Amazon.com essential recording

This is probably the best Wolf compilation there is in terms of comprehensiveness and digestibility. The problem with collecting the works of prolific artists is that there's so much material; fortunately, Chess made some good selections. Chronicling Howlin' Wolf's career from Memphis, through Chicago, and on into his later years. There are snippets of interviews, as well as the classic tracks you'd expect: "All Night Boogie", "Howlin' For My Darling", "Evil", "Forty Four", "Spoonful", and "I'd Better Go Now." This box set is a bit much to swallow if you're not already a fan of the Wolf, but if you are, this is a great way to get his best work in one place. --Genevieve Williams ... Read more

Reviews (7)

He's the Wolf!!!
If life were a college course in Blues Appreciation, at least three aural textbooks would be required listening: the Complete Recordings of Robert Johnson and the Chess Boxes of Muddy Waters and Howlin Wolf. Just purchasing a CD or two of any of the other blues masters will suffice (for awhile anyway), but these three giants produced so much listenable and danceable music that nothing less than complete box sets will do. Even at 71 tracks, this set still feels incomplete; where is Wolf's fabulous live recording of "Highway 49" from the Newport Folk Festival? Or "Do the Do" from London Howlin Wolf Sessions, featuring Eric Clapton and Hubert Sumlin's fantastic guitar figures? But these are minor quibbles. How can you argue with an album that starts with a lonesome Wolf moan ("Moanin at Midnight") and ends (well, one track from the end, anyway) with a frail Wolf teaching a roomful of top blues acolytes (Clapton, Steve Winwood, Bill Wyman and Charlie Watts) how to play acoustic guitar on "Little Red Rooster" the way Charlie Patton himself taught Wolf some 40-50 years ago? What an experience! His powerful, gargling-battery-acid voice (only Blind Willie Johnson and Captain Beefheart had more abused throats) now a shadow of it's former self, his commanding presence still moves the assembled royalty of British blues-rock to "get on it" and produce a memorable take. In between are too many highlights to mention, including "Killing Floor" (probably the only song set in an animal slaughterhouse), "Back Door Man" (later covered memorably by the Doors), "I Ain't Superstitious" (also covered well by Jeff Beck Group and Savoy Brown), and most memorably, his signature song "Smokestack Lightning." As a bonus, there are several snippets from an interview recording just a few years before his death in which he reveals how he got his name, how he got started playing the blues, and the "hidden" meanings behind both "Smokestack Lightning" and "I Asked Her For Water". These glimpses into the real, behind-the scenes Wolf persona, each about 30 seconds to one minute long, are priceless. Throughout the set, Wolf is supported by first-rate musicians, particularly the aforementioned Sumlin, who was such a good guitarist that he was "borrowed" regularly by the likes of Muddy Waters and Little Walter, but always made his way back to Wolf's pack. This set and all it's great music should keep most listener's happy for hours. Now, when will some great writer take up the challenge of giving Howlin' Wolf the biography he deserves? (Waters and Walter already have fine bios.) Until then, the Wolf fan will just have to make do with the (excellent) liner notes from this set and play it once again to hear the magic of the Wolf moanin' at midnight, or at any time of day he so desires.

Footnote about voice of Howlin' Wolf
In his excellent review, "anders_pj" stated that nobody has ever copied the sandpaper voice of Howlin' Wolf. Well, there is one significant exception. This is the voice of Captain Beefheart (born Don Vliet). IT IS AN IDENTICAL COPY of Howlin' Wolf's. Captain Beefheart is a genius and one the most creative musicians to come out of the U.S.A.

The ultimate Wolf collection
This is a sublime, exquisitely packaged collection of Howlin' Wolf's awe-inspiring brand of blues.
Just under 3½ hours of music, opening with Wolf's eerie, wordless "throat singing" on 1951's "Moaning At Midnight", and ending with the opening track, "Moving", off his final studio album.

A lot of people have covered Wolf's songs, but none have come close to matching his ferocious sandpaper voice, and Howlin' Wolf in his prime was without a doubt the most electrifying performer the Chicago blues clubs had even experienced. Standing 6'4" and weighing 275 lbs in his prime, Wolf towered over everybody, literally as well as figuratively.

Starting off as a strict Charley Patton-imitator, Chester Arthur Burnett showed up in the juke joints of Mississippi in the late 30s with one of the first electric guitars anyone had ever seen, and when he finally started recording (for Sam Phillips' Sun Records in 1951), he was 41 years old and had been performing for two decades down in the cotton belt.
He suddenly had two hits on the R&B list at the same time ("Moanin' At Midnight" and the clanging, piano-driven "How Many More Years"), and in the winter of 1953, Wolf headed out of the South (in his own brand new $4,000 car), settling in Chicago, Illinois, where he would record for Chess Records right up until his death from kidney failure in January, 1976.
"-I'm the onliest one", he said, "-drove out of the South like a gentleman!"

"The Chess Box" collects every hit the Wolf ever had, as well as B-sides, album tracks, rare acoustic solo performances, and a few short interview snippets. The only thing that could have made this collection any better would have been a fourth CD of live tracks.
The first CD collects Wolf's singles from 1951-1955, including the up-tempo, R&B-styled "Mr Highway Man" (excellent piano playing by Albert Williams), the Charley Patton-classic "Saddle My Pony", a remake of John Lee 'Sonny Boy' Williamson's "Bluebird" (oddly credited to John Lee Hooker), the classics "Evil" and "Forty-Four", and the harp-driven "Just My Kind".

The first fifteen songs feature Wolf's original lead guitarist Willie Johnson, after which Lee Cooper takes over.
Johnson's aggressive, fiery guitar playing suited Wolf's songs perfectly, and he was surrounded by a slew of excellent blues pianists, from Ike Turner to L.C. Hubert, but around 1955 a more fixed band constellation started to take form, featuring bassist, arranger and composer Willie Dixon, and a fabulous young guitar player, Hubert Sumlin, who would stay with the Wolf right up until his death, and who became an idol for guitar players like Eric Clapton and Jimmy Page.

Disc 2 is even better, mixing Wolf's originals with Willie Dixon's more contemporary compositions. Highlights include the all-time blues classic "Smokestack Lightnin'", composed by the Wolf himself, and featuring some of his best harp playing, as well as axe-men Hubert Sumlin and Willie Johnson playing side by side (one of only two side where they appear together).
And then there's Wolf's sublime take on Tommy Johnson's awesome "I Asked Her For Water (she brought me gasoline)", Dixon's "I Ain't Superstitious", "Shake For Me", "The Red Rooster", "Howlin' For My Darling" and "Down In The Bottom", and the classic "Sitting On Top Of The World". The supremely catchy "(Meet Me) Down In The Bottom" features Johnny Johnson on piano and Jimmy Rogers on guitar, but it's Wolf himself playing the fills and the main slide guitar riff heard during the intro and the instrumental break, and he plays as well on "The Red Rooster", "You'll Be Mine" and several other tracks.

Disc 3 opens with one of Willie Dixon's best compositions for Wolf, the up-tempo, almost blues-rock-like "Hidden Charms". Backed by two sax players, Donald Hankins and Elmore James' saxist J.T. Brown, Hubert Sumlin plays some of his greatest lead guitar, and many consider his 18-bar solo the best guitar solo ever recorded.

