very good. Still, electric mud is still, to me, where it's at!

Defining the blues
This is one of blue's seminal albums -- a must-have for any blues fan. Simply put, it defined the Chicago style. Muddy's vocals are sensational -- he's in top form here -- and the band steams along like a locomotive. Don't expect high-quality sound, though. This 41-year old gem was recorded live and the sound gets pretty thin at times. No matter. It's the historic performance that you get. ... Read more

Amazon.com

Released in 1979, this live album is a gem, from the enthusiastic audience (who cheer every line of opener "Mannish Boy") to Muddy Waters's killer guitar to vocals that tease and deliver by turns. The slide work is what to listen for here, especially on "Howling Wolf," where Waters gives any guitar virtuoso a run for his money. There are other special moments as well, including the absolutely killer timing on "She's Nineteen Years Old," the rock-bottom-deep vocals on "Baby Please Don't Go," and the slow sensuality of "Deep Down in Florida." The only shortcoming of this CD is that it's so short: there are only seven songs here, which will leave any listener wanting more. --Genevieve Williams ... Read more

Reviews (17)

Muddy was still in command.
Muddy was the man. And this disc proves it. On every single one of the tracks on this disc we hear an older Muddy still in full command of that special sense of timing and vocal control that made his name synonomous with blues. He teases us with a slow, stalling intro to a rocking version of Mannish Boy. He introduces Nineteen Years Old, playing to the crowd: "If she wasn't a young girl I wouldn't be arguing over her. I'm so carried away with young women that I'll kill anyone about one of'em." Highlights like these abound, and live audiences hoot their approval the whole way through. Also of note is some stellar instrumental work. James Cotton blows some searing harp on Nine Below Zero, as does Jerry Portnoy on Baby Please Don't Go. Both Johnny Winter and Pinetop Perkins cut loose on the marathon Deep Down in Florida. And, of course, Muddy displays his usual impressive chops on the slide. Buy this album and put it in your CD player at high volume. The results are electric.

Steamy!
This latter-day album gives the listener a chance to hear Muddy Waters playing live with the band that he recorded his 1977 comeback LP, "Hard Again" with.
The musicians include Joe "Pinetop" Perkins, Johnny Winter and harpists James Cotton and Jerry Portnoy, and the crowd greets every song and every solo with enthusiastic response.

Muddy Waters himself plays slide guitar on a couple of tracks, and while his improvisations are more enthusiastic than melodic, the band is generally quite tight, and the highlights include "Mannish Boy", "She's Nineteen Years Old", "Deep Down In Florida", Sonny Boy Williamson's "Nine Below Zero", and a powerful rendition of Big Joe Williams' "Please Don't Go".
The atmosphere is great, and so is the music. Seven tracks is a little on the short side, and the sound isn't quite as three-dimensional as on "Chicago 1979" or "Muddy Waters At Newport" (or the stereo cuts on "Mojo"), but "Muddy 'Mississippi' Waters is nevertheless a really good latter-day Muddy album.
Look out for the expanded 2004 re-release...

Vital Mckinnely Morganfeild
If you don't have it please get it just wish it had more live music .

MUDDY AT HIS BEST
I picked up this Grammy winning live album (his 3rd of 4 Blue Sky releases) on vinyl after seeing Muddy open for Eric Clapton at the Capital Centre (R.I.P.) on April 26, 1979. After being blown away by this blues legend, it struck me that over half of the audience (which was still straggling in) had missed the best part of the show (and would never know it). As good as Muddy is on record, he is truely in his element on stage. Therefore, I just had to add this live album to my collection. When I upgraded my stereo system, this is one of the first CDs that I purchased. If you like Muddy, you'll love him live.

Howlin, Screamin, N' Slidin
What a performance, thank GOD it got recorded! The whole band is at the top of their game, and Muddy just smokes!

Muddy and the audience feed off each other's enthusiasm - making this a very special live recording!

This is nothing short of a MUST HAVE release for the blues fan!

For those of us who never had the chance to see Muddy perform live, this is as close as you can get.

Put it on, turn it up, close your eyes, and ENJOY! ... Read more

Amazon.com

The blues world lost a treasure when Luther Allison died in 1997, just as he was finally garnering the recognition he so richly deserved. If there's any question of that, this live album, recorded at the 1995 Chicago Blues Festival and at Buddy Guy's Legends, will dispel any such notion. A performer and songwriter of the first order, Allison had the sort of mastery of his instrument that comes from long experience; whether rolling off licks on the "Gambler's Blues/Sweet Little Angel" medley, or playing extended solos on "All the King's Horses," Allison's on the ball and in control at all times. This album contains mostly newer material previously recorded for Alligator Records, like "Soul Fixin' Man," "Bad Love," "All the King's Horses," and "What Have I Done Wrong?" Overall, this is an excellent memorial to a musician who should be remembered. --Genevieve Williams ... Read more

Reviews (27)

Luther Live @ Chicago Blues Fest
Bluesman Luther Allison grew up on Chicago's west side, learning his chops from such legends as Freddy King, Muddy Waters, Howlin' Wolf and Magic Sam. After several successful records with Delmark and Motown, Allison moved his base of operations to Paris in the early 1980's, and from there he toured and recorded extensively, becoming a blues favorite to European audiences.

