Reviews (2)

A solid first record for the guitar duo.
Steve Freund cut his chops in the clubs of Chicago, and landed the job as Sunnyland Slim's axeman in 1978. He stayed in the blues band, and most notably at his weekly gig at the Chicago, Illinois club B.L.U.E.S. until Slim's death in 1995. Dave Specter took guitar lessons from Freund and started working with him professionally a few years back. It is obvious that both musicians have a deep appreciation for 12-bar city Blues. Freund's playing stands out as more experienced, but Specter accommodates his style very well and fills accordingly. J.B. Hutto's influence on the two players stands out to me in the style, with "Hoverin' Hawk," and "Is What It Is" notably due to the simple but effective leads that convey the chord changes well. The two have put together a solid first effort, and the subsequent would definitely be worth watching for. The album was recorded on June 17-18, 2004 and features Barrelhouse Chuck on two tracks. Please visit the website at www.delmark.com. All content copyright www.maximumink.com

Very good!
Steve Freund and Dave Specter are two Chicago blues veterans. Despite the fact that they have been friends for a long time (Dave Specter was actually taking guitar lessons from Steve Freund) and that they have previously worked together, this is their first album together as co-leaders. While Steve Freund's style is very close to the Chicago blues tradition (heavy influence from Hubert Sumlin and Otis Rush are very evident in his playing), Dave Specter shows quite a heavy influence from guitar jazz master as Kenny Burrell and Wes Montgomery. The result of their collaboration is from my point of view remarkable. As usual Delmark production is impeccable and the "menu" on offer here is variegated and very tasteful. Deep Chicago blues, jazz tinted blues and a touch of pop/jazz in the instrumental version of the Beatles all time classic "While my guitar gentle weeps" plus two tributes to British blues and in particular to the great Peter Green. With a great band supporting their effort (including B-3 virtuoso Rob Waters and as a special guest on track 4 harp wizard Mark Hummel), and the very strong performance of Mr. Freund on vocals, the album flows from start to finish showing no weaknesses and their performance is strong throughout the entire CD. Highlights of the album are the opening shuffle "My little playhouse" the wonderful version of Bobby "Blue" Bland's classic "Loan a helping hand" and the slow burning "Too hot at home". In conclusion a very good blues album that will please the most exigent blues fan. Very highly recommended. ... Read more

Album Description

Blues superstar Luther Allison's performance at the 1995 Chicago Blues Festival saw the blues master returning home at the absolute peak of his live performing powers. His energy and focus brought the crowd to its collective feet, and with this sweat-soaked, soul-fueled performance, Allison secured a place at the top of the blues world.

Anyone fortunate enough to witness a live Luther Allison show during this time (whether it was in Chicago, New York, Los Angeles, Paris or Japan) tells of non-stop concerts with Allison playing right up until closing time, attacking every song with fury and passion, leaving his audiences exhausted but still wanting more. ... Read more

Reviews (3)

Best of the Bluesmen
Luther Allison, even after his death, remains one of the largest mainstays of the Blues World. This is my second copy of this fabulous Blues Album after having worn out the first. This man is by far at the top of the ladder, sadly after his early demise, but to this day he has had the biggest impact on my blues addiction. I'm Leaving is no doubt one of the greatest blues songs ever performed by Luther and makes him stand out in the Crowd. Every song on this album showcases his superb talents when it comes to Lead Guitar playing and exuding the Blues. Close your eyes and journey to what is known as the "BLUES WORLD". You won't be disappointed, as Jean Cabot, of Rock and Folk relates, "At the moment, his guitar no longer speakes to you, it cries...and it's tears are blue". If this album is not in your collection then shame on you. You have no idea what you are missing. THE BEST, THE BEST of Luther Allison.

FANTASTIC!!!!!!!!!
This "Live" performance of this excelent bluesman,is like something we are always searching during all of one life,and when we've found this.....what AMAZING discovery!!!!
This cd is marvelous since the first track,specially the own interpretation of "Thrill is gone",and the tribute to Hound Dog Taylor.No matter some bad sound quality,what really impressed me was the astonishing performance of this truly showman.
This is Luther Allison at his best days,when he lived in Paris,and was almost an unknown musician to the american audience.
This is a good begining for those interested to know one of the best bluesman of ever!!!!
The influences of Elmore James,Hound Dog Taylor and Albert King are constant in all this superb album.The comunicative personality of Allison turns him one of most charismatic musician i've seen in my life.Really a superb album!!!!!

This CD is hot!
I wonder why no one has reviewed this one yet. I wonder how many people have bought this one. I can see why one may not immediately pick this one up. First it only has ten songs on it and second most of the songs are not even Luther's. well, let me set the records straight. even though there are only ten songs on the disc you get almost 70 minutes worth of music - lots of extended jams from an excellent band. second, yes the track listing for the most part reads like a generic blues greatest hits disc: "Thrill is Gone", "Little red rooster", "Early in the Morning", "Rock Me baby", etc I can't stress enough that Luther really digs into these songs and puts his own spin on each. "thrill is Gone" which clocks in at over nine minutes is just amazing. The middle solo section is highly funkified and the final section where luther sings along note for note with his guitar solo, (Similar to albert collins), chills just run up and down my spine. The man was an excellent live performer and he really shows it on this disc. Of course it doesn't hurt that it was recorded in Paris where he actually got the recognition he so richly deserved. The music deserves five stars, but the production knocks it down to four stars. The audience is virtually inaudible and this takes away from the live feel of the disc. You can hear Luther playing to the audience, but you can't hear how they react. Also, at the beginning of the disc you can hear the sound man turning knobs to get the mix right because the guitar fades in and out for a minute or so until the sound is just right. even after this though there are a couple spots where he is still changing the mix slightly. believe me though, the songs and the performance way outshine these small deficiencies and this CD is definitely worth picking up. ... Read more

Reviews (5)

Not According To The Contents
This 1987 compilation from GNP Crescendo pulls together a double-set vinyl album which, even when released way back when, did not nearly correspond to the title.