Dixon's other contributions, the silly "Three Hundred Pounds Of Joy" and "Built For Comfort", are almost novelty songs, but the superb arrangement makes them work.

And the rest of the disc features mainly Wolf's own songs, plus a powerful rendition of "Dust My Broom", and a 1970 recording of "The Red Rooster" featuring Eric Clapton, Bill Wyman, Charlie Watts and Stevie Winwood.
The sax-augumented "Love Me Darlin'" rolls along like a steam train, creating a magnificent groove, and Wolf's gravelly vocals on "I Walked From Dallas" and the awesome "New Crawling King Snake" must be heard to be believed.

CD 3 also includes two interesting acoustic solo performances, as well as the funky "My Mind Is Ramblin'" and "My Country Sugar Mama" (fine harp playing by the Wolf), and the menacing "Commit A Crime".

But the best song on the disc (and probably the best song of Wolf's career) is without a doubt the magnificent "Killing Floor", Howlin' Wolf's own composition and one of the defining classics of electric Chicago blues.
It opens with a supremely catchy guitar riff from Hubert Sumlin (Buddy Guy is playing the acoustic slap-back rhythm guitar), and the two-sax horn section of Arnold Rogers and Donald Hankins plays soul-revue stabs. And when the mighty Wolf finally opens his mouth it becomes clear that though Led Zeppelin and Jimi Hendrix may have nicked the riff, the song itself belongs forever to the Howlin' Wolf, and those who dare try to cover it do so at their peril.

An essential addition to any serious collection of electric blues.

A must for true blue Blues fans
This is an excellent set. It covers a wide range of time and includes a diverse group of accompanyists. Howlin' Wolf is one of the great Blues Men. The booklet is really helpful in learning the history of the man and his music. I highly recommend the boxed set.

Will keep you Howlin at the moon all night!
Essential for any blues fan..... ... 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 (2)

One that lives up to its title
A lot of compilations have a title similar to this one, "the best of someone or other", yet still leave a lot to be desired.

That's not the case with this excellent Rhino collection, however. It may not be the definitive word on Aaron Thibeaux Walker (you'll need the two Capitol/Black & White and Imperial box sets for that), but it is the best single-disc retrospective available, and if you are looking for a really good sampler of T-Bone Walker's music, this is it.
Almost all of Walkers best-known songs are here, including his self-penned classics "They Call It Stormy Monday", "Mean Old World" and "I'm Still In Love With You", and "The Very Best Of T-Bone Walker" is an ideal starting place for the curious or the casual fan.

A Nice Restrspective of T-Bone's 1945-1960 Output
The electric guitar innovator gets the Rhino treatment with this 16-track collection of Imperial, Rumboogie, Capitol, Atlantic, Comet and Black & White sides. This is by no means the definitive collection of Walker's work, but it does serve as a nice retrospective of his 1945-1960 output.

If you were born after 1960, a little refresher is in order. T-Bone Walker influenced at least two generations of blues guitarists. Albert Collins, Freddy King, Eric Clapton, Jimmie Vaughan and the late Stevie Ray Vaughan are but a few. For those who think of "Stormy Monday" as an Allman Brothers song, think again. And Eric Clapton didn't create "Mean Old World."

This compilation serves as a nice primer. It includes the aforementioned classic "Call It Stormy Monday (But Tuesday's Just as Bad)" and "Mean Old World Blues." Also featured are "Papa Ain't Salty," "How Long Blues" and "The T-Bone Shuffle" and many more.

As usual Rhino offers the listener extensive, well reseached liner notes (this time by Billy Vera). The booklet comes complete with rare pictures and individual track information (personnel, songwriting credits, chart position, etc.). Kudos to Rhino for doing an excellent job, This compilation rates a strong B+. However, T-Bone merits more than 16 songs. A two CD set featuring some well-chosen rarities and underappreciated gems would have made this an A+ offering. ... Read more

Reviews (1)

This CD is a national treasure
This CD is a collection of two Mike Bloomfield albums that include an instructional album done for Guitar Player magazine in the 70's and the hard to get Bloomfield/Harris. You can forget about the hard charging sounds of Butterfield Blues/Electric Flag/Super Session. This is stripped down accoustic blues and gospel played by one of the greatest guitar players of all time.
The first 22 tracks are the instructional album "If you love those blues play 'em as you please", accoustic blues with a very interesting narrative by Mr. Bloomfield himself before each song. The remaining tracks are accoustic gospel with Woody Harris and Mike Bloomfield. The sound mix is excellent. ... 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

It may be cruel to dismiss Chris Duarte as just another Stevie Ray Vaughan wannabe, but it's accurate. There's not an original sound or sentiment on this debut album, right from the copped licks of opener "My Way Down" to the environmental cautions of the finale "Borrowed Love." Duarte is technically adept enough to get many of the late Vaughan's guitar mannerisms right, from his rich-but-brittle Stratocaster tone to the turnarounds he uses to set up his solos. He's a pallid vocalist, however, which doesn't help plead his case as an emerging talent. In fact, four years after this debut--which beat both Jonny Lang and Kenny Wayne Shepard to the record stores--Duarte has yet to make his mark. --Ted Drozdowski ... Read more

Reviews (27)

Crank it up loud....better yet...put the headphones on THEN
crank it so you don't miss a single note!!! Amazon.com got it right when they said it's easy to dismiss Chris Duarte as an SRV wannabe, but what's wrong with that? Since SRV isn't with us anymore, someone has to try to fill those awesome shoes. Chris comes as close as anyone I've heard! Listen close and you'll find that Chris is MORE than SRV reincarnated...you'll hear Hendrix, Ted Nugent, Eric Clapton, and probably one or two others in his stylings. The point is, this CD will get your blood boiling, your toe tapping, and you'll be playing kick A#$ air guitar from the first lick!!! My favorite track? Without a doubt...C-Butt Rock. Sure it's just a plain old 12 bar blues riff, but Duarte really shows his stuff here. Buy it, enjoy it, and CRANK IT UP!!!!!

A Stellar "Must-Have" Piece of Guitar Work
To paraphrase my brother, who is a both a devoted guitarist and a devoted student of many playing styles (from D'Jango to Jimi), Chris Duarte manages to combine influences from many, many other fine artists and yet retains his own unique style. His music ranges from straight-ahead [...] rock to liquid, buttery-smooth jazz, blues and soul. If you expect ANY of his albums to be consistent and uneclectic, forget it. If, however, you delight in amazing, incindiary, surprising and listenable ear-candy, ALL of Duarte's work is a treat.

While you're at it, look him up on the Web and plan on seeing him in concert. I did, at some little biker dive in Topeka, KS. Spent most of the time there in slack-jawed amazement at him and his band. God only knows how Duarte wrenches so of the music he gets out of that strat, but it's well worth hearing.

This album and it's predecessors are more polished versions of the Duarte magic. I highly recommend you spend a few $$$ and buy them. Your ears will thank you.

check out this man's guitar tone
I think you almost have to be a guitarist to really appreciate Chris Duarte. For me his tone alone is worth 4 stars. He gets the most exquisite Stratocaster tones I've ever heard on any recording, period. (Hey if anyone out there knows what kind of pickups he uses, let me know. I know about his effects, amps, etc, just no info on pups.) Even SRV wasn't this tone-sculptured. Aubrey Freed used to be my hero in this dept; now it's Duarte.

I like the songs on this CD, too, fairly good composition. I would give the CD five stars if it showed just a tad more originality, both compositionally and stylistically. But man, that tone -- I've played strats for 30 years and couldn't be more envious.

TAKE IT FOR WHAT IT IS
First let me say I love this CD. At times he does sound like Stevie Ray, but so what! At times Stevie Ray sounded like Hendrix, should we crucify him for that? Everybody has influences. I love the blues but let's be honest, how many blues guitarists are actually doing something TOTALLY original that hasn't been done before? Chris Duarte is not the first musician to at times sound like someone else. I wish the production was a little beefier but I like this CD alot. In my book he's got nothing to apologize for.
www.electriceyes.us

Impressive Debut From the Texas Guitarslinger
It's impossible to write a review of Chris Duarte without invocking the name of Stevie Ray Vaughan. Duarte, a fellow Texan, is obviously a disciple of the late, great guitarist. In fact, Duarte dedicates the nearly ten-minute instrumental "Shiloh" to Stevie and his brother Jimmie. But while Duarte may have been influenced by the Vaughan brothers, he is no imitator. Duarte's guitar playing is both fiery and inspired. His vocals are serviceable, but it's his guitar playing that brings me back to this album time and again. I caught him live a couple years ago and his performance was dazzling. This is an impressive debut. HIGHLY RECOMMENDED ... Read more

Reviews (2)

An awesome collection of old favorite hyms by "Homecoming"!
You won't find a bigger fan of Gaither music than I am. I love the new songs of today, but there is something special about the old hymns. The highlight of this album is Glen Payne and Guy Penrod singing "The Haven of Rest". This is probably a 6 star album in my opinion!!!

A Must for everyone who loves classic hymns and the Gaithers
This CD is a compliation of most of the hymns found on the Homecoming CD's and videos. There's a sweet spirit moving when Larry Ford and Guy Penrod sing "I Will Sing of My Redeemer", and the entire group singing "Majesty" and "Sitting at the Feet of Jesus". Well worth the investment! ... 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

Amazon.com

Until this album was released in 1978, Albert Collins hadbeen a journeymanTexas bluesman, little known and unrecorded for six years. Hisguitar playinghere won him a new generation of fans, and set the stage for thepopularity heenjoyed until his death. His clustered, sustained, choked, andbent notes,played with his thumb and fingers, set a generation of pickersagog. The tonewas piercing; the timing impeccable. Collins' vocals were neverquite asstrong, but it scarcely mattered as he was the man for whom theelectricguitar might have been invented. The eight songs on this setinclude "When theWelfare Turns Its Back on You," and several jaw-droppinginstrumentals.--Colin Escott ... Read more

Reviews (13)

A Blues Master
Albert Collins was one of the most unique blues pickers to grace the stage. Tuning his guitar to alternate tunings and using a capo, he would walk around the bar with his 100-foot cord wandering into the bathrooms, out on the street, around the bar playing the blues all the while. He mixes his blues up playing soft, slow blues, and powerful instrumentals. Sometimes his topics are serious, other times his humor comes through. Collins was quite the entertainer.

Although "Ice Pickin'" is a short album, it is jammed with the blues over eight tracks. In such a short amount of time, Collins covers a lot of ground. From his upbeat "Honey, Hush!" to making his guitar talk the argument between him and his wife on "Conversation with Collins" it is nothing but enjoyable. He shines with instrumentals like "Ice Pick" and "Avalanche". His phrasing is like talking. Never to many words, and he can get his point across with hardly any effort. Humor shows through in "Too Tired", where he's too tired to stand after sitting on a pin, and "Master Charge". He also gets heavy on "When the Welfare Turns Its Back On You" and "Cold, Cold Feeling".

A definite master of the guitar, and the blues. He has entertained many a people over his life. As he said in the movie "Adventures In Babysitting" - No one leaves until they sing the blues. He sure did.

The Master of the Telecaster in Fine Form
When people refer to the late Albert Collins as the "Master of the Telecaster", it's for a good reason. The Texas bluesman was known for the unique, instantly recognizable sound he wrung out of his guitar. Playing a specially tuned Fender Telecaster with his bare fingers instead of a pick, Albert got a sound that was dynamic and powerful, yet never lacking in soul. He could shake the walls playing a driving shuffle or send chills up your spine with a gut wrenching slow blues. His backup band, the Icebreakers, always provided exceptionally tight accompaniment. Until his untimely death of lung cancer in 1993, Albert was one of the most in demand performers on the contemporary blues scene.

"Ice Pickin'" is Albert Collins' first recording for Alligator records, and finds Albert and his band in fine form. The CD kicks off with the up-tempo shuffle "Honey Hush", a showcase for Albert's guitar and wry vocals. The band slips into a low-down groove for the powerful slow blues "When the Welfare Turns its Back on You." On this tune Albert shares solo space with Chicago sax man AC Reed, and is backed by a soulful horn section. The horns return in the next track, a funky instrumental groove called "Ice Pick." "Cold, Cold Feeling" is a mournful minor key blues that gives Albert plenty of room to stretch out on guitar, and showcases some of his most soulful singing. "Master Charge" is a modern day blues classic, featuring a funky rhythm section and tongue in cheek lyrics about the dangers of credit card debt. "Conversation With Collins" displays a similar tongue in cheek attitude, as Albert tells amusing tales of his domestic life with musical accompaniment. The disc concludes with the driving instrumental shuffle "Avalanche", another showcase for Albert's no-holds-barred guitar playing.

With its spectacular guitar work, tight rhythm section and soulful horn arrangements, "Ice Pickin'" is a contemporary blues masterpiece. After listening to this CD, you just may find yourself wanting to hear more of the Master of the Telecaster at work. "Frostbite", "Live in Japan", and "Showdown" (with Johnny Copeland and Robert Cray) were all recorded for the Alligator label, and feature Albert at his best.

Can't beat this one
Here you have one of the classic electric blues guitar albums with a great selection of tracks that can't be beat.

One thing that often doesn't get discussed in these reviews is what setting the music is good for. After all, unless we are professional critics, we don't often have time to just sit down and listen to a CD. This one is good for doing housework, driving to work, late night listening, eating breakfast to, working in the yard, just about anything. If you like blues, you can't go wrong with it.

Ice Age
I miss the Iceman. He was as funny as he was a serious musician. His sound was telicious.

You Just Gotta Laugh
Ice Pickin' is far and away the most enjoyable blues disc in my collection. Albert Collins brings an attitude and sense of humor to this record that I have not heard in any other blues recording.

The subject matter is all too familiar for a blues record: woman trouble, money trouble and just plain trouble. However, in songs like "Master Charge" Albert sits back and says, you just gotta laugh.

The guitar work is central to each track, with Albert letting his fingers tell the finer points of each story. The highlight of the record is the hilarious, "Conversations with Collins," where Albert tells the guys what happens when he decides to be a nice husband and let his wife have a night out on the town.

Great Blues and Great Fun. ... Read more

Amazon.com

B.B. King, probably the most celebrated living blues player, has come a long way from Itta Bena, Mississippi, and this CD illustrates just how far. A series of guest shots by such artists as Van Morrison, Tracy Chapman, Eric Clapton, Mick Hucknall, Bonnie Raitt, Dr. John, Joe Cocker, Marty Stuart, the Rolling Stones, and Willie Nelson, Deuces Wild is far removed from the blues King played in the '40s and '50s. It's more like psychodrama, especially in the case of the Cocker track, "Dangerous Mood." Nobody here, celebrity notwithstanding, is just going through the motions. The album's crass concept is redeemed by, among others, drummers Steve Jordan, Jim Keltner, and Charlie Watts. Although it's an overblown international project with no affinity for the meaning of the blues, the players and their love for the music triumph. --Stanley Booth ... Read more

Reviews (27)

Do yourself a favor and buy this album
If you like blues, B.B. or any of the artists on this CD, you gotta have this one. On a B.B. CD you usually don't have anyone to compare him to. Now listen here and understand why he is the King of the blues singers. Everybody is great but only Joe Cocker really comes up to his level. Great duet with Dionne Warwick on "Hummingbird" which B.B. recorded years ago. Check out B.B. next to Clapton, Jagger, Richards, Mick Hucknell, etc. etc. etc...get those credit cards out now!!!

A royal flush
B.B. King got to be the King of the Blues for a good reason. He is a phenomenal blues guitarist and a great vocalist to boot. Then you add an incredible presence and charisma and you get the man who is called King. No slight is intended toward Freddie King or Albert King but B.B. is the true king of the blues. This album is filled with great tracks. Paying the Cost to Be the Boss (featuring the Rolling Stones) is one of the highlights for me. I also like the duet of The Thrill is Gone with Tracy Chapman. Bonnie Raitt who also did a fantastic duet with John Lee Hooker in the late 80s shines on Baby I Love You. I could go on forever about what B.B. King means to me but it would take too long. Just do yourself a favor and buy this CD. This is a great celebration of a true American icon.

A blues master having fun with some friends
A few years ago, before I moved to Minneapolis, I was in town visiting a friend and was having a hard time finding my way back to his house at night. Because I was trying to find the correct street that lead to the freeway I was having problems concentrating on the radio, so I gave up and left it the radio on the next station to come up on seek. It happened to be the local blues station playing "The Thrill is Gone" by B.B. King and Tracy Chapman (from this album), and a few seconds later the blues had a new fan.

With one or two exceptions, the entire album is great.

Highly Recommended!

Tried to hate it, ended up loving it.
Okay folks . . . take it from me. Buy this album. But please promise me to buy another couple of albums if you like this one, okay?

I don't care if you've new to the blues, have never before heard a BB King song before, or have never seen BB King in concert. This is perhaps the best introduction to the blues as you'll ever hear. From the Rolling Stones to Heavy D, there's something for everybody.

Typically the phrase "something for everybody" means lukewarm acceptance across a wide range of genres. I tried so hard to hate this album, but I just can't help loving it. Every artist here really sounds like they're pouring their best into the recording.

I defy you to tell me Bonnie's not leaning back and gritting her teeth when she plays slide guitar. Tell me that Heavy D wasn't breaking more than his usual room-temperature sweat when BB kicks the track back to him. My money's on Mick Jagger wishing he had some of Keith's alcohol-sodden blood running in his veins when the first few riffs of BB's guitar hits back harder than Mick expected.

Now that you've listened to it, go buy Blues on the Bayou. Then buy a Susan Tedeschi album. Grab some Little Milton too. Oh, and it wouldn't hurt at all to round it out with some Albert King, Ronnie Earl, and maybe some Johnny Lang or Kenny Wayne Shepherd if you're feeling spunky. But overall, shame on you if you don't have any John Lee Hooker!

B.B. King performs some of his best with other greats
This is an outstanding CD. One of my all time favorites! "The Thrill is Gone" with Tracy Chapman...amazing. "Baby I Love You" with Bonny Rait...amazing. "If I Love You" with Van Morrison...amazing. If you like the King at all, check this one out. ... Read more

Amazon.com essential recording

Buddy Guy's greatest album is also his debut full-length session as a leader. "One Room Country Shack," "Mary Had a Little Lamb" (a Stevie Ray Vaughan favorite), "Sweet Little Angel," and "Worry, Worry" are defining songs, full of high-wire vocal dynamics and guitar work of almost balletic poise. The tone of Guy's 1957 Fender six-string remains the benchmark for nearly every blues player who's since hefted a Stratocaster. This CD is as tasteful and dramatic as Guy's 1990s performances are brash and assaultive. Producer Samuel Charters, the noted blues historian, caught Guy just as he was emerging from the shadow of B.B. King and Muddy Waters, and provided an excellent cast of supporting musicians, including the underrated guitar genius Wayne Bennett, gritty piano virtuoso Otis Spann, and Muddy's redoubtable drummer Fred Below. The results are blues perfection. --Ted Drozdowski ... Read more

Reviews (4)

The music is probably 4 .5 stars BUT....
...The production leaves a lot to be desired. Im a big fan of the production on mid 60's to mid 70's recordings, but although my version of this album is remastered, somebody must have forgotten to mic the drummer!

Normally you get drums of a reasonable volume in one speaker (and bass in the other) in records recorded around this time, which is no big problem. However the drums (which are only present in the right speaker) are so quietly recorded that the rhythm of all of the songs is lost.
Fred drums like a funky mutha on Mary Had a Little Lamb, but it's barely audible.
Another reviewer suggests that the tracks were recorded before 68, so perhaps thats part of the problem. However when you listen to, say Hoodoo Man Blues, which was recorded with Buddy and Junior in 1965 you'll notice that the sound quality is very good in comparison.

My feeling is that this album was just badly produced and was probably mixed down on a four track recorder, so the remastering couldnt bring the drums out in the mix....

I just want to warn others of this flaw, because for me it almost ruins the album. On a positive note, I use the word almost, because the band are first class, as is the music.

This album should be a classic. Many consider it to be, and musically they're correct. But it makes for a dissapointing listen to my ears. Get something else by Buddy, preferably with Junior Wells, as all their recordings are of far superior quality to this.In fact the Vangaurd recordings Buddy did are all a bit lacking in dynamics.

If youre a guitar student though, you'll find much on here to enjoy, as the guitar rings loud and clear throughout and has a much cleaner tone than the later recordings.

A Man and the Blues... In Full
This album does a bunch of things. It is perhaps the seminal work of what musicologists call "second-generation Chicago blues." This is the blues form which remains the template for most popular blues produced today. In these performances, Mr. Guy alloys soul and rock figures with the Chicago blues vernacular. As a result, his album released blues to a truly pan-racial and cross-generational following. Most had never witnessed real blues music before. Mr. Guy's fret-board work illustrates the liquid tone possible from that pre-eminent electric guitar, the Fender Stratocaster. His technique transducts the passions of his elders uncorrupted. We hear them today from the hands of hundreds of young guitarists. This is the record that certified Buddy Guy's career. He is arguably the most original blues performer alive.

For some listeners this album has been something of a millstone around Mr. Guy's neck. His successive albums never reached the elegance of this one. Need they? Today, thirty-five years afterwards, blues production values have evolved. Mr. Guy's blues are evolving too. His 2001 release "Sweet Tea" blends the sensibilities of rap and alternative with the newly fashionable product called "electric Delta." "Sweet Tea" hasn't the irreducible beauty of "A Man and the Blues." Yet it does show Buddy Guy's intensity as synthesist and artist little diminished.

Some would eject Bach or Mozart into space for other civilizations to evaluate us with. I'd send "A Man and the Blues."

Buddy Guy with the frenzied funked up Blues!
Buddy Guy at the Beginning of the Frenzied, no restraints playing and singing which his true fans enjoy! He is on fire here! Play him over and over at The Crazy Coyote Blues Power Show 1490 KOTY AM Yakima Nation Reservation Radio in south central Washington state.

Great blues album
This is a great album but short. About 38 minutes long. Don't let the release time fool you either. It was made in the mid to late 60's as far as I know and you can tell by the sound quality. It is clear sounding but some of the louder songs sound very compact. This album contributes 4 slow blues tunes. Five of Nine tracks are Guy originals. I have to say that the track called Just Playing My Axe is not as good as I expected and though I can't place it, it sounds exactly like some rock song I have heard. Anyway there is one other guitarist on here named Wayne Bennet but he is only a rythm guitarist and due to the slow blues songs he doesn't seem to show up much. Whether this is a plus or minus for you there are horns but they aren't usually much more than background through out the album. Buddy also covers Jules Taub, Berry Gordy, and the great B.B. King. Sweet little Angel is one of the best Buddy tracks that I've heard. Buddy is very restrained and much more polished on this album than on many others. He doesn't really go ''out there'' Like he normally does but his tasteful leads and solos are still terrific. It's part of the greatness of this album. By the way- the legendary Otis spann plays piano on this album and that is a major contribution, and he compliments Buddy Guy very well. The old tune known as Mary Had a Little Lamb is a Stevie Ray Vaughan favorite and is a light hearted song that shows Buddy being his playful self. One Room Country Shack is a blues classic as well as A Man And The Blues and this is pretty near a perfect recording for it's time period and style. If you like Buddy Guy or if you want a toned down example of this great guitar player and vocalist to fit your tastes, than this is perfect. If you want a harcore version like the one that influenced Stevie Ray Vaughan and Eric Clapton so much- than get Stone Crazy-which is an example of that Buddy Guy style. ... Read more

Reviews (18)

A pretty nice album to listen to
I was about 18 years old when Wolf came to Europe to tour and make recordings like this one. I remember the excitement at the time, though I didn't get to see the great man in person. This album is a fine record of that epoch.

An excellent album that I have had for several years and still play regularly, especially in the car. You have the Wolf on vocals with the Rolling Stones rhythm section and Eric Clapton playing some nice stuff on lead guitar. with Stevie Winwood in there somewhere too.

I have heard better versions of Wang Dang Doodle, but the rest of the songs are excellent.

A unique album that showcases Howlin' Wolf, the like of whom we will not see again. However, I am not sure that this is his very best work, as I have a Live In Europe album from a 1964 concert in Bremen that has Hubert Sumlin on guitar and that wonderful pianist Sunnyland Slim in the band, along with Willie Dixon on bass, and to be honest, the somewhat younger Wolf sounds vocally stronger, as he really stretches out with a great band in a live performance. But this London album is still a nice listen and gets three stars from me.

As I have posted a number of reviews, here is what I mean by my star ratings:

* A really worthless CD
** A CD that has some good stuff, but some major defects.
*** An OK CD that will please fans of the artist in question.
**** An excellent CD that represents the best work of the artist in question and can be bought with confidence.
***** An absolute classic that is the best, or among the best, of its genre. Your collection should start here.

An American Howlin' Wolf in London
Some collaborations of "superstar" musicians and Blues Legends just don't work out. This one certainly does, though. The impressive list of musicians includes Eric Clapton, Stevie Winwood, Bill Wyman and Charlie Watts. Hubert Sumlin, Howlin' Wolf's lead guitarist is also present, although Clapton takes the lead role here. And on this record, all the musicians demonstrate they know how to play blues. They provide fine backing for Wolf, who never sounded better, and their playing is always loyal to the original recordings. Eric Clapton is particularly impressive, and should be proud he was part of this album. The songs are all re-workings of Wolf classics. "What a Woman" has a thunderous riff - play it loud. "Little Red Rooster" is also outstanding - A rehearsal of this song is also included.

This is an excellent album - essential for fans of Howlin' Wolf, also a good introduction to someone to hasn't heard him before. It was recorded in 1971, five years before Howlin' Wolf's death.

pretty darn good
I've read reviews of this that have called it a turkey, blues purists SEEM to hate it. After all, these are white english kids, for cripes sake! Well, a lot of these white english kids helped a lot of American kids learn about stuff they had never heard of.

I bought this album when it first came out. I knew who Clapton was, I knew who Bill Wyman and Charlie Watts were, I knew who Stevie Winwood was. I did NOT know who Howlin Wolf was. So, as a result of this album I learned who Howlin Wolf was and eventually bought more of his albums.

But regardless, this is an album that I enjoy listening too! I believe that the musicianship of the guys playing on this is much better than it's credited as being. Yeah, the Red Rooster intro is one that probably should have been left out. I've never been able to figure out why they left that in.

I've read that Clapton has disparaged this album and his involvement in it. I've never actually heard/read his words on this. It makes me sad. I've heard of lot of other stuff that has been released with the blessing of artists that truly sucks.

Anyway, don't pass on this because some music critic panned it. It's a darn good album.

nice quality of recording
underrated(2-3 stars)in all music books

Absolutely amazing
When you take Howlin' Wolf-one of the greatest Chicago bluesmen ever-and put him together with Eric Clapton, Bill Wyman, Charlie Watts and Steve Winwood, what do you get? You get one exciting blues album. I read somewhere that blues purists don't like this album, but I know from listening to it that this is pure, electric, energetic, rockin' blues.

The album starts off strong; the first thing you hear is Clapton's beautiful slide guitar riff on "Rockin' Daddy." On this track, we have Phil Upchurch on bass, Winwood on piano, The Wolf's long time lead guitarist Hubert Sumlin on rhythm guitar, Charlie Watts on drums, and The Wolf himself singing the vocals in his famous growling stlyle. We hear a wonderful solo from Clapton, who plays off the melody of the tune beautifully.

Ringo plays drums on "I Ain't Superstitious" and the results are awesome. With a horn section (Joe Miller, Jordan Sandke, Dennis Lansing) holding the roots of the chords, and Clapton playing a slide riff to back The Wolf's vocals, we get a truly great jam.

The rest of the album is as exciting has the first two songs. We hear Jeffrey M. Carp's soulful harp on "Sittin' On Top Of The World," and The Wolf's vocals are just as astounding. Clapton adds another creative solo, again playing off the beautiful melody of the song. Later in the album, we hear the amusing Willie Dixon tune "Built For Comfort" in which the horn section mentioned before adds its unique touch. "Highway 49" is one of the highlights of the album, with classic guitar riffs and The Wolf's soulful, bluesy singing. You get the feeling that no one could sing this song like The Wolf. Basically, when buying blues, you can't go wrong with Howlin' Wolf. Overall, this album is excellent. It is a beautiful display of classic blues performed by an all-star cast. ... Read more

Amazon.com

A mainstay of the festival circuit and blues clubs, MarciaBall is acaptivating performer and a one-woman ambassador for the southLouisiana soundshe loves. This, her third Rounder album, dates from 1989. It's amostlyself-composed program that doesn't quite capture thejoy of herlive shows, but comes close at times. Of all the new songs, "The Powerof Love" isbest. It's a beautifully poised performance that grows slowly andinexorablyfrom a two-minute vocal-piano intro. Some of the songs are builtaround themournful swamp-pop chord changes; others around Cajun two-steps.The albumcloses with country star LeRoy Parnell's "Red Hot," which hassince become oneof her show-closers. --Colin Escott ... Read more

Reviews (4)

An excellent early album
On this set, Marcia demonstrates her skills on a variety of songs, beginning with How to carry on, an up-tempo rocker, which sees her attacking the piano in a manner reminiscent of Jerry Lee Lewis. There's nothing else quite like that here, but there is a nice mix of tempos. The mood of the album is generally upbeat.

The power of love is her own song - of course, there have been many songs with this title - I've come across about ten totally different songs. The most famous was the one that was a huge hit all over Europe in the eighties for Jennifer Rush. It was a flop in America, but later became an American hit for Laura Branigan, then in the nineties it became a monster hit for Celine Dion. Marcia's song is not as dramatic, but it is still a great song.

Mama's cooking explains in song why Marcia manages to avoid getting fat - she could eat plenty, but always burn off the excess by dancing the night away. The cover picture provides the proof.

Lee Roy Parnell, who eventually achieved success as a country singer in the nineties, wrote two of the songs but he was unknown at the time this music was recorded. What's a girl to do and Red hot show that he could write great songs.

Marcia's music should appeal to anybody who likes rock music with a touch of blues, particularly fans of Bonnie Raitt.

First rate
This is the best of the cds put out by Marcia Ball and I recommend it highly. The performances on other Ball cds is equally good, but the quality of the songwriting on this one sets it apart from the rest. (I realize 4 stars around here amounts to damning with faint praise, but geez, there ought to be some shades of gray between the ridiculous and the sublime).

energy personified
I've seen her performance live and this CD easily captures all the energy of her live performance. "La ti Da" is "awsome. Probably the most moving (and my #1 fav) cut on the CD is The Power of Love".

Great stuff
I first heard this while painting sets (for a play) late at night after a long day. It was so envigorating that we played it several times. Marcia Ball has so much fun with her songs, whether slow ballads or catchy numbers, that it's impossible not to tap one's foot along with her. Great stuff!! ... Read more

Reviews (9)

Blues at it's best
Excellent compilation and a great collection of songs recorded under the limited enviroment that Eli Toscano's Cobra Studio had, but all these songs stand by themselves. Every time I hear Otis or Freddie King I can hear Eric Clapton, it's clear he got influenced by this great musician. I can't quit you baby, a song written by Willie Dixon (who plays almost all the bass parts) later covered by Led Zeppelin and All your love later covered by the same Eric Clapton with John Mayall and also Aerosmith payed tribute this song later on.

*****
A criminally underrated performer, southpaw guitarist Otis Rush broke into the R&B top 10 on his first attempt with the great slow blues "I Can't Quit You Baby".

That song was penned by Willie Dixon, as are several of these late-50s singles which Rush recorded for Eli Toscano's Cobra label, but Rush was a more than able composer himself, and he is the man behind some of the best songs on this CD, including "All Your Love (I Miss Loving)", "Three Times A Fool" and "Keep On Loving Me Baby"; superb, sophisticated blues tunes which often eclipse Dixon's.

Otis Rush' brand of blues is less rough and boisterous than the music of Howlin' Wolf and less polished than that of B.B. King, and he was a major source of inspiration to Stevie Ray Vaughan, who named his band after Rush's song "Double Trouble", and did a great rendition of "All Your Love".
His intense vocals and stinging lead guitar playing is reminicent of Buddy Guy and Magic Sam, and if talent was everything and luck and timing never mattered, Otis Rush would currently be hailed as the reigning king of Chicago blues.

Alternating between smouldering slow blues and swinging up-tempo numbers, this is one of the truly essential albums in any blues collection. If Rush had never recorded another note, his reputation would be intact based solely on these eight singles.

Rush for Otis!!
What do Duane Allman, Carlos Santana, Eric Clapton, and Jeremy Spencer have in common (besides the obvious electric fireworks)? They all knew about Otis Rush, and to hear these unbelievable, dynamic tracks, he was so good that it must have taken an act of Congress to have kept him under wraps from audiences. His guitar licks could raise welts on your skin, and when he cried over the blues, it seemed someone was tearing the flesh from his heart. You need this if you're a serious blues collector!

His Vocals&Guitar Playing are top Notch
when I first Heard this Set I was thinking WOW! this is where Eric Clapton got so much from.Otis Rush has a Energy&Vibe in His Playing that you can truly feel&enough sting in His Vocals that Knock you out as well."I Can't Quit You Baby","It takes Time" are my Cuts here.Must have Collection.

Seminal West Side recordings
While Otis Rush certainly has grown as a blues giant, he never put together a body of compelling reordings as he did for the eight singles he recorded with Willie Dixon producing. Perhaps the focus necessary for three minute single sides make these so riveting. Rush's vocals are riveting while his guitar is brilliant throughout. One should not forget the notable contributions by Ike Turner, Walter Horton, Little Walter and others. Despite some of the material being somewhat lame (though Rush makes Violent Love listenable), the originals of I Can't Quit You Baby, My Love Will Never Die and All Your Love (I Miss Loving) are among the highpoints of fifties blues recordings. These recordings belong in any credible blues collection. ... Read more

Amazon.com

No independent label has surveyed a wider, deeper expanse of the American musical grain than Rounder Records has done since 1971. In celebrating the label's 30th anniversary, this budget-priced anthology presents 68 gems from the archives without duplicating a single artist. Rather than a linear progression through time or genre, the four-disc set hopscotches all over the musical map, from the blues of Mississippi Fred McDowell to the bluegrass of Alison Krauss, from the Texas country of Jimmie Dale Gilmore to the Celtic fiddle of Natalie MacMaster. Some of the juxtapositions are a little jarring: the Mardi Gras chants of Bo Dollis and the Wild Magnolias give way to the Hawaiian guitars of the Tau Moe Family, while the soulful groove of Walter "Wolfman" Washington leads into the Klezmer Conservatory Band. But listeners whose tastes are as eclectic as Rounder's will find the set a treasure trove of discovery. --Don McLeese ... Read more

Reviews (3)

Well Done Compilation - with a Caveat
This is a typically well organized Rounder compilation, with some impressive artists included. However, it should be noted that these are interpretations of older "roots" tunes done by Rounder label artists, rather than the originals. As such, Scott Billington, who wrote the liner notes, does himself (and us) a bit of a disservice by referring dismissively to the original versions of these tunes as a "scratchy collection of old recordings". Were it not for that very "scratchy collection", this four-disc set would not be here for us to enjoy.

Introduction to American Music
Rounder Records has always done an incredible job of putting together compilations and making the music sound alive. This collection celebrates 30 years of Rounder, and is a great overview of the label, as well as a taster for anyone looking to check out some truly alternative music. The mixture is very eclectic; much like American culture, blending and weaving through musical styles. The set features Blues, Folk, Cajun, Bluegrass, Celtic and much more.

A highly recommended listening experience.

A Roots Music State of the Union.
Think of this as an update on Harry Smith's Anthology of American Folk Music. Showing up on the heels of the wide success of the "O Brother..." soundtrack and just before the PBS American Roots Music series, this is a worthy collection of samples of the work of contemporary artists working in the earthy music forms from whence it all sprang. From acapella gospel to zydeco with old-time, bluegrass, blues, New Orleans brass and Hawaiian tunes sandwiched in between. What can you say? It's Rounder, for Pete's sake! ... Read more

Amazon.com

There is great historical significance to this 1960 record: not only was it the first solo album ever recorded by the great pianist Otis Spann, it was also the first album ever recorded for Nat Hentoff's short-lived but fruitful Candid label. However, the music within is anything but a mere footnote. Hentoff's philosophy was to let the artist's true musical nature come through in the studio, and his laissez-faire production style bore great results. For his debut, Spann employed only Robert Lockwood Jr. as his musical support, and the result is a pared-down, passionate, triumphant set that sheds light on Spann as a full-bodied vocalist as well as a pianist. The Mississippi-born Spann grew under the tutelage of Big Maceo and mastered the pounding barrelhouse piano style that Maceo brought with him to Chicago. Spann adapted this fierce, urgent style to the burgeoning electric small-band approach that was taking Chicago by storm, and he eventually became an integral element of Muddy Waters's peak ensemble. Here, with only Lockwood's guitar behind him, Spann is free to indulge in his florid runs and pulsing two-handed rhythmic attack, exploring the turf that connects the barrelhouse of his youth with the modern Chicago style. --Marc Greilsamer ... Read more

Reviews (6)

Otis Spann Really Is The Blues
Otis Spann was born and raised in Jackson, Mississippi. He began playing piano at 8 years old and was mostly self-taught, playing for years in his father's church. By age 14, he was playing in bands in and around Jackson, but for a time, the piano had to compete with semipro football and professional boxing for Spann's attentions.

It was Spann's idol and mentor, Big Maceo Merriweather, who ultimately brought Spann to a life in music. Maceo embraced Spann as a friend and a student when they first met back in Mississippi. After Spann got out of the Army in 1951, Big Maceo was playing piano for Muddy Waters and showed Spann around the Chicago blues scene. In 1952, Spann actually replaced Maceo as the pianist in Muddy Waters's band, at about the same time that rhythm guitar ace Jimmy Rogers also came onboard. Together, and with a little help from later addition Willie Dixon, Otis and Jimmy Rogers transformed the Muddy Waters band into the quintessential rockin' modern electric blues band, never to be matched for their power, skill, and musicality. Spann stayed with Waters, off and on, until 1969, when Pinetop Perkins replaced him.

During his years with Muddy at Chess Records, Otis cut sides with Howlin' Wolf and Little Walter, and became sort of the "house pianist" for the label. He even sang on one single in 1954 with B.B. King called "It Must Have Been the Devil," which revealed his undeniable talent as a singer. But no one at Chess seemed to notice, which caused Spann to look around for other opportunities. In 1960, he made "Otis Spann Is The Blues," backed only by Robert Lockwood, Jr., another great electric guitar player (and the stepson of the immortal Robert Johnson).

Like many listeners, I came to Otis Spann's music by way of Muddy Waters. It was Otis pounding the keys on Waters's incomparable live version of "Got My Mojo Working" from the 1960 Newport Jazz Festival that first hooked me. Many listeners, then and now, consider Otis Spann to be the pre-eminent postwar Chicago blues pianist based primarily on his work with Muddy; but his solo efforts, beginning with "Otis Spann is the Blues," only reinforce that conclusion.

It's hard to say which song on this album is my favorite, but I'd start, as Otis does, with "The Hard Way." Throughout, Otis blends fluid, articulate mid-tempo blues chord structures with boogie-woogie bass lines to create sophisticated music with real emotional depth. As an accompanist (or band member), Spann can punch out muscular but subtle rhythm parts, and he can break out with clear, powerful solos. His voice is real, and it taps into the same blues well of tone and phrasing that Muddy made a staple of the urban blues. Otis also knows guitar players, and Robert Lockwood, Jr. is every bit his match on this album, alternating slippery, greasy single note lines with chord changes that roll along smoothly like a 1960 Cadillac 6 window sedan with rear fins and whitewalls.

Spann made several other good albums in the 1960s, but none that outstrip this one. Before his solo career really got going, and at the height of his talents, Otis Spann died of cancer, on April 24, 1970 in Chicago's Cook County Hospital. He was only 40 years old.

The Blues Foundation's Hall of Fame made Otis Spann a member in 1980. You can start listening to him either here, on "Otis Spann Is The Blues," or on any number of the 1950s Chess recordings. Just make sure you start somewhere, and soon.

A Gem
Even though I am a drummer, the music made by this piano and guitar duo is magic. If you think you're a blues fan and don't like this album, listen to again. Maybe you're missing something! The sound quality is great even though Spann's piano is alittle out of tune. He still makes it sound great. Get this one!

Very Listenable
This Otis Spann CD offers a fine album of piano blues. The only other musician is Robert Lockwood who provides additional highlights. Otis Spann shows his abilities with his barrel house piano style. My favourive Otis Spann album is 'The biggest thing since Colossus' also featuring Peter Green and Fleetwood Mac.

Fantastic!
This is a wonderful album showing Otis at his best. Do yourself a favour and buy it!

Pure blues
This is pure, original blues with Otis Spann and Robert Lockwood Jr. Every track is a joy, but "Otis in the Dark" alone is worth many times the price of the CD. This is one of those albums that will still be deeply rich the hundredth time you listen, and you will continue to listen! ... Read more

Reviews (17)

One of the best live albums ever.
First of all, I read Tom Hibbert's review of the album, and he must know nothing of music reviewing except to spout off with a complete lack of knowledge and/or taste. Reminds me of a Rolling Stone review of albums in the 70's. If Stone put the album down, you knew it would be a good one.

Kooper & Bloomfield working together brought a special "magic" to the music, if I may. Super Session, side 1 in particular, was a giant leap for rock'n'roll in the 60's, and "Live Adventures" took it one step farther. Great songs, great jams. Just a particularly enjoyable album that helped more than one young teenager make the jump from top 40 to "real" music.

Bloomfield & Coopers Best
Since the release of this album (when I was 16 years old) I have had and lost 4 copies of the LP (all stolen at parties or otherwise perloined!).
I now have the CD and this time NO-ONE even gets to touch it!

Live Adventures is probably the very best live album of it's genre ever recorded. Bloomfield, Cooper, Bishop and the rest display an almost phsycic link in the live sessions which gives the music a flow and dynamic rarely heard in the history of live music, especially considering the alleged amount of practice prior to the event.
Having heard most of Bloomfield & Coopers work since I have to say this is a defining moment in Live Music.
This album is a must for anyone with a Blues/Jazz/ liking.
Anyone who is not transfixed by tracks like "No More Lonely Nights" & "Don't Throw Your Love On Me So Strong" should be arrested immediately by the taste police!
Buy It!

Every track is amazing, but I want more
Great music, every track is great, but I want more. Two demerits to Columbia for not remastering this masterpiece and adding the full recording of I Wonder Who and other improvements. All they did on the CD transfer was copy the LP to CD! And, for 3 full nights of playing, this is a pathetic offering, a total of only 85 minutes of music on 2 CDs. Boooo!

Fantastic CD.
I loved it back in 1969 and I love it now. This is real music of the 68, 69 era. Feelin' Groovy. Take care.

Contact High
I loved this record in high school. You can almost smell the dope. You can almost get a contact high listening to it. If you want to recreate an era, this live at the Fillmore album will do it for you.

Unfortunately, most of the music is terrible. (I'm listening to Sonny Boy right now, and I'm getting a headache. One of the worst blues performances ever.)Bloomfield plays killer licks, as usual, and the Hammond has that distinctive Kooper sound.

But even allowing that this is a jam session, the band does not hang together, except when they're doing the most basic blues, which they play fine. (Not hard for musicians of this caliber to jam blues.)

The rest sounds like a high school band trying to recreate a Grateful Dead show, with some Ornette Coleman thrown in. It's all sloppy -- and rarely in a good way.

Kooper sounds like his voice is in training. Other albums (first Blood Sweat and Tears especially) would attract producers who could bring out Kooper's best.

Kooper's sobered up and his relatively recent ReKooperation is top notch.

This session is a relic, and would sound best, if you want to play it at all, on a scratchy piece of vinyl, accompanied by a hot bong, a black light, and a room full of posters. ... Read more

Amazon.com essential recording

The best of Buddy Guy's solo albums since his 1991 reemergence finds him mixing songs from his concert repertoire ("Someone Else Is Steppin' In") with blues chestnuts ("I Smell Trouble") and his own new originals, like the gritty plea for urban spiritual renewal "Cities Need Help." His performance is raw and natural, a nasty throwback to his late-'60s roadhouse days. Guy takes unbridled pleasure in hard playing and vocal shouting that straddles the soul-blues border. The absence of shallow attempts at pop-radio play and the lack of guest appearances by rock stars or emerging bluesmen like Jonny Lang, which plague most of Guy's recent CDs, is refreshing. This is simply Buddy, on his own strong terms. --Ted Drozdowski ... Read more

Reviews (14)

Smokin' blues
This CD is among Buddy Guy's best. About half the songs are done with members of Stevie Ray Vaughn's Double Trouble. All the songs showcase Buddy's classic guitar work.

Probably Buddy Guy's best latter-day album
"Slippin' In" from 1994 is somewhat more antiseptic than Buddy Guy's classic Chess sides, and the clean production has sanded away all the grit, which won't be to everybody's liking.
But it is a good album nonetheless. Guy stays away from stereotypical funk and modern day blues-rock shredding and actually plays the blues, and his guitar playing in particular is excellent almost all the way through.
"Slippin' In" features former Stevie Ray Vaughan-cohorts Chris Layton and Tommy Shannon on several tracks, and none other than the great Johnnie Johnson is playing the piano. His playing on "7-11" completely takes over the track.

Buddy Guy performs an excellent "Don't Tell Me About The Blues", a nice "Shame, Shame, Shame", and the slow blues "Little Dab-A-Doo" is excellent, partly due to the presence of Johnnie Johnson.
Guy's take on Lowell Fulson's "Love Her With A Feeling", and the slow, soulful rendition of "Trouble Blues" are very good, too, but the otherwise decent "Someone Else Is Steppin' In" suffers from annoying backing vocals, synthetic sounding organ, and too much seperation of the instruments (multi-tracking isn't always such a great thing).

"Man Of Many Words" is a very obvious rip-off (it's Otis Redding's "Hard To Handle"), and a couple of other tracks have been recorded many times before as well (albeit with different lyrics). But even klichés like "Please Don't Drive Me Away" and "I Smell Trouble" are well executed and played with a passion, and the combined forces of Buddy Guy's axe and Johnnie Johnson's tinkling 88s make "Slippin' In" a really enjoyable album which can easily be recommended.

Hello Planet Earth, This Is Buddy Guy
First let me start by saying that Buddy Guy is from a different planet! This can be the only explanation for his six string talent that he displays so well on this gem of a recording. If I had to look for one flaw it would only be that he had switched the order of tracks 1 & 2. How's that for nit-picking? The only reason I say this is because I think "Please Don't Drive Me Away"
may very well be one of his best all-time cuts. The guitar work seems so connected to his vocals that it sounds like interplay that can only come from the soul. This track rocks! The next track,"7-11" goes in the totally opposite direction as a laid back Blues lament that shows Buddy is equally adept at rocking Blues, or slow burners. The oft covered "Shame,Shame,Shame" is probably my least favorite track on the album,with Buddy seemingly going through the motions vocally, but even this grows on you after a while. From there on the album alternates between slow, soulful Buddy treatments and uptempo Blues rockers. Some songs benefit from the rhythm section provided by the somewhat legendary Double Trouble gang. Johnnie Johnson also gets his moments in the sun on the piano. Buddy seems to click with just about everybody he plays with..as usual.. and his guitar has never sounded more powerful, tender and bluesy on one recording.

Other standout tracks include the Lowell Fulson penned "Love Her With A Feeling" where Buddy shows the great interplay of soft, pleading vocals and tender string picking. "Little-Dab-A-Doo" is a humorous original tune about a man's desire to "get a little" and the famous Fred Flintstone call before the final guitar solo is a humorous touch. "Someone Else Is Steppin' In" is a raucous party tune about two-timing on both ends that uses slightly off-tempo, gang background vocals to give the cut a raw, live feel. This is a staple of many fans and I enjoy it a little more each time I hear it. "Man Of Many Words" is an oldy, but goody with strong drum work by Chris "Whipper" Layton to drive the vocals along during instrument breaks. As usual, Buddy is killer with the guitar work. "Don't Tell Me About The Blues" sounds like a very personal song to Buddy Guy. He obviously has lived the Blues and his vocals are top notch and from deep down. The way he alternates between a slightly crackling falsetto and then, without notice changing to shouting, powerful vocals is a trademark that sets Buddy apart from most of his contemporaries. The finale, "Cities Need Help", is a change of pace Buddy Guy original about The decay of urban America and even family values. This shuffle has great rhythm provided by a piano, snare combination and it cuts loose at the end...a fine ending!

If you love Buddy Guy this album must be included in your collection. If you are looking for a place to start your Buddy Guy collection, look no further. Though it doesn't receive the attention or acclaim of "Damn Right...", it is without question a Blues masterpiece and one of, if not THE, best Buddy Guy albums available. Ok, you can return to the mothership Buddy...just come back once in a while and leave a gem like this one!

JUST LOVE THIS
THIS IS THE CD THAT REALLY GOT ME INTO THE BLUES.IF YOU HAVE EVER HEARD THE SONG 7-11 YOU KNOW WHAT I MEAN.NOT ONLY IS THERE SOME GREAT BLUES ON THIS BUT BUDDY CAN ROCK ON THIS CD TO.BUDDY IS JUST A VERY SOULFUL GUITAR PLAYER.AND HIS VOCALS REALLY GO WITH THIS MUSIC.LOVE THE SONG LITTLE DAB A DOO.IF YOU ARE INTO THE BLUES,BUY THIS AND START CHECKING OUT THE REST OF HIS CATALOG.

Hang on, don't let go!
I first heard this cd at a friend of mine one weekend and upon my return home I bought it, played it and continue to play it. Buddy is an amazing guitarist that has been around for a long time. This cd really jumps so if you are of the faint of heart and looking for something to vedge to this ain't it. This is electric blues at its very best, IMHO this is an essential blues cd for anyones collection, possibly a desert island pick. ... Read more