Absent from the American blues scene for many years, Allison crossed the Atlantic in 1994 to retake stateside audiences by storm and promote his then-new Alligator Records release, "Soul Fixin' Man." I was one of the lucky ones in the audience when Luther rocked the house @ Buddy Guy's Legends. I was a freelance writer at that time, and my notes of that gig read something like this:

"Around 9:45pm on Friday June 10th, seismic monitoring stations as far south as Joplin, Missouri reported tremors registering as high as 5.1 on the Richter Scale. Small boats on Lake Michigan were swamped by huge waves....politicians, fearing that The End had come, repented and gave spontaneous confessions of perfidy to tabloid reporters....Christians fell to their knees and praised God, shouting "The Rapture is here!"....others cowered like dogs and wept bitterly, knowing themselves damned....and fearing a massive rupture along the New Madrid fault line, the National Guards of Illinois, Iowa and Missouri were nearly mobilized before anyone realized -- it was just Luther Allison tuning up."

It was wall to wall and floor to rafter with stone-drunk blues fans (most of which still hadn't sobered up from the Bluesfest) when Allison and his wrecking crew took the stage, playing with total abandon and whipping the house into a frenzy with two sets that were marked by long winding solos and incendiary guitar work. The fact that Legends still stands after Allison's earth-shaking performance is some kind of tribute to Chicago building codes.

Sitting at the bar taking it all in were Buddy Guy and the father-son double whammy of Lonnie & Ronnie Brooks. There was much speculation in the crowd that one or more might join Allison onstage, but such hopes never materialized -- and Luther didn't seem to need any help anyway, except maybe someone to hose him down every half hour or so.

All too soon, the lights went up, the band stepped down and all that was left to do was to go outside and watch an unidentified taxi driver hose down several panhandlers with a super-soaker watergun....I walked to the bus stop, feeling the last rumbling echoes fade, knowing that, for sure, I had been in the presence of greatness.

This is Luther Allison live, in his element, at the very height of his considerable talent. This recording belongs in any serious blues collection.

God I miss this man!
I can't believe this man is gone. We are fortunate he left us with Live In Chicago. As said in another review, Luther Allison is Blues....he's Rock and Roll...he's Funk...he's Soul. But beyond all else he wraps these all in an unequaled energy and passion. The two performances are quite different due to the venues. He was a master at adapting to the space. The disc from the Chicago Blues Festival is more wide open, the second at Buddy Guy's is more soulful, pointed at reaching deep into his audience. I must second a comment made in a prior review...you will be haunted by the power of Luther Allison. Over the years I never missed a chance to see him live. We'll never be able to see him again...but Live In Chicago is a marvelous set of memories of this masterful artist. I salute the Alligator Records people for bringing it to us.

I Blew My Speakers Listening to Luther !!!!!!!!!!!!!!!!!!!
I'm gonna make this short, I own thousands of cd's and have seen hundreds of live performances over the last 30+ years so I feel qualified to make this statement, Disc One of this 2 cd set is the greatest live performance I have ever heard! I have no doubt about it. Everytime I listen I am reminded of his greatness. Listen to how intense he does "Cherry Red Wine", I just wish I could have been there. Does anyone have a video of this?

One of a Kind!
Luther Allison is one of a kind! You can literally feel the passion Allison put into this perfomance. Solo's like the one in Cherry Red Wine are hard to come by. Allison melts the frets away during this solo. This live performance in Chicago is unique and certainly worth getting. For any Blues, Jazz and Rock fan or any person that appreciates fine music this is a must have for your collection

Wish I was there.
As a blues fan and guitar player I'm constantly looking for CD's to provide inspiration and listening enjoyment, this live performance would bring tears of joy to Hendrix! The tone is great and Luthers fingers are flying, we've lost one of the greats. Number 1 in my collection. ... Read more

Reviews (7)

OOOOOOOTTTTIIIS RRRUUUUSSSHHHH !!!!!!
This album is a must have for fans of blues guitar, or just great blues music. Otis Rush is a force to reckoned with on this album, his guitar is alive in his hands and sings, squeals and grunts at times. His singing is powerful, and always tasteful.
Right from the opening track his 'blue guitar' hits the mark and never waivers. All Your Love is well done, and I also loved that he did a version of Kenny Burrell's Chitlin's Con Carne !!! very cool !
Otis Rush is awesome and certainly lives up to his nick-name as 'King of Singing String.'

Awesome Blues Power
Here is some of the most perfect blues guitar playing you will ever hear. There's even a smokin' version of Kenny Burrell's Chitlins Con Carne. You can hear the warmth & slight crackle of the tubes in Otis'amp. Tone to the bone. Majestic vibrato. Spine tingling singing. Otis' only living equal in this music (that I can think of right now) is Buddy Guy. I have several Otis Rush CD's. Highest recommendation to this one, Right Place, Wrong Time, and Cold Day in Hell (if it's still in print, I'm not sure). Blues Power.

Buy this CD. The sound is superb. There are no clunkers here
You can feel his guitar sing beautifuly on every track. His vibrato is second to none. If you like it, get "Right Place Wrong Time".

You can almost hear Otis breath through the speakers!
This is one of the most Raw in your face Blues recordings I have ever heard! Otis sings with deep conviction and plays with a passion and makes every note count! The crowd is very enthusiastic and this adds to the excitement! One of my all time favorites at The Crazy Coyote Blues Power Show at 1490 KOTY AM (1490koty.com) Yakima Nation Reservation station in southcentral Washington state.

Otis Rush is the Man!!!!!!!!!!!!!!!!!!!!
Otis Rush is just sometimes with me another dimension. Otis has influenced every major Blues artist playing guitar since the 60's. This is easily one of his best listening Cd's with the performance and selection of songs here. He is one of the VERY few who are still alive from the 50's cutting edge consisting of Otis,Freddie King,Magic Sam,Luther Allison,Buddy Guy and Eddy Clearwater of the West Side Chicago sound. He is in Japan here where some of his best performances have been recorded. He is scheduled to go back to Japan to tour in May 2001. Hopefully someone will have the foresight to record him on audio and video. I rank this CD in my Top Ten of alltime Blues CD's. Its a must for any lover of the blues! ... Read more

Reviews (5)

Hard-rock blues
Okay, I'm not a Hound Dog fan -- not that I have anything against him, it's just that this is the only album I've got by him. Maybe it's because I doubt there's better album by him. This is a clear favorite for when I want some loud, electric blues. It's a great live recording that captures both the energy of the performance and gives a generally clean, balanced sound. The opener "Give Me Back My Wig" and his take on "Dust My Broom" are great work. The only thing that holds it back from a five-star is a few muddy tracks and a few uneven songs. Even with all that, if you're into electric blues, you should definitely have this album, along with Muddy Waters "Hard Again".

The Houserockers' very best album
Hound Dog Taylor (1916-1975),the six fingered man (yes,just look at the picture,he really got six fingers on the left hand !) was a giant of the Chicago blues.His guitar playing and his singing mostly remind of Elmore James.Here he is recorded live with his Houserockers, Ted Harvey on drums and Brewer Phillips on bass,at the Northwestern University of Evanston,Ill,and at the Smiling Dog Saloon,Cleveland,in 1974.Great versions of Elmore James' classics,"dust my broom" and "the sun is shining",and awesome originals like "kitchen sink boogie","let's get funky" (remember Magic Sam ?) or "it's allright". Hound Dog is one of the very underrated great Chicago bluesman, with J.B.Hutto.Let's have a ball with him now !

THIS is the one!
This is the Hound Dog Taylor you should have seen live. But thank God for this awesome recording, you get to hear it, and you'll swear it's like you were really there. Raw, raw, raw sound that's always imitated but never duplicated; "Beware of the Dog" is definitely one of the top ten best live blues recordings ever made, EASILY. He and Philip Brewer and Ted Harvey set the standard for a blues power trio.

Raw and powerful
This is just a great classic album - It's like walking into a small club and hearing low down slide guitar and tough blues - I got this first on LP when it came out in 75 and it still sounds fresh and alive. Awesome.

Hound Dog's best, narrowly
Hound Dog's albums are all much of a piece: raw, stripped-down, exuberant "punk blues" that lack finesse but have feeling to burn. If pressed, I'd pick this one as his finest, because he and the HouseRockers ironically get a fuller and more powerful sound outside the studio -- this is a live album -- and, in the interplay between the tiny club audience and The Man, you can hear how much pure and simple joy he derived from his work. And, by returning that uplifting energy through his music, he was elevated to greatness. ... Read more

Reviews (7)

Best Blues guitarist ever!!
This is AWESOME Albert King live guitar playing!!! He was at his best on stage!!! Every song is soooo good!! I'd venture to say this is the best blues I've ever heard and I've heard a lot. This includes Hendrix, BB King, EC and SRV. His guitar sound is
sooooo sweet whether he plays soft or loud. It's true feeling...
Wednesday Night and Live Wire/Blues Power are also MUSTS!!!
Albert King is thE TRUE KING OF THE BLUES GUITAR!!!

They All Want To Be Albert!
It's hard to believe that 34 years has passed since Albert King recorded this CD during a live performance one Thursday night at the Fillmore Auditorium in San Francisco on June 27, 1968. It's even harder to believe that Albert and his Gibson Flying V guitar sound as fresh today as they did back then. There is some fantastic playing on this CD as is evidenced by "Drifting Blues" and "I've Made Nights By Myself". Albert had such incredible guitar playing ability that it was, and remains, a standard by which all blues players seek to attain. While, a lot of new blues guitarists are often compared to the great Stevie Ray Vaughan, those comparisons overlook the individual that SRV idolized and emulated-Albert King. In fact, Albert influenced the playing of many of the greatest players including SRV, Eric Clapton, Jimi Hendrix, Buddy Guy, Billy Gibbons and even Kenny Wayne Shepherd. On this CD you will experience what a consummate live performer Albert was. Some have described his playing as down right ferocious and sometimes scary. One thing is for sure, Albert is often imitated, but he will never be duplicated. The Wednesday Night makes a great companion to this disc so seek it out as well.

Live is Best.
To me, music recorded in front of a live audience is better. The musicians get turned on by the audience and vice a versa. As a white kid of 14, I listened to this kind of music in what was then the Black part of Seattle. I was able to enjoy this wonderful music with no hassels of any kind at "Battles of the Bands," in the old Finn Hall, The Washington Hall and even the Black and Tan. I have loved the blues then and ever since. Albert King is one of the greatest. Any one that enjoys blues will enjoy this album. What wonderful music.

This is the blues
There are two types of songs on this disc, shuffles and slow gut rippers. They even pretty much alternate one after the other on the disc. While it sounds like things could get boring after a couple songs, have no fear, we're dealing with Mr. Albert King.

While there are only two speeds, a gaggle of familiar blues standards, and the same notes on each solo, it really doesn't matter. The emotional whallop that Albert delivers is as intense as it gets. There are many long, searing solos that spew hell and brimstone. Then there is Albert's thick, sandpaper voice which is a beauty in itself. This is the blues, a man with limited ability and unlimited soul, playing on a stage.

Smokin' Albert at His Best
Albert King might play the same handful of licks all night long, but he'll knock you dead with 'em every time. Now THAT takes some doing! I agree with the review below-- I like this CD a lot more than B.B.'s Live at the Regal. Albert is full of confidence, he's totally in the groove, and you sense that he's in his happy, first blush of fame with "crossover" success. He really swings, and his timing is unbelievable. My friend and I were listening to some "ambient" nineties music the other day, and we quickly had enough and said: "forget this-- put on some Albert King, Thursday Night in San Fran!" We realize that there's no getting around it-- you can't beat a raw, thrilling, table-pounding groove, with hot, precise guitar licks. King rarely wastes a note here. It's been said many times, but 'tis true: he creates an exquisite, knife-edged tension by what he DOESN'T play. He sure was "in the zone" during that Thursday Night in 1968-- that's why this album is an all-time keeper. ... Read more

Album Description

Digitally remixed and remastered 2 disc Legacy Edition ofthe Grammy Award winning album Muddy ''Mississippi'' Waters Live. The original recording was produced by legendaryguitarist Johnny Winter, who also plays and performs on the album. All tracks on disc 2 - Muddy ''Mississippi'' WatersLive at Harry Hopes - are live recordings of Muddy and hisband never before available, 'Medley-After Hours/StormyMonday Blues', 'Trouble No More', 'Champagne & Reefer','Corrina, Corrina', 'Hoochie Coochie Man', 'She Moves Me','Kansas City', 'Pinetop's Boogie Woogie', 'Mad Love (I Want You To Love Me)', 'Everything's Gonna Be Alright' & 'Got My Mojo Working'. 2-CD deluxe digipak with customized slipcase features original artwork plus additional track information and rare photos. 18 tracks. Legacy. 2003. ... Read more

Reviews (8)

and I thought I've heard it all
I guess I must have not read Muddys biography enough or didn't put two and two together. I thought with the Chess Box 3 CD set I have almost all of his recordings.

But I wasn't thinking.

Muddy got me into the Blues. Live in Newport was the first blues CD I bought.... I think probably around in 1989.

I bought this one just now, June 2004 and I am still in love with the blues. And with Muddy.

This album is great. I always prefered his live material... I love concerts and to feel the music as you can in this CD and to imagine to be there. Amazing. I do agree with the review of anders_pj... some arrangements and esp on the 2nd CD the obvious Champagne and Reefer influence make some of the songs not work quite as good as some other recordings.

But all in all a must for any Muddy fans. And some which want to discover THE father of Electric Blues.

****1/2.....Better sound, better mixes
The original seven-track Muddy 'Mississippi' Waters Live" album was a nice, but ultimately inessential record.
However, this 2003 deluxe edition (similar in design to the deluxe edition of the Allman Brothers Band's "Live At Fillmore East") restores the truncated mixes of the originally released songs, it adds another disc of previously unreleased material, and both discs have been digitally remastered. The drums and the bass may have been left a little too much in the background at times, but the vocals, the guitars, the harmonica and the piano are superbly crisp and clear.

Disc one has been fleshed out a little bit...the original mixes have been scrapped in favour of new and usually better ones, something which is particularly audible on the leadoff track, "Mannish Boy", which is two minutes longer than on the 1979 LP (and the original CD issue) due to the inclusion of a verse sung by Johnny Winter.

Other highlights include a terrific "Nine Below Zero", the slow groove of "Streamline Woman", and a swaggering nine-minute "Deep Down In Florida", and the band, which occationally includes Johnny Winter in addition to the standart Muddy Waters band (he doesn't replace any of Muddy's usual guitarists), is tight and muscular. Lots of great harmonica playing from Jerry Portnoy, and the four (!) guitarists manage not to step on each others toes too much, or engage in meaningless flailing...with the possible exception of Waters himself, whose occational enthusiastic improvisations on the slide guitar may make you want to reduce the treble a little ;o)

Disc two will hold the most interest for longtime fans, of course, since this material, which was recorded at the same series of August, 1978 shows as the songs on disc one, has not previously seen the light of day.
Opening with a lenghty soliloqui by Muddy Waters, and a "Stormy Monday Blues" which doesn't quite match T-Bone's original, it features a swinging "Trouble No More", an interesting "Champagne And Reefer", and the irresistable piano-driven "Corrine, Corrina".
This rendition of "Hoochie Coochie Man" has a lot of power as well, and the mix is one of the best on the entire album, finally bringing the bass and the drums to the forefront. And the rarely heard "She Moves Me", an early track from the Aristocrat days, is a nice inclusion, as is the slow, intense "Mad Love (I Want You To Love Me)", and Joe "Pinetop" Perkins' nimble performance of Clarence "Pinetop" Smith's classic "Pinetop Boogie Woogie", .

You'd think that a nine-minute "Kansas City" would likely overstay its welcome, but it doesn't, mostly thanks to the wonderful band and a couple of great guitar solos. And the album finally winds down with the great, up-tempo swing of "Everything's Gonna Be Alright" (sung in part by Luther "Guitar Jr." Johnson), and a fast, aggressive "Got My Mojo Working" with a nice, meaty harmonica solo by Jerry Portnoy (?) and some superb drumming by Willie "Big Eyes" Smith.
(The liner notes name Jerry Portnoy as the harpist, and he was indeed a member of Muddy's band at the time, but during "Nine Below Zero", and just before the harmonica solo, Muddy Waters clearly says: "It was nine below zero, Cotton". It's not supposed to be James Cotton, but who knows? Sounds more like Portnoy, though.)

This double-disc reissue includes an essay by Muddy-guitarist Bob Margolin, as well as Muddy Waters encouraging the audience to "smoke a little reefer, people", and it is a nice addition to any Muddy-fan's collection. It is not necessarily better than some of the other excellent live recordings left behind by Muddy Waters (like "The Lost Tapes", "Mojo", "Chicago 1979" and of course the Newport album), mainly because it doesn't really add anything new to Muddy's vast legacy...almost all of these tracks have been issued before in equally fine live versions (musically, at least).
But 4 1/2 stars anyway, because it's just so good! Even if there are other, less highly touted live recordings of the legendary Muddy Waters band which are just as good, or perhaps just a little bit better.

Best Blues Vocalist
This is the best blues vocalist ever, and the 2nd disc with its more laid back atttiude is better. Excellent sound, excllent band.

Second disk is as good as the first
This one's worth every penny. Had it been the new disk that had been issued originally, then IT would have won a Grammy. Best "deluxe edition" I've ever bought.

DESERVES A 6TH STAR
How do you improve upon a 5 star Grammy winning live album from a blues legend? Remaster the original album (with a longer version of Mannish Boy), add another disc with almost an hour of unreleased music not used the first time around, and a 22 page booklet containing essays by Robert Gordon and Bob Margolin as well as photos of Muddy through the years. This Legacy double disc set deserves a 6th star. Muddy's best just got better. ... Read more

Reviews (3)

Awesome live blues guitar
Albert was at his best live...This is awesome guitar playing and Albert's singing is awesome as well. One listen to this and one realizes that Albert King is truly THE master of the blues guitar. ALL songs are excellent! "Don't throw your love on me so strong" is the VERY BEST BLUES GUITAR PLAYING I've ever heard and that includes SRV, Hendrix and the rest of King's followers. He was the BEST!!! Thursday Night and Live Wire/Blues Power are also MUSTS!!!

Hot Blues!
Albert King recorded this CD on Wednesday June 26, 1968, one day prior to his more popular and better known release, "Thursday Night In San Francisco". This disc represents the first day that Albert performed at the Filmore as the headliner. Prior to that time, he had appeared as the opener for Jimi Hendrix and John Mayall and the Bluesbreakers. Albert's "best" performance that evening, as well as the next day, (according to Stax anyway) was originally released by Stax on the "Live Wire/Blues Power" CD. The songs contained on both, the Wednesday and the Thursday CD were thought to be a cut below and were not included. Fortunately for us, Stax took another look at the material, albeit 22 years later, and released the remainder of the material as it occurred on two separate discs. In order to gain a full understanding as to what occurred on those two nights, King fans should purchase all three of these excellent recordings. As with the other two discs, King's performance is outstanding.

Live proof that Albert King's blues guitar voice is unique.
This album is typically overlooked by blues fans, even Albert fans, but it's a note-perfect document of how to deliver a live blues performance. Albert has such total control of the blues guitar vernacular unique to him that he can ply a range of emotions through a subtlety of pitch, dynamics, and timing that is probably unmatched. The uninitiated listener mistakes this control for repetitiveness, but the flawlessness of Albert's delivery makes his blues guitar voice undeniably compelling nonetheless. All the evidence is on this record. ... Read more

Reviews (3)

Fine, but not as good as their first
This is a reprise of the wonderfully successful first album these two did together. It is worth having not only for their obvious enjoyment working together, but for the terrific job in "Let The Good Times Roll".

Otherwise, this is not as good as the first effort, which I thought had much more wide range of songs. Make that your first purchase of these two.

A party!
BB and Bobby throw a great party here, beginning with Let the Good Times Roll. The beauty of this record, as with "BB and Bobby -- Together for the First Time Live" is the spontaneity of the live recording. Bobby tries to persuade BB to play some requests, a fan gets up on stage -- the fun of this record could never happen in the studio.

A very good value
I enjoyed all but two of the tracks on the original cassette I bought some time ago. An excellent version of both "Let the good times roll" and "The thrill is gone". ... Read more

Reviews (3)

Fine latter-day Collins
These performances were recorded shortly before Collins' death in late 1993, but rather than sounding tired, they offer proof that the "Master of the Telecaster" remained a commanding stage presence until the end.

Albert Collins' highly original, percussive guitar playing is still sharp, and his vocals are strong and soulful. He is backed by an excellent band which includes two sax players and a trumpet, and they offer solid backing and the occational soul-revue riff without overwhelming the 60-year old guitarist.

Collins and his band swing on the superb "If You Love Me Like You Say" and the funky "Iceman", and they groove on the eight-minute blues workout "Put The Shoe On The Other Foot".
Other highlights include the rocking "Travelin' South" and the sweaty soul of "Talkin' Woman". And listen to Albert Collins' solo on "Iceman", and his take on T-Bone Walker's classic "T-Bone Shuffle"...Collins played without a pick, and often used a capo high up on the neck of his slightly metallic sounding Telecaster, plucking tinkling, piercingly clear notes from the strings (this was the technique which gave his playing its "icy" tone).

This is a strong collection of some of Collins' best and most accessible latter-day material. It is a great place to start if you're new to the music of Albert Collins, and a must-have if you're a fan.
Definitely recommended.

THIS TRUE MASTER WILL NEVER REALLY DIE !
An album made up of live recordings in 1992 and 1993, this album serves as proof beyond a doubt that Albert Collins was very much on top of his game right up until his final days. Distilled from performances at the Montreux Jazz Festival, Switzerland and two gigs in Rockford, Illinois and Peoria, Illinois, this is a cooking set of hard-hitting blues that could raise the roof ! Bringing some of his most familiar tunes, from "Frosty" to "Iceman" and "Put the shoe on the other foot" to "T-bone shuffle" he totally sweeps the audience off its feet. Crystal-clear recording of the man who shall forever remain The Master of the Telecaster. Recommended listening !

Live with the Iceman
Albert Collins "the Master of the Telecaster" comes out in full force on this CD. It is the first CD I have by Mr. Collins and I bought it after hearing I ain't Drunk on KPFT in Houston Texas. Thanks Mr. V! Albert and the Icebreakers basically blow nearly every bluesman out of the water. Not only is the guitar great and the band great, but it is FUNNY! Who says the blues have to be sad. This is especially touching when you realize that this was his last tour before his tragic death and he knew that his time was almost up, but he still lived it up all the way. My only regret is that I won't be able to see him because he is one of the best entertainers I have ever heard. Yes it comes through that clear on disc. Buy this CD, turn up the radio loud, and don't worry about what your friends say about how lame the blues are because they probably listen to Britney Spears anyway. ... Read more

Amazon.com

Silvertone Records has done a smart job of resurrecting Buddy Guy's career. When the label signed the Chicago blues guitar master in 1990, the 54-year-old legend hadn't had an American release in nine years. Silvertone introduced him to a new audience by having him play duets with such rock-star admirers as Eric Clapton, Mark Knopfler, and Jeff Beck on the 1991 album, Damn Right, I've Got the Blues. In 1996 the label unleashed the hardcore Buddy Guy stretching out on vintage blues numbers in a live setting on Live! The Real Deal. The payoff is not only a terrific blues album but also an album built on the kind of financial foundation that will insure many more to come. --Geoffrey Himes ... Read more

Reviews (15)

Very good. Almost great
Buddy Guy is accompanied by the Saturday Night Live house orchestra on this album, which may only include nine songs, but still clocks in at well over an hour.

Guy's playing is strong and focused almost all the way through, and he gets superb backing from former Chuck Berry-pianist Johnnie Johnson, whose solo on the T-Bone Walker-like "I've Got News For You" is one of several instrumental highlights. Guy plays rhythm and lead guitar equally well (some blues guitarists, like B.B. King, literally can't play a chord), his voice is still powerful in spite of his advancing years, and he plays excellent renditions of "I've Got My Eyes On You", "Damn Right I've Got The Blues", "Let Me Love You Baby", and the Elmore James-single "Talk To Me Baby" in particular.

"Live - The Real Deal" may not be perfect (Guy's slightly erratic vocals are sometimes too low, something which should have been corrected in the mix), but it does show what an excellent guitar player that Buddy Guy is. It also features some of his best songs in good or even great live renditions, and if you're a fan of Chicago blues, you'll probably enjoy this album. If you're a fan of Buddy Guy you're almost sure to.

BUDDY BRINGS BACK THE BLUES
This is a good live album because Buddy Guy for once in concert is playing Buddy Guy, not imitating other guitar players which he annoyingly loves to do. It is also the most traditional blues sound he's done in about 20 years, not counting the duo cd's with Junior Wells. The Saturday Night Live Band keeps right in step on all 9 tracks with some good driving rhythum. There are some roof raising slow numbers like "Sweet Black Angel" and "My Time After Awhile" where you really hear Buddy actually playing the blues like the old days at Chess.

buddy Guy takes the SNL band to blues school
this is an interesting album. I have been a Buddy Guy fan for a long long time and I've seen him live on a few occasions. While I like the sound of the album and it does have some great moments I just don't get the whole SNL band thing. While great technical musicians they just don't know the blues and it is glaringly obvious when one of them attempts a solo. G.E. Smith's weak excuse for a call and response section with Buddy during, "Damn Right I've Got the Blues" sounds like my cat when she is wining about being hungry. Buddy will throw out some amazing guitar line and smith will answer with something that a ten-year-old would play while learning how to bend the strings. Pathetic! the only other soloist who keeps up with Buddy on this album is the amazing Johnny Johnson on piano. the man is just a legend and he does show it here. This album seems to be another attempt to make Buddy palatable to the casual blues fan, (The ones who think Keb' Mo' is a blues artist), in an attempt to widen his audience and from a financial standpoint I can't blame him or his record company. Ih short, if you are a true Buddy Guy fan you'll find this album to sound pretty waterd down so I wouldn't rush out and buy it. If you are someone who is interested in learning about the blues and have heard about Buddy Guy then I would recommend buying this album simply because Buddy's playing is normally very intense and it may scare off someone who is not familiar with his style so start with this one and then build into the real good stuff.

The best!
Buddy Guy's recent (Silvertone) studio albums range from ok to very good, but none really capture Buddy at his best--in concert. Nobody puts on a better show, and this album comes very close to taking you there. I have seen Buddy twice in concert and, while he does use a different band here, I believe this album really captures the spirit, passion and virtuosity of the best blues musician in the world. Fast tunes, slow tunes, quiet, loud--it's all here, and it's all brilliant.

Some of the earlier reviewers seem distressed that Buddy is teaming up here with the SNL band, rather than playing with his usual smaller group. Well, so what? They bring out a new side in him, and complement him very well. And, they are tremendous musicians. I really enjoyed listening to piano, organ, and sax solos, in addition to Buddy's fantastic guitar work. Everyone obviously had a great time, and they made some truly inspiring music.

Astonishing,historical performance of a genius!!
This is an historical album.A rare opportunity to hear the magical guitar of this great bluesman at his own home the Legend's.Here we have a Buddy Guy with intense,gutural,sensuous voice,a testimony of a genius,that plays like no other,with heartfeelings,and sustained by a great band.This is a cd for those bluesfans,those Buddy's fans!!! ... Read more

Album Description

The greatest living chromatic harmonica player, tears it up at BB King's in Memphis. ... Read more

Reviews (6)

A superiaor rockin' blues band
Well this band Rod Piazza and the mighty flyers, have mroe in common with boogie beboppin' swing, then blues, but this genere is now being referred to as "Rockin' blues", and Piazza a talented harmoica player, who really makes his harp rock and wail, does rock good enough to attract a rockabilly crowd following. Honey Piazza(Rod's wife), is the real treasure of the band, adding boogie woogie rockin' piano riffs, that are out of thsi world. a great cd, a rockin blues band, and yes you can dance rockabilly style to this band!!!

Almost like being there
I have seen this group perform twice at an intimate club in Mishawaka, IN. They are awesome. Words cannot describe how they get the joint jumping. I am looking forward to seeing them again. I see they are due to return to Mishawaka and also play at Buddy Guy's in Chicago. I will definetly be there. This CD captures as well as is possible how great they sound. I have played it over and over and still get goosebumps when I hear Rod blowing that harp and Honey slamming out a boogie.
If you cannot see them live, get this CD. If you have seen them live you must have this CD.

Awesome Awesome Awesome
I used to play this CD all the time until it was stolen from my car (along with many other CD's). I have been looking for it ever since and am very happy to have found it. Play this anytime you need to be energized!

The best live blues album
I got the cd from a friend of mine. The first time I heard it I was in love. What a sound, what a style!! This man makes a crowd go wild!!!, even on cd!!

Amazing Live! performance.
I saw him at Biscuit & Blues, San Francisco... and his harp playing is really amazing, diatonic and chromatic. He even used a cordless mic and played around the hall! His wife boogie style piano solos were incredible. I purchased this CD there (and a modified harp mic) and it returns me back to those moments everytime I listen to it, five stars!!! ... Read more

Reviews (4)

The Master of the Telecaster
Albert toured extensively during this time and the Union Bar in Mpls. was a usual stop. I was lucky to attend these shows and many others featuring Albert and his band.
His shows began with the band warming up with Casey Jones (drums) or A.C. Reed (sax) taking vocals. When the crowd was good and ready, Casey would lead into the instrumental "Frosty". After building up fury, he would announce "Ladies and Gentleman, here for you in Mpls, by way of Houston Texas, The man that cuts so deep he gets into your soul, the master of the Telecaster, Albert Collins!Albert Collins!!" With that, you would hear Albert, but not see him. He'd come into the bar playing, wringing vibrato from his Tele. Albert would then launch into any of his trademark tunes. The songs presented here are a showcase of his talent and what he did night after night.
During "Mind to Travel", Albert would get out the 200 foot guitar cord and wander both rooms of the Union, often stopping to sit at your table, talk, have a drink, and all the while wailing in his unique open-tuned and capoed solo style.
"Cold Cuts" features A.C. Reed helping on vocals, and Johnny B. Gayden's awesome bass solo. He played what we called his "Popeye" solo many times to adoring crowds.
This recording takes you back to the nights when the weather was frigid, the beer frosty and the music searing. A nicer more approachable group of musicians you won't find anywhere.
Please buy this and relive Albert's glory days. You won't be sorry.

Riffs Of Wisdom
Phenomenal and Riveting. Dr. Collins proves that he is the master of the Telecaster, and shreds all night with a sound that is completly out-of-site. Do yourself a favor and add this little gem to your music collection.

Gotta have this one!............
This is another favorite live electric blues recording. Albert absolutely makes that guitar sing. This guy should be at the top or near the top of any list of great eletric guitarists past and present. The only complaint is that there isn't more material here. Just 7 songs and about 36 minutes worth. All of it is good though. From the beginning you know your listening to something special.

..............socks

Classic early Collins
If you like electric guitar blues, this is a must-have.

All the tracks are good, but "Things I Used to Do" is my favorite. He plays the first couple of verses just like the original (Guitar Slim) version, then he really cuts loose in pure Albert Collins style. It's like he's saying, "I know where this comes from, but this is how *I* play it.". ... Read more

Reviews (5)

A Blues Legend Makes His Guitar Sing!
Albert Collins unleashes the soul of blues guitar on this album! From beginning to end this recording cuts to the listener's core, as Collins' guitar performs musical surgery with a master's skill! All of the songs are great, but the real gem is "Stormy Monday." Collins' version is simply outstanding! In this song Albert Collins truly pierces the very soul of the listener, and lifts it to a higher place! The guitar solo is breathtaking! This album is full of great music, and should be owned by every real fan of blues. Buy it now and experience the depth of a blues legend.

Explosive mix!!!
This cd is really an explosive mix,blended with the great presence of this power trio in one of perhaps, the best "Live"performances ever released.Casey Jones on drums;A.C. Reed on sax and the "Iced-hot Man" Albert Collins is really an explosive mix you must try on!!!

Blues that WILL not let you sit down
It is impossible to describe the raw energy of this CD. Don't even think of sitting down! Your foot will be tapping inside of 30 seconds flat. You will be dancing in the kitchen. The greatest legal pick-me-up since caffein. It's like stickin' your finger right into the Blues socket when your momma isn't lookin'. It feels so fun it must be bad.

Carefully save this CD for that dark, grey day when you just don't have the get-up-and-go to do what you have to do that day. Then insert this CD and crank the volume waaay up. It could save your life.

A MUST for any blues collection
This is definitely one of those CD's that no blues collecter should be without. Albert Collins' mastery of his craft shines, shimmers, and shakes in this soul-searing example of what the blues is all about.

on cd finally!!
one of Albert's very best recordings!! Having thrown my record player away about 10 years ago I'm really happy to find this CD. There's at least 1 alligator I appreciate..

Just buy this record!!!! ... Read more

Reviews (8)

A LIVE laid back musical experience!
After years of listening to Muddy's blues classics,countless recordings,with raw blues energy,(which Muddy is the master),I must say this is one "LIVE" cd I keep coming back to for it's pure laid back feeling. Outstanding recording quality adds to the enjoyment of this "live" small setting. A great,-late night- audio listening experience. A -must have- for Muddy fans and all real blues fans alike! Get this cd!

A fine, underexposed live album with excellent sound
Horst Lippman and Fritz Rau, the organizers behind the American Folk Blues Festivals of the 1960s, seem to be the source of this 1964 live recording which features Muddy Waters in his prime, backed by a lean, tight combo which apparently includes Sammy Lawhorn, Francis Clay, and star piano player Otis Spann.
(I say "apparently", because I don't really trust the credits, which list Luther Johnson as the bass player, even though he was a guitarist and only joined the Muddy Waters band in 1972, and George "Harmonica" Smith, who supposedly plays a non-existent saxophone. It does sound like Otis Spann, though, and there is a harmonica player present on some songs, who may very well be George Smith.)

Opening with a slow, slide guitar-driven "Country Boy", "Hoochie Coochie Man" features excellent renditions of "County Jail", "Rock Me Baby", "Trouble No More", "Rollin' And Tumblin'", Big Joe Williams' "Baby Please Don't Go", and a sizzling "Tiger In Your Tank" (the track list on the cover is flawed, wrongly listing "Sittin' And Thinkin'", "All Night Long", "Sweet Little Angel", and "Early Morning Blues" instead of "Tiger", "Rollin'", "Trouble No More", and Muddy Waters' version of "Walking Blues", which is called "I Feel Like Going Home", if I remember correctly).

The sound is very, very good for a mid-sixties live album, Muddy Waters plays great slide guitar all the way through, and the presence of Otis Spann is always a bonus.
Some listeners may feel that the relatively slow and mellow versions of songs like "(I'm Your) Hoochie Coochie Man", "Long Distance Call" and "19 Years Old" rob them of some of their intensity, but that's a matter of taste, I suppose. To me, "Hoochie Coochie Man" is a very fine addition to anybody's blues collection, and one of the best live Muddy Waters-albums.
4 1/2 stars - highly recommended.

The Hoochie Coochie Man has his mojo working
I'll be the first one to admit that I don't know much at all about the blues, but Muddy Waters is arguably the best blues great with which to begin one's education in the subject. This revolutionary talent has influenced countless singers and songwriters ever since the day he first came to Chicago in the 1940s. It was Jimi Hendrix's electrifying performance of the song Hoochie Coochie Man that led me to Muddy Waters, an artist I had frankly never heard of before. After enjoying his music and reading a little bit about him, I was pretty surprised to know just how influential he was, is, and always will be. By way of an example or two, Led Zeppelin's song Whole Lotta Love is a reworking of a 1962 Muddy Waters number called You Need Love written by the great Willie Dixon, and the Rolling Stones actually named their band after Waters' 1950 recording Rollin' Stone. Suffice it to say that far more than merely blues artists have been influenced by this legendary performer. Waters was born McKinley Morganfield, the son of a sharecropper, in the Mississippi delta. His discovery is a terrific story in and of itself, but the real story of Muddy Waters played out in Chicago, where he revolutionized Chicago blues with his revolutionary slide guitar playing and impassioned vocals.

This particular album is a live recording of Muddy Waters made in 1964. As another reviewer has pointed out, there are an unbelievable total of four mistakes on the track listing; the fact that such an important album from 1964 can still be released with one-third of its tracks listed incorrectly frankly boggles my mind. If you're keeping score, replace Sittin' and Thinkin', Sweet Little Angel, All Night Long, and Early Mornin' Blues with Tiger in Your Tank, Trouble No More, Rollin' and Tumblin', and I Feel Like Going Home, respectively. When you are talking about Muddy Waters, though, individual song titles aren't that important - that's how impressive all of the music on this CD really is. Backing him up are the remarkable Otis Spann on piano, George Smith on saxophone, Sammy Lawhorn on guitar, Luther Johnson on bass, and Frances Clay on drums. The songs, all written by Muddy Waters, range from "woe is me" slow blues such as Country Boy to hard-driving, rocking numbers such as Hoochie Coochie Man and Tiger in Your Tank. If you want to know what a slide guitar sounds like, just listen to Rosalie or County Jail in particular; it's quite a distinctive sound. Blues piano is exemplified by Spann's performance on songs such as 19 Years Old and Baby Please Don't Go.

The advent of rock and roll overshadowed Waters to some degree, and his career endured some ups and downs during the 1960s, but he proves he still had it in spades in this 1964 performance (although I should add that the sound quality here is far from pristine in places). When he is really cooking on tracks such as Tiger In Your Tank, County Jail, and Long Distance Call, and the crowd is going wild, you know you are hearing the blues the way it was meant to be sung.

not Muddy's best
I hate to put down anything Muddy has done, but truthfully, this is the worst album of his I have ever heard. Whoever is playing bass on the first 5 or 6 songs is completely out of key, and doesn't appear to know the changes. The sound quality of the recording is very poor too. Muddy Waters does have some GREAT live albums but this is not one of them. Instead of this listen to LIVE AT NEWPORT, or MUDDY WATERS LIVE.

Muddy is king!
This is the blues. Before this I had never heard any blues music. But my mom went and got me this, because Muddy tought my mom how to play the guitar. This is one of the greatest music genres ever! I fell instantly in love with this Cd. It's the best! Buy it! Trust me, you won't be dissapointed. ... Read more