Reviews (5)

More blues and less rock on this one
Marcia is a fine singer who writes many of her own songs, though she is never afraid to record covers where they are suitable. Her albums can be almost relentlessly upbeat, as with Hot tamale baby, but this is generally a much sadder album - more like one would expect from a blues singer.

Marcia still demonstrates her Jerry Lee-ish piano playing here, on the opening Red beans, the third track Down the road and particularly on her cover of Joe Ely's Fingernails, but those are not typical of this particular album.

More typical is the title track, in which Marcia painted her house blue after her man left for good, or St Gabriel, about being sent to prison and later being released with nowhere to go.

This is a fine album that demonstrates Marcia's ability to sing a variety of different types of song.

Marcia Ball is just awesome
I found this one by accident, but it turned out to be a great find. I was in a used CD store and picked up a CD by Luther Allison. It had been repackaged and shrink wrapped. When I popped it into the CD player, out came this very vibrant female voice singing a song that I would later find out is called Red Beans. It caught my attention and in what seemed like no time at all, I was through the entire CD. I played it twice more before I finally managed to find out who this was and print out a list of tracks.

Every track is great and my favorite of the bunch is Fingernails. Since then, I have gotten more Marcia Ball CDs (on purpose!!) and can't say anything negative about her.

PS: I HAVE purchased this CD and I love it even more than I
thought I'd would from hearing her interview and excerpts at the House of Blues. "St. Gabriel" still sings to me, but there is not one bad track on this CD, and will play them all over and over. Not all CDs past that test. Sometimes I'll buy a CD and only like one or two tracks.

Enjoy, enjoy, enjoy.

Awesome Blues: Especially St. Gabriel moves me to my toes..
St. Gabriel should be the poster song for battered wives... and all the other songs are wonderful too. Heard her songs at the House of Blues website ... and craved some more. I shall buy this one here and also Gator too. Recommend her for anyone who loves the Blues!

First experience with Marcia
I first heard Marcia Ball wailing out a song on the radio when I was traveling through Glenwood Springs Colorado several years ago. The beat and lyrics of 'I keep my fingernails long so they click when I play the piano' captivated me so much , I rushed to a phone and called the local radio station to find out who the artist was. That day I purchased this album and have been a fan since. Her unique cajun style and excellant intrumental accompaniment will have you tapping your foot to her music. Enjoy! ... Read more

Reviews (6)

Best Funk/Soul/Blues!
Ahhh yes... Oh I remember popping this one in my HiFi back in the humid Dutch summer of 1996... I dug Freddie, but it wasn't until "Key To The Highway" came on, with its lazy backbeat which made me rush out and buy everything he did after his Federal years. For yes, there are some bluespurists out there who don't like this LP. "Going Down" isn't blues... Well yeah, it really is. It's hard, raw, powerful. "Living On The Highway" is set to a pounding groove... Yes... So what? "Palace of the King" is overblown... Not at all. Just look at the album cover... tha man was BAAAAAAAAAAAD. And he wasn't coerced to record stuff he didn't like. This is what Freddie wanted: complete control over his art.

After getting this one, get Texas Cannonball and Woman Across the Water too. They're as funky and bluesinfested as this one. He got it right the first time, however.

Maybe Burglar is a good pick as well; Freddie in total Funk-mode, without being any less bluesy.

what a comeback!
Mention the name Freddie King to any Blues guitarist and he'll be referred to in the highest regard. His playing was as influential on the guitarists of the Blues genre that followed as anyone.
Leon Russell, who was coming off his commercial pinnacle as bandleader for Joe Cocker and his burgeoning solo career, took some of his fortune and formed Shelter records with partner Denny Cordell. One of the first things on his to do list was to sign Freddie King. At the time, King's career was at an all time low.The man who had recorded many hit Blues albums was living in Texas without a contract and only performing part time. The sessions were recorded at the famed Chess studios in Chicago with Russell producing, playing piano and providing direction. The results are sheer delight.This record has a much more rockin' feel than Freddie's previous efforts but his passionate vocals and blistering guitar playing are intact. I consider myself a true lover of straight ahead blues but unlike some purists who don't rate this record above 3 stars, I think it's a fine, fine record. Highlights include the rockin' GOIN' DOWN (which received significant airplay when the record came out), a reworking of the Blues staple KEY TO THE HIGHWAY which is a total triumph and also a rerecording of Freddie's old hit, TORE DOWN, which completely tops his earlier version or anyone else's for that matter. I saw Freddie open for Albert King at the Fillmore West on tour in '71, right after this record came out and it was one of the most riveting shows I've ever seen. He upstaged one of his idols on that evening. Unfortunately, even though this record marked a resurgence in his career, Freddie King died 5 years later at the young age of 42. One can only wonder how much more great music he could have produced in the years since his untimely death......

exelent
i love this cd i have every thing of freddie's i can get on cd i give them all five stars except larger than life i would give that one three stars.

best of the shelter recordings
Great stuff, good crossover into more of a rockin' sound without losing the Texas and Chicago blues influences. Original recording is of poor quality and can use a remastering but the blues of Freddie King comes through.

great CD
Like Freddie's other Shelter release (Texas Cannonball), this is a great blues-rock CD. Why the potent "Palace of the King" isn't covered by every blues-rock artist in the world is s mystery to me. ... Read more

Amazon.com

Back in 1969, Muddy Waters and Otis Spann teamed with young guns Paul Butterfield and Michael Bloomfield to create Fathers & Sons. The idea was to match the sagacity of the "old timers" with the flash and commercial muscle of the upstarts. Nearly three decades later, Jimmy Rogers (like Spann, an alumnus of Waters's commanding '50s group) holed up in the studio with Butterfield-Bloomfield contemporaries Mick Jagger, Keith Richards, Eric Clapton, and Stephen Stills; the result is Blues Blues Blues, the late singer-guitarist's swan song. Here's something to ponder: Waters was 54 when Fathers & Sons was recorded, the same age as Jagger when he cut his two tracks for this set. So maybe this collection should've been called Great-Grandfathers & Grandfathers. That said, Jagger's two contributions to Blues Blues Blues highlight this effort; he sounds invigorated dueting with the steady-rollin' Rogers on "Trouble No More" and gooses up Sonny Boy Williamson's "Don't Start Me to Talkin'" with studied nonchalance. With other rock-era titans (Taj Mahal, Robert Plant, Jimmy Page) and blues stalwarts (Carey Bell, Johnnie Johnson, Hound Dog Taylor & the Houserockers drummer Ted Harvey) along to lend support, Blues Blues Blues is a star-studded sendoff to one of the blues' noble patriarchs. --Steven Stolder ... Read more

Reviews (18)

A superstar collaboration that actually works
I've always been a bit sceptical about these superstar collaborations...they don't always work too well, and sometimes the plethora of guest stars overshadow the main artist. But Jimmy Rogers and his various all-star combos actually manage to pull it off.

Sure, the arrangements are generally very similar all the way through, which does perhaps detract a little bit from an otherwise fine performance, but this is actually a very accessible and fun blues record. It doesn't just appeal to hard-core blues fans, more mainstream rock- and R&B lovers can certainly enjoy it as well, and Rogers and his guest musicians have hand-picked some real blues classics, and they generally do very well by them.

The album opens with a faithful take on Muddy Waters' "Blow Wind Blow", with excellent blues harmonica by the Fabulous Thunderbirds' Kim Wilson, and lead guitar by white blues-rock guitarist Jeff Healy.
Jimmy Rogers' own "Blues All Day Long" has Rogers sharing lead vocals with a certain Mr Eric Clapton, who also plays lead guitar. Carey Bell lends a hand on harmonica.

On the classic "Trouble No More", Rogers shares the lead vocals with Mick Jagger, and Keith Richards plays lead guitar.
"Bright Lights, Big City" is another Jimmy Rogers-original, with Taj Mahal behind the microphone (he is also featured on Rogers' "Ludella"), and Lowell Fulson appears along with harpist Carey Bell on Memphis Slim's "Everyday I Have The Blues".

The all-stars also do the inevitable take on Robert Johnson's "Sweet Home Chicago", with Stephen Stills (!) contributing lead guitar and co-lead vocals, and Stills pops up again on Big Maceo Merriweather's "Worried Life Blues".
Mick Jagger can't quite match Sonny Boy Williamson II on "Don't Start Me To Talkin'" (Keith Richards plays lead guitar again), but "Goin' Away Baby" is pretty well suited to his voice, and Eric Clapton and Jimmy Rogers do a fine rendition of Rogers' "That's All Right".

The album closes with an alternative rendition of John Lee Hooker's "Boom Boom" (retitled "Gonna Shoot You Right Down"), with - get this - Eric Clapton and Jimmy Page on guitars, and Robert Plant sharing lead vocal duties with Jimmy Rogers!

Rogers himself is in fine voice throughout, in spite of the fact that he was in his seventies at the time, and died before the album was released. The near-legendary blues- and R&B pianist Johnnie Johnson's dextrous playing belies his age. And finally, as a special treat for Hound Dog Taylor-nostalgics, the swivel chair is occupied by none other than the Houserockers' 66-year old drummer Ted Harvey.

Highly recommended.

This is a great cd
If you're a fan of the blues, Muddy Waters, the Stones, Clapton, Led Zeppelin or any combo thereof, this is a fun little disc. You can tell Mick,Eric,and Robert Plant were getting a big kick out of playing with one of their greatest influences. For those not as familiar with Taj Mahal, his vocal effort will make you want to go out and buy his new cd also. This is a great send off for Jimmy Rogers.

The blues had a baby and they named it rock n roll
A perfect illustration of the influence of the Blues on Rock and Roll. This is a great CD with the heavy weights of both the blues and Rock N Roll. Where else can you find Jagger, Clapton, Page, Keith Richards, Robert Plant, Stephen Stills, Taj Mahal and Jimmy Rogers together. If you like the blues, the last track itself is worth the price of the CD.

A Superstar Session That Works
Jimmy Rogers was second guitarist in Muddy Waters' classic lineup, which also included harpist Little Walter and bassists Big Crawford or Willie Dixon. As a solo artist, Rogers used these musicians (minus Waters) to record his classic sides for Chess in the Fifties. If you don't already own the two-disc The Complete Chess Recordings, that would be the logical place to start.

But as a tribute to one of Chicago's greatest bluesmen (Rogers died in 1997 before this album's release), Blues Blues Blues is a great collection of songs. The idea of coupling an aging blues musician with superstar guests is nothing new. Chess Did it with its London Sessions series in the early Seventies, and John Lee Hooker has made a career out of it since releasing The Healer back in 1989. While this type of recording tends to be something of a mixed bag, Blues Blues Blues is an overall success.

Rogers is still in fine voice even into his seventies. And guest artists are top-notch. Guest vocalists (who share lead vocals with Rogers on all tracks) include Robert Plant, Eric Clapton, Mick Jagger and Taj Mahal. Lead guitar is provided by Clapton, Keith Richards, Jimmy Page and Jeff Healey. Either Kim Wilson or Carey Bell plays harmonica on most tracks.

Whether the band is performing Rogers' originals like "That's All Right" and "Luedella," or classic blues songs like Waters' "Trouble No More" or Jimmy Reed's "Bright Lights Big City," they play with authority and conviction.

While the album was recorded as a celebration of Rogers' contribution to the blues, it serves as a fitting tribute. HIGHLY RECOMMENDED

Jimmy Rogers ,His Legacy Should Always Be Remembered
This CD is a pleasant surprise and shows some heavyweights banding together to honour an influence on them all.Unfortunately Jimmy Rogers died soon after the sessions,but this can double as a tribute to him.The songs express all that is infectious and pleasing about the rocking blues.The energy and feeling put into this recording by the likes of Clapton Jagger and Plant make a welcome for them.

Taj Mahal is great and this should spark a desire in anybody to seek out Jimmy Rogers past catalogue.This collection is well produced and would be a welcome collection to anybodys blues library. ... Read more

Reviews (4)

They're all here
The reviewer who said that SRV was not on this set obviously did not read the liner notes, which indicate that SRV played on the Lonnie Mack tracks from the Strikes Like Lightening sessions. The other artists the reviewer stated that were not there ARE, but are not the featured artist on the tracks.

I bought this set, and the 25th, when they came out and was really wowed by what I heard. Houndog Taylor is my favorite, followed closely by Koko Taylor and Albert "Master of the Telecaster" Collins. There is some really fine musicianship, great feel, and real respect for the blues displayed on this set.
Higly recommended.

Some good old blues
Amazon keeps inter-mixing the reviews for the 'Alligator Records 20th Anniversary Collection' album and the similarly named 'Alligator Records 20th Anniversary tour' album. So I will include a review of both here to set the record straight.

The 'Collection' album is by far superior to the 'tour' album. The collection has many artists on show and offers a bit of everything. The best tracks are AC Reed's 'These blues are killing me' with SRV brilliant on guitar, Little Charlie and the Nightcats with 'Rain', Roy Buchanan's classic 'Drowning on dry land', Koko Taylor with 'That's why i'm crying', Katie