From 1955 to 1963 with Vee-Jay Records Jimmy Reed put 18 selections onto the Billboard R&B charts, eight of which crossed over to the Billboard Hot 100 pop charts, and added another four to the Hot 100 only. In 1966 he had one more R&B entry with the Exodus label. Here you get exactly 10 of those and just two of their B-sides. Which means eight tracks do not fit into the category of "best" no matter how you define it.

His first hit was You Don't Have To Go which, billed to Jimmy Reed And His Trio, went to # 5 R&B in May 1955 b/w Boogie In The Dark [both included here]. Later that year I Don't Go For That rose to # 12 R&B b/w She Don't Want Me No More, but both are omitted.

Ain't That Lovin' You Baby? became his third hit in the spring of 1956, peaking at # 3 R&B, and while that's included, the flipside - Baby, Don't Say That No More - is not. Nor are both sides to his next two hits: Can't Stand To See You Go [# 10 R&B b/w Rockin' With Reed in June 1956] and I Love You Baby [# 13 R&B in September 1956 b/w My First Plea]. And only the A-side to the late 1956 entry is here - You've Got Me Dizzy [# 3 R&B], omitting Honey, Don't Let Me Go.

Of his four 1957 hits, just one is included - Honest I Do which hit the $ 4 R&B slot in November and became his best pop Hot 100 crossover, reaching # 32. The B-side - Signals Of Love - is excluded, as are both sides to the double-sided hit Little Rain [# 7 R&B] and Honey, Where You Going? [# 10 R&B] in April 1957, and The Sun Is Shining which actually was his first pop Hot 100 crossover, reaching # 65 in June [and # 12 R&B]. It's B-side, Baby What's On Your Mind is also omitted.

1958 produced two hits, the first being Down In Virginia [track 7] which just made the pop Hot 100 at # 93 in August [but was shut out on the R&B charts], and I'm Gonna Get My Baby [# 5 R&B]. The latter is not here nor are both B-sides - I Know It's A Sin and Odds And Ends. Only one hit ensued in 1959, I Told You Baby [# 19 R&B in January b/w Ends And Odds] but both are excluded.

In 1960/61 he really hit his stride, commercially speaking, with no less than six hit singles, beginning with my Jimme Reed favourite Baby What You Want Me To Do [track 11]. Covered by everyone from Etta James to Elvis Presley, it went to # 10 R&B/# 37 pop in the spring of 1960 b/w Caress Me Baby [not here]. A couple of months later Found Love [track 9] peaked at # 16 R&B/# 88 pop b/w Where Can You Be? [not here], while in November Hush Hush reached # 18 R&B/# 75 pop b/w Goin' By The River which became a pop "bubble under" at # 104. Neither side is included.

Also missing is the hit side of his first 1961 release - Close Together [# 12 R&B/# 68 pop] - whereas they include the uncharted B-side Laughin' At The Blues. Big Boss Man, another covered by Elvis, is here, however, and this reached # 13 R&B/# 78 pop in June b/w I'm A Love You [not here]. Bright Lights, Big City [track 15] - later a Country smash for Sonny James - hit # 3 R&B/#58 pop in October 1961 b/w I'm Mr. Luck [omitted].

His last three Vee-Jay hits, coming in 1962/63, were inexplicably shut out on the R&B charts. Aw Shucks Hush Your Mouth [track 16] topped out at # 93 pop in February 1962 b/w Baby, What's Wrong [track 19], Good Lover rose to # 77 pop in July b/w Tell Me You Love Me [noth excluded here], while Shame, Shame, Shame [track 18] topped out at # 52 pop in May 1963 b/w There'll Be A Day [not here].

His final charter, in June 1966 for Exodus, was Knockin' At Your Door which made it to # 39 R&B b/w Dedication To Sonny. Neither is included here.

That's an awful lot of missing material for an 18-track best-of album, and while I admired Jimmy as much as the next person, I simply cannot assign 4 or 5 stars based on his name alone. The contents simply have to fit the label - and this one misses the mark badly. Also, the sound quality is only adequate as befitting an early CD [later Jimmy Reed compilations offer much better sound], and the one page of liner notes written originally for the vinyl album by Leonard Feather are informative - but you'll need a magnifying glass to read them. There is no discography.

Mathis Jimmy Reed, singer/harmonica player/guitarist - in addition to writing most of his material - suffered all his life from epileptic seizures, and on August 29, 1976 died as the result of one at the age of 50. You have to think he had plenty more to offer. In 1991 he was rightfully inducted into the R&R Hall of Fame.

The most rhythmic, sensual blues ever!
Absolutely the best music ever invented for exotic dancers. Rhythm, drum and cymbal work on "Honest, I Do" are beyond compare. Nobody ever played a more soulful harmonica. Absolutely essential for any R&B fan. This is my favorite of 100's of CD's in my collection.

Simply wonderful!
Bright Lights, Big City and Honest I Do will have you dancing in the isles. Put in this disc, open a bottle of wine, put the lights low, turn up the volume and groove til your legs can't take any more. I had never heard of Jimmy Reed before, and bought the record on a recommendation of a used music store. What a wonderful surprise!

Excellent
I'm a 14 year old white kid that lives in a suburban neighborhood and I love this guy and his music. My personal favorite is "Bright Lights, Big City."

Truly the best of Jimmy Reed's "Singing what's on my mind"
If you like R&B, you will probably find at least six or eight songs on this album that you will absolutely love.

Track Number Eleven, "Baby what you want me to do?" is a favorite of mine from thirty plus years ago. It has all the best of "mushmouth" blues, a couple of questionable lines ("Did he just sing what I THOUGHT HE DID?") and the easy guitar backup that is part of Jimmy Reed's songs at their best.

Hey, it's not John Lee Hooker, Howlin' Wolf or Dr. Longhair -- but it is very cool. ... Read more

Amazon.com

Although he’ll never entirely break free from the Albert King comparisons (certainly as long as he brandishes that Flying V guitar), Michael Burks’ second Alligator album moves him closer to hotshot guitar slinger territory. His playing has attained an even more muscular, slightly psychedelic edge that ferociously jumps out of the mix. Almost as impressive is Burks’ sand and honey voice. Like Latimore--whose "Let the Doorknob Hit You" he covers here--the Arkansas-raised guitarist is a commanding and gritty singer, naturally joining soul, R&B, and blues. He’d make a convincing vocalist even if he never played another gripping lead. But it’s his fleet-fingered attack that commands the most attention, as he torches through blistering solos like on the closing "Snake Eggs"--a stripped down showcase for guitar and Billy Gibson’s Little Walter-styled harmonica where Burks sounds menacing even without a band. The aching, slow burn gospel-laced "Lie to Me" also benefits from Burks’ stunning tone that prowls and growls like a caged tiger. The combination of his singing and six-stringing talents makes Michael Burks an incendiary force and lights the fire under I Smell Smoke.--Hal Horowitz ... Read more

Reviews (7)

Greatness In The Making
Michael Burks and the band are a hard working group that produced a recording or should we say recordings that show what hard work and devotion will do when you give all you have. It is obvious that Michael puts his soul into his music. He plays a guitar with such a force that is hard to believe anyone can compare him to other blues guitarists because he plays a flying V although he has been compared to Albert King by some. Time will tell that Michael Burks cannot be compared to anyone except MICHAEL BURKS. He sings with such a deep silky voice that only experience can produce. When he sings (I Hope He's Worth My Pain) it seems he is singing about a life experience and makes you feel some of your own experiences. (Lie To Me) is another song that Michael sings that shows the intensity of his experiences and lets you know you are not alone in the world of pain. It is obvious that band members are behind Michael as they seem to play with the same intensity. This is Michaels 3rd CD and so far each new one has been better than the last. Michael and the band get better with each CD and we can only expect the next to be the best. So I Smell Smoke!!!!

forgetable songs
make it rain is a five star cd, but this one was a big dissapointment this is more rock than blues by far. i think the songs are weak nothing that really catches your attention. he could have done alot better like staying with the blues but there are some good solos.

good but not great
Muscular blues-rock guitar playing, robust vocals, but forgettable songs.

Lyrical and Soulful Blues
One of the best albums I have in my blues collection. Also one of the best live shows I have ever seen. Michael played for almost 4 hours straight with one powerful song after another. Thnak you Michael for keeping the true-blue blues alive.

+1/2
This is more like it. Too many blues people are going the way of the dinosaurs. Michael once again gives me hope that there are true blues artists out there. If you have been happy with his other albums then you have to get this one. It rocks your soul down to your last blues. ... Read more

Reviews (1)

Great
Little Milton hits the Bull on the Behind here.His Music Sounds Great&his Voice is very strong.He Puts alot into his Music you feel the force&it is strong all the way thru.A Must Have by this Great Talent. ... Read more

Amazon.com

Charlie Musselwhite's is the voice of experience. One can hear it on every note of Continental Drifter, where the relaxed feel of the experienced bluesman is evident in the main harmonica riff of "Little Star" and the smooth, Delta-style guitar of "Blues Up the River." Several of the songs have a strong Cuban-Brazilian feel, and Musselwhite is joined on several of these by friend Eliades Ochoa and his band, Cuarteto Patria. Musselwhite's primarily known as a harmonica player, and it's easy to hear why on this album; whether he's spicing up the Cuban-blues mix of "Sabroso" or soloing over the jumpy rhythm of "Can't Stay Away from You," he's always bang on the note. --Genevieve Williams ... Read more

Reviews (7)

Audio Masterpiece from "Memphis" Charlie and Cuarteto Patria
Blues-harpist "Memphis" Charlie Musselwhite has consistently incorporated different styles into his already generous repertoire. Continental Drifter is a split session; consisting of "The Band Session" with his touring group, and "The Cuban Session" with internationally renowned musicians Eliades Ochoa and Cuarteto Patria. Recorded between Norway's Grieghallen Studios and Fantasy Studios in San Francisco, CA, the record was released on April 20, (Earth Day) in 1999. On the cuts with his touring group, he explores a few mellow shuffles that remind one of his Chicago days with Barry Goldberg and Harvey Mandel. Musselwhite's mellow tenor vocals have found solid comfort on wax in recent years, and his harp control has matured to unspeakable heights. "The Cuban Session" transports the listener back to a club in old Havana; Cuarteto Patria laying the groundwork for "Que Te Palece, Cholita", and radio hit "Chan Chan (Charlie's Blues)". As a special treat at the end of the album, Musselwhite gives a strikingly proficient Delta interpretation on the guitar. Continental Drifter's amalgamation of musical cultures is an important contribution to the Blues that will be felt for decades to come. All content copyright www.maximumink.com

Just listen to Cuban Recordings !
They sound so natural.Thanks,Charlie,for a beautyful peace of (he)art.

Traditional Blues Meet The Buena Vista Social Club
Continental Drifter is an interesting album because it presents three discrete blues styles in sequence for the listener to consider and enjoy. Musselwhite has a long history with Chicago blues and with Delta blues, both of which are sampled here, but what makes the CD compelling is the marriage of the blues to traditional Cuban musical forms. Chan Chan sounds fresh from the Buena Vista Social Club.
I knew the Cuban songs already and really enjoyed Musselwhite singing English lyrics he wrote for them as the Cubans sang their lyrics in Spanish in response. The amusing part is that although Musselwhite's lyrics bear little relation to the original Spanish ones, it still works out very well.
The band's wailing rendition of No sets the album's tone, but the three Cuban songs along with the classic Lecuona instrumental composition Siboney are the highlights.
I give the CD only four stars because I find the last acoustical cuts to be dull after listening to the musically more robustsongs that precede them. Despite that, I highly recommend Continental Drifter as a worthy addition to any blues collection.

A definite must have!
An eclectic blend of music consisting of Delta blues with a distinct Brazillian flavor. The few tunes that I heard on WBFO (Buffalo, NY) were simply hors d'oeuvres for the feast that would inevitably follow uponpurchase of the CD. I'm listening to it right now and find it hard to keepfrom dancing around like the blues lovin' fool that I am. This CD isabsolutely stunning and truly deserves a rating of 6 STARS or more!

beauty, soul and rhythm
I wish you could listen to the other songs on this album, they are my favorites. This is truly beautiful music, gets me dancing, too. I heard one song in the car, pulled into the nearest record store and have enjoyed it many times. ... Read more

Album Description

UK budget-price box-set for one of the inventors of the new blues, that is the blues one hears today as played by BB,Albert & Freddy King, Gatemouth Brown, Eric Clapton, ChuckBerry & numerous blues-influenced rock groups. T.BoneWalker was the first bluesman to play the electric guitar,a renowned showman who electrified his audiences. He is the original source. 90 tracks are included in this set & the44 page booklet tells the story of one of the great musical innovators of the 20th century. 4 standard jewel caseshoused in a slipcase. 2002. ... Read more

Reviews (4)

Chris can really tear it up on guitar!
This is one of my favorite blues/rock cd's in my collection along with Steveie Ray Vaughn, Gary Moore, Kenny Wayne Shepard and of course BB King, to name a few.

Chris really lets it rip on his guitar solos. There is so much energy infused into his music that it just picks you up and takes you along for a fun ride. The quality of the audio is fantastic too.

I've been privileged to see him play "live" on Cannery Row in Monterey, CA and no other band can compare to his live performances. Electrifying!

underrated artist
the no nonsense approach to music! the real deal when it comes to singing and playing, and should be the next best thing to come in blues music!

BB King wanna-be
I found myself getting tired of this CD very quickly. I would rather
hear BB King do BB King than Chris Cain do BB King. Cain can play
guitar pretty good, but for some reason, his cd's get boring.

Hot stuff! Electric blues for the 90's...
This is a great CD. Chris Cain has pushed the envelope in terms of style and song structure, but has retained a gritty, bluesy and soulful content.

Tough Gibson ES-335 tones, jazz inflected solos, and a hot 'n' funky band. And damn it but Chris's singing sounds uncannily like a younger BB King!

Can't wait for the next recording... ... Read more

Amazon.com

Chicago blues guitar firebrand Freddie King did his best and definitive recording for the Federal label in the early '60s, when he helped define the Windy City's hard-edged West Side sound. Sadly, none of that material is included on these two CDs. However, we do get to hear King take a rare turn on acoustic guitar (on Elmore James's "Dust My Broom" and Jimmy Rogers "Walking by Myself") and rip through his late-career signature "Going Down" as well as 38 other tracks. There's also a half-dozen unreleased cuts, including a version of his classic "Hide Away." But too much of this stuff--tunes like John Fogerty's "Lodi," "Ain't No Sunshine," "Gimme Some Lovin'"--seems like a bad producer's notion of what King needed to record to reach a rock audience. Thankfully the strength of his vocals and gutsy guitar carry most of these performances. --Ted Drozdowski ... Read more

Reviews (7)

Actually 4 1/2 Stars
I'd pretty much just echo everybody else's praises for this collection, except to add that a HUGE ingredient critical to its success is the presence of Leon Russell. Probably the most distinctive piano player in all of rock 'n roll (his searing keyboard work in "Going Down" is every bit as integral to the song as King's playing & singing), and one of the great bandleaders of all time (witness "Mad Dogs and Englishmen"),he's the perfect sideman for someone of King's stature. Freddie could never coast or else Leon would get the spotlight. Great backup musicians & singers with some killer vocal arrangements too.
There's alot of experimentation (early 70's style) that doesn't always work, but that is always gutsy - remember that this is the blues, an idiom not exactly known for being on the cutting edge. This allows for some of Freddie's most aggressive fretwork - where Clapton stings, Freddie slices!!

King of the SOUL BLUES: Freddie King
Freddie King's Shelter Recordings released by Capital records in the mid 1990's. Some people don't like these recordings but I think they are fantastic as they portray that Mr.Freddie King was much more than a blues or blues rock guitarist. Freddie sang some great songs in this period of his life, especially Percy Mayfield's "Please Send Me Someone to Love". A must for any serious Blues Fiends of great Electric Blues although there is a great cover of his mentor,Jimmy Roger's "Walking by Myself" playing acoustic blues. Just a beautiful experience here folks!

king of texas blues
great collection of classic tunes from "going down" to "same old blues" to "five long years", what else can you say that wasnt said about freddie, eric clapton states that freddie king taught him how to play the blues with a feeling

Great blues from first track to last.
This is one of the best blues cds you can buy. Freddie King was an absolute genius of the blues guitar. His big, bright, crisp electric tone is full of soul and is always on the mark, never fluffing a note. His acoustic was just as masterful, warm, full, and soaked with emotion. As powerful as his guitar was his distinctive voice. Eric Clapton was heavily influenced by Freddie and patterned his voice after him. They are so close in fact that people who have never heard King may think it is Clapton! Listen to King's version of "Tore Down", Clapton covers it nearly note for note on "From the Cradle". The material collected here is a treasure trove of blues standards and King classics. Highlights abound and include the Motown flavored soul of "Same Old Blues", funky instrumentals "Hide Away" and "Boogie F***", the moving slow blues of "Walking By Myself" and "That's Alright", and the hard driving "Going Down" and "Palace of the King". King pays ample tribute to blues royalty with covers of the standards "Dust My Broom", "The Sky Is Crying", "Five Long Years", and many others. This is a fantastic collection of 41 tracks by a true member of blues royalty, and is highly recommended.

The perfect blues guitarist!
Freddie King shows why the blues is such a powerful genre of music with this extensive collection. The emotion he evokes with each note is truly remarkable. It is no wonder why the recent blues legends such as Eric Clapton and Stevie Ray Vaughan cite Freddie King as one of their greatest influences. ... Read more

Reviews (5)

Essential blues from the Slidewinder!
I think J.B. himself summed up this album with those immortal words from the title song- "HAVE MERCY!"

The last and greatest disciple of Elmore James
Hound Dog Taylor and J.B. Hutto were the last disciples of the king of post-war slide guitar, the great Elmore James, and Joseph Benjamin Hutto's main source of inspiration is obvious on this his first studio album, "Hawk Squat". The first track, "Speak My Mind", is in fact a thinly-veiled cover of "Dust My Broom".

But don't let that deter you. This is one of the all-time great Chicago blues albums, recorded between 1966 and 1968, and perfectly showcasing Hutto's raw, slash-and-burn approach without ever getting muddled or losing its sense of restraint.

"Hawk Squat" boasts both powerful, hard-rocking tracks like the awesome "Hip-Shakin'", and the deep-dug grooves of "20% Alcohol" and "Notoriety Woman".

J.B. Hutto and the Hawks are accompanied by sixty-year-old Albert Luandrew, better known as Sunnyland Slim, on piano and organ, and Maurice McIntyre plays tenor saxophone on a few tracks. The sound is good, and the production brings Hutto's loud, wailing, but seemingly effortless vocals to the forefront where they belong.

There are no obvious #1 hit singles on this album - it is not a pop record, after all - but nor does it contain a single weak track. Every minute is worth listening to - and that is rare praise for a twelve-track LP!

Good Chicago slide-guitar blues
If you haven't been to the Checkerboard Lounge on East 43rd Street in Chicago at 2 AM, drinking Budweisers at the long, slender, rickety tables there, eyeing the sometimes exotic females that come into the place and listening to a smoky blues band (I have, and the experience is beautiful), this CD will get you close. And for good reason; although J B Hutto and His Hawks weren't regulars at the Checkerboard, they did have a gig at the nearby Turner's Blue Lounge back in the '60s. This is good, straight-up, old-fashioned Chicago slide-guitar blues, nothing fancy, with many tunes about women and alcohol (Rory Gallagher's great track "Too Much Alcohol", found on his Irish Tour CD, is taken from a J D Hutto track). On this CD, you get a bonus with Sunnyland Slim playing organ. J B Hutto is long gone, but the music lives on; recommended for knowledgeable blues fans. Real juke-joint stuff.

20% Alcohol, 100% Loud, Righteous Blues
Another stompin' disc from Delmark records. J. B. Hutto (& His Hawks) come out roarin' on the first track, and don't let up. This is a REAL slice of Chicago blues, and from what I've read about Turner's, not a bad snapshot of the era.

Loose in places, the band is playing like they've got something to prove. Sunnyland Slim (piano, organ) is great as always, with Junior Pettis (bass, and only on two tracks) helping tell tales of demon alcohol, and women, women, women.

This is a great sounding disc, with none of the raw power rounded off in the bits. Not having heard the original tapes, this might not be a complaint worth lodging, but... It sure would be nice to hear some of the tracks play out a bit instead of being faded. Maybe have the unedited versions added as bonus tracks.

This is the Blues. Highly recommended.

Chicago-style, straight up
This is the real thing. J.B. was the best slide player in Chicago, but sadly, wasn't one of the beneficiaries of the "blues revival" that came about during the late 60's. The upside is that his sound remained pure, unadulterated, raw Chicago blues at its best. Listening to this album is like being in an "after hours" joint on the southside at 3 in the morning--hot and jumping! ... Read more

Reviews (1)

A great CD
Outside Lookin In is still my overall favorite of Studebaker's but this cd a right up there.

A more modern and rockin blues than some of his earlier cd's.
But I really am enjoying it.

If you have a chance to see the band in concert GO!! they are fabulous live. ... Read more

Reviews (1)

Let's buy this up, spread the word and encourage more!
There are very few blues guitar heroes coming out of Chicago anymore, or so I was thinking till I saw Carlos Johnson play with Otis Rush and Derek Trucks in Tokyo May 2004.Johnson has the flair, showmanship and skills of greats like fellow left-hander Otis Rush himself, though I felt more in the presence of a player the likes of Luther Allison, Chuck Berry, Buddy Guy or B.B. King in his love for the audience, his instrument and the music.Carlos Johnson, like Billy Branch, his co-hort on this album, is obviously a man who deserves more recording contracts and big tours.Buy a few more copies of this CD for your friends and get the word out so the record companies pay attention!Chicago bars are great places to see live music, but national treasures like these musicians have got to be shared with all the people.Why do all the good guys have to spend most of their time gigging in Europe and Japan, and making CDs in Europe and Japan, when they play most of their best stuff all thier lives in Chicago?Bring the love home!Hello, Blind Pig, Telarc, are you listening? ... Read more

Amazon.com

A budget-priced box set, Broke, Black & Blue delivers multiple surprises within its 100 songs of prewar blues. Arranged chronologically by Joop Visser, the set admirably covers the first 22 years of recorded blues, 1924 to 1946, from vaudeville and Delta to boogie-woogie and jump blues. It's a swell gift for anyone wanting to learn more about the history of blues. But old-timers will be pleased, too, as special attention has been paid to culling rare and idiosyncratic tracks by the well-known and the obscure. The first three discs present single tracks by artists as diverse as the Memphis Jug Band, De Ford Bailey, Tommy Johnson, Son House, Skip James, Peetie Wheatstraw, Lonnie Johnson, and Bukka White, alongside unknowns such as Isaiah "The Mississippi Moaner" Nelson, Barbecue Bob and Laughing Charley, Ed Andrews, Chicken Wilson, and Bumble Bee Slim. On the fourth disc, this convention is jettisoned to luxuriate in a series of very rare sides of lovely, oddly subdued boogie-woogie and jump blues by Jimmie Gordon, Johnny Temple, and Lee Brown. --Mike McGonigal ... Read more

Reviews (1)

What A Treasure
This Box set is a treasure.Great collection of early recorded blues.Fantastic! ... Read more

Reviews (2)

Another good sampler
This is a really good CD...it's just a little hard to figure out who its audience is supposed to be. It certainly isn't the definitive word on slide guitar blues, or on any of the artists represented. And the seasoned blues fan probably owns most of what's here already.
But as a sampler it does work very well, featuring a lesser-known (but very good) rendition of "Dust My Broom" by Elmore James, and well-chosen cuts by Muddy Waters, J.B. Hutto, and Robert Nighthawk (a superb medley of two of his best songs, "Anna Lee" and "Sweet Black Angel").

The compilers at Rhino have included the Allman Brothers' version of Blind Willie McTell's "Statesboro Blues", "Shake Your Moneymaker" by the Paul Butterfield Blues Band, and Canned Heat's take on "Rollin' And Tumblin'"...I would probably have gone with McTell's own "Mama T'Ain't Long Fo' Day", which is one of the most beautiful acoustic slide guitar blues tunes you'll ever hear, but that's just me.
But where is Robert Johnson? And where the heck is Son House's "Pearline"?
Okay, I'll stop complaining now. This CD does have a lot going for it, including some lesser-known tracks which should appeal to the experienced blues fan, like "Homesick's Shuffle", "I Am The Black Ace", "If You Ever Seen A One-Eyed Woman Cry", and a rare opportunity to hear Chuck Berry wielding the slide on the odd instrumental "Deep Feeling".

Awesome!
This is must buy for any fan slide guitar. From beginning to end, from Elmore James to Johnny Winter, it's non-stop blues. You'll find yourself hitting the repeat button on the CD player, so you can hear the great blues slide guitar again. ... Read more

Reviews (7)

King + MGs = Must Have
The legendary Albert King's first Stax release was the groundbreaking, earth shaking Born Under a Bad Sign, a collection of singles named for the song keyboardist Booker T. Jones and singer William Bell wrote with Big Albert in mind.

Stax sent the new King of the Blues in the studio in 1969 to record this, his first official studio album. "Wrapped Up In Love Again" sets the album off. An even better, tighter version of the song was released as a single. This type of Soul/Blues with its rockin' tempo is something nobody has ever done better than Albert King. On the other side of the coin is the album's closer "The Sky Is Cryin'". Stevie Ray Vaughn's version of the Elmore James staple is pure Albert, but of course Vaughn never had Producer Al Jackson, Jr. as a drummer - Wow!

Nobody's ever come close to Jackson's snare sound, right up front on the great "Heart Fixin' Business". Jackson and his fellow MGs display their unmatched interplay throughout, particularly on Howlin' Wolf's "Killing Floor" and on the delightful "Cockroach", a song that finds King's woman forcing him to sleep on the floor while a big ole cockroach is lookin' up at him. It features one of the most superb bass lines you'll ever here courtesy of King's fellow pipe smoker Donald "Duck" Dunn and brilliant work by Jackson. The great slow Blues of "Drowning On Dry Land" is yet another Albert King masterpiece. This is followed by an instrumental version that is just awesome. It's like a really hot MGs instrumental, complete with great rhythm guitar playing from Steve Cropper, with the added greatness of King's string bending leads. Al Jackson arranged this, and it is perfect. The Memphis Horns, Booker T. Jones's piano, King, Cropper, Dunn, and jaw dropping drumming by Jackson. Incredible!

Try and get the U.K.'s Ace Records release of Years Gone By - Plus. This will give you such great finds as a never released version of Ray Charles's "I Believe to My Soul" and a beautifully done alternate version of "As the Years Go Passing By", where Jones's B-3 organ leads the way as opposed to the horns and Jones's piano on the original classic.

This album should never be lost in the shuffle amongst more seminal King works such as, naturally, Born Under a Bad Sign. It is a great production from the greatest Blues guitarist and greatest band of all time.

Albert King's First Studio Album.
This set was Albert King's first intentional LP. His most famous record, "Born Under A Bad Sign" had been a compilation of singles he'd recorded in sporadic sessions at Stax. This was meant to be a proper album. It is interesting that his very first LP, "The Big Blues", for King Records, was also a singles compilation. This record is important for a number of reasons; First of all he is in his prime. He is playing straight blues with some soul arrangments. His guitar has about the best sound he was ever able to achieve. Later albums, such as Lovejoy and I'll Play The Blues For You, he became more experimental and sophisticated. Which is alright, but this CD had him as raw as he every got. The tracks are excellent. "Wrapped Up in Love Again" is a self-penned song that also became a rare single. He borrowed his ideas for this tune from some earlier blues standards of the 1940s like he did with "Blues at Sunrise". "You Don't Love Me" is his famous instrumental version of the Willie Cobb tune, this is as raw has his sound ever got!!! Check out the bends in this! "Cockroach" and "If The Washing Don't Get You The Rinsing Will" are typical of the wily humour in the 1960's Stax writing team. I particularly love Cockroach! "Drowning On Dry Land Parts One And Two" are equally raw and are classed as one of his best efforts. It is interesting that Albert never gets the lyrics right and he does a mix up of the middle of the song and also exclaims: "my nose are in the sand!" He did this on the alternate take as well! It's great-what the blues is all about! It is honest music!

"Heart Fixing Business" and Little Milton's "Lonely Man" are included as tunes with different tempos and I would guess were done to augment this LP's dancablitiy. He does a cover of his own "You Threw You're Love On Me Too Strong" and the track is interesting as it is the only mono track and it is mixed poorly. I have always thought that is was included to make up the LP (they were always 11-12 sides in those days!). Finally there is the classic "The Sky is Crying" unlike Elmore James, Albert does not play slide as does some great and deceptively simple bending solos. Stevie Ray Vaughan thought this was the best ever. Now on the alternate take which you can hear on "Hard Bargain" I think his playing is even better. It is interesting that the Stax people probably thought that his other version was too long for one song (in those days) and put on "Too Strong" instead. Oh well, this is a great and historic CD. I would also buy his "Hard Bargain" CD as well for the extra singles and out takes from this period at Stax. "Years Gone By" is a great record and is topped off with a great cover photo from the Filmore West.

Albert at his best!
I bought this album many years ago and rediscovered it when I got into Chris Cain and Stevie Ray Vaughn. You can tell both these guys took a lot from this record. In fact Stevie once said "Drowning On Dry Land" was one of his absolute favorites and you can hear a lick in "Texas Flood" that is taken verbatim. I absolutely love this album. To me, "Killing Floor" is the best solo Albert ever recorded. And "Wrapped Up In Love", and "The Sky Is Crying"? Wow! Every track is filled with soulful vocals and that stinging guitar that no one can do with the same intensity.

Awesome!!! Do not look any further than this one!
I first got this c.d in England where it came out as "Years Gone By ..PLUS!" "Plus" meaning that it had 11 extra tracks!
(Quite a few of the extra tracks were taken from Alberts other c.d "Funky London") I wouldn't be able to hand pick a favourite track because they are ALL GOOD, and this is very rare when you are buying music.
This U.S version still features the best tracks, and if you are searching for the BEST Albert King...then here it is!
His guitar can be heard nice and loud and can strip paint off walls easily.... his voice is absolutely in immaculate shape...and just look at that 'psychedelic' cover art work (originally from 1969). ---That picture was once available as a full size poster, and is the grooviest snap of Albert...One that even Austin Powers would be proud of.
Just remember what Joe Walsh said about Albert....quote" Albert King could blow Eddie Van Halen clean off stage with his amp just on 'standby'!!"
This c.d testifies to this statement accurately.

Incredible!
Ever had a shot of straight Jack Daniels? That is exactly how hard and raw Drowning on Dry Land is. I fell in love with this CD the first time I listened to it. This is Albert King at his rawest. The guitar licks on tracks 7&8 can burst an eardrum if you turn up the volume a little. I have several Albert King CD's and this has been an excellent addition to my collection. If you're an Albert King fan, this is a must-have! ... Read more

Reviews (4)

A SIX star cd, all the way!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I don't know what's wrong with all these ametuel reviewers, who rave about her and only give her four stars(as if they feel they are being professional by never giving 5 star reviews). This cd is worthy of SIX stars. Especially the reviewer that says she is the Queen and this cd is perfect, the why did he only leave 4 stars(STUPID, really stupid). This is without a doubt Koko Taylor's finest session, and it deserves more respect the some bozo casually leaving 4 star(actaully 3 bozos).

The music si sinsprining and full of energy. in fact the middle aged Koko on this cd, sounds more like an energetic 20 something girl.!!! Wild fun, hollerin' blues. This cd captures what the publics perception of the blues is, fun, wild, and exciting and full of creativity and loads of ENERGY, just listen to the BEER BOTTLE BOOGIE, which sounds likes something that would have been recorded at Sun Records in the 1950's. This 1975 record, might be koko's finest set.

If you are looking for more of an overview of her music you could try Deluxe Edition, but why not just start here with this exellent release, it is the perfect introduction to Koko Taylor.

Bottom line: Exellent rockin' blues by a TRUE QUEEN

She is the Queen
I thoroughly enjoyed this CD. I love the power in this woman's voice.
Right from the start with "EVIL," the CD establishes itself as "No Nonsense." I wanted to hold her when she sang "I Cried Like A Baby." I wanted to get out of her way with "I Can Love You Like A Woman (Or I Can Fight You Like A Man)." "Queen Bee" is a trip. Pure Koko. Closing with "Come To Mama" just doesn't get any better.
Now this is what I would call "A Great Lady Sings The Blues."

Earthshakingly Good!
Ms. Taylor rivals Howlin' Wolf in the terrify-ingness of her voice. So it's fitting she starts with the Wolf classic "Evil" here, and when she sings "Grab the first thing smokin'" my whole body tenses up. Yup, she's visceral. Unfortunately her backing band is up to the challenge, although guest star James Cotton redeems it somewhat (especially on "Queen Bee.") Oh well. Some say her voice is an acquired taste, but I don't understand why. If the gravelly goodeness that pounds "Flamin Mamie" into the wall doesn't speak to you ... you're probably dead!

This is some party...
Check out the guest list for her majesty's blues royal party:James Cotton,Son Seals,Albert Collins,should I go on?However the magic comes from a different direction,from the queen herself,making this an instant classic. ... Read more

Amazon.com

On his Vanguard debut, guitarist Tab Benoit favors his usual workmanlike approach, serving up standard blues and Cajun riffs with ease. Though not technically flashy, Benoit is a solid songwriter with enough musicality to more than make up for the lack of fireworks. He can give his songs a restrained ("I'm Tired") or relaxed ("Raided That Joint") feel and he emotes as well as anybody on the title track. The rollicking "Crawfishin'" and "Jambalaya" recall Louisiana, and Benoit closes things off with the frenetically up-tempo "Bayou Boogie." The one possible misstep here is his take on the Willie Dixon classic "Twenty-Nine Ways (to My Baby's Door)"; anyone who remembers Koko Taylor's earthshaking version will find this one a little tame. --Genevieve Williams ... Read more

Reviews (15)

SOLID BLUES CD
THIS IS A VERY GOOD BLUES CD FROM TAB.HIS GUITAR SOLO`S ARE GREAT AND HE HAS A VERY SOLID VOICE.HE EVEN MAKES THE REMAKE OF JAMBALAYA SOUND GOOD.THIS GUY IS ONE OF THE NEW RISING STARS IN BLUES RANKS AND I`M LOOKING FORWARD TO HIS NEXT RELEASE.IF YOU ARE NEW TO TAB THIS IS A GREAT PLACE TO START.ALSO CHECK OUT NICE AND WARM.

Keepin' Tab on the Blues
This CD is a perfect primer to Mr. Benoit's brand of blues. "These Blues Are All Mine" displays his raw approach to guitar playing which harkens back to the days of Albert King, when the most important part was exposing your musical soul. To Tab, it's not important to hit every note correctly, which makes his music so intriguing. If this CD has one drawback, it is the inclusion of the Hammond B-3, which almost seems like a safety net--something Benoit does not need. "These Blues..." also comes across as quite tame to anyone who has seen this guy play live. I would say it's like trying to compare a poster of a van Gogh with the actual painting. It can be appreciated, but not fully understood. For example, "Crosscut Saw" on the CD is under three minutes in length, while "live" it goes more than twice that time. The lack of his soloing just seems to take away from the overall product. And seeing him grind out a solo on just four strings (he breaks a lot of 'em) without missing a beat, is a thing to behold. I give this 5 stars, because for a studio album, it possesses much of the qualities you find in one of his shows, it just happens to be the Reader's Digest version thereof. Go see him if he ever comes to your town, he won't disappoint and you'll always go back for more!

Good... but not Great
There's something about Tab Benoit that reminds me of John Fogerty, and I mean that in the most positive possible way.

Benoit brings together a mix of influences from the Louisiana gumbo of his musical upbringing and produces a fine album here. Of the thirteen tracks on this disk, he wrote five, and arranged the rest. The tracks he didn't write draw on such diverse origins as Albert Collins, Willie Dixon, and even Hank Williams. "Greatness creates, genius steals" -- and Benoit steals from only the best.

He brings strong chops to his work, and all the songs are driven by his undoubted guitar skill. He takes hold of Hank Williams' "Jambalaya" and makes it his own while remaining true to the classic original. Tracks like "Twenty-Nine Ways," "Bayou Boogie," and the title song harken back to the great minds of the Louisiana Blues heyday. And his sandblasted but sculpted voice is a pleasure to listen to.

But for all that, he breaks no real ground on this disc. There's really nothing that establishes a distinct Tab Benoit voice. He hangs close to the established forms of the genre. This creates an ambience that suggests he wants only those who keep to the center of the road without venturing into new domains to listen to his tunes.

This disc, though accomplished, feels like an early work by someone whose greatest creative accomplishments are yet to come. This is odd, as this is Benoit's sixth album. There's a feel here like the artist is still finding who he is apart from the influences that guide him.

Still, the disc is eminently listenable, and offers a pleasing sound for lovers of the blues. Though he doesn't venture from the fold, he does have a firm grasp of the roots from which he hails. Perhaps with time and experience he'll establish himself as himself; until then, he's established as a voice of a classic sound, and that's not half bad.

A must have
Simple...this disk is Tab on front, on his own and on fire...Every tune is very well recorded, but not over produced. The Tones are solid all the way through. Really this is the disk you want people to hear if your gonna introduce them to Tab Benoit!

This guy will jar your soul. Terrific hard edged blues..
I was lucky enough to catch Tab at a blues festival here in New Mexico this summer-WOW! He had the last of three blues bands appearing that day. None of the three were the least bit bad, but Tab was in a whole different realm. Consider buying this CD an investment in the good health of your soul. Tab comes on with a blast of energy that gives you a thrill. Great stuff. ... 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 (1)

Holler and Stomp down to the record shop...
Delmark records releases a session on a closed night at Mother Blues on Wells street in 1967. Taught by the legendary Elmore James, J.B. Hutto learned to play the guitar when he was an adult, and his fiery vocal response was his distinguishing characteristic. As the strongest of the Second-Generation Chicago blues singers, Hutto's trained voice wails over his simple slide, favoring blitz-line wails up to the 12th fret. As a bandleader, he often shared the stage with Hound Dog Taylor, and the two traded solos between hands of poker. The sessions visited here feature JB with his band in prime form, split between Mothers and Turner's in 1966 and 1972. As many more of these closed club sessions are becoming available to the public, they open a door to the younger generation to gain appreciation for what would have been an average Wednesday night in 1967. ... Read more

Reviews (5)

What a Blessing!
Who would think a person could be the King of Infomercials and still be a blessing to so many? This CD has many inspiring hymns (like "Power in the Blood" and "Rock of Ages")as well as powerfully moving songs like "Tell Me the Story of Jesus" and the "Baptism of Jesse Taylor." At a particulary low time of my life, I was watching the performance of DOWN BY THE TABERNACLE on TV, and I was truly moved by Sue Dodge's "Just Tell Them When They Saw Me, I Was On My Way." The Homecoming Family leads us in praise songs from perky to solemn, all a blessing.

Down By the Tabernacle CD
If you love old time Gospel music, and you also love Bill & Gloria Gaither and all of the Homecomming Friends you will absolutely love this CD. It is just FULL of the Power of the Holy Ghost and just anointed. You will find yourself playing it over and over again, and singing with every song!

This is great old-fashioned camp meeting singing and aura.
I'm not yet 40 years old, but I was raised attending old-fashioned camp meetings every year. This album will warm your heart as it brings back fond memories of times nearly "gone-by".

A very powerful message delivered in song
Down by the Tabernacle has been very uplifting to me. I am the choir director at St. Paul Lutheran church in Winlock, Wa. and would like very much to be able to get ahold of the music to several of the songs on this CD so that our choir can learn the Gaither style and in turn perform the songs to the glory of God.

Uplifting and foot-stomping good!
Music like you would have heard in the past at a country revival. Old-time songs mixed with new ones I never heard, but all are very uplifting. The various artists will get your feet stomping and your hands clapping. A good sampler of old time religion music. ... Read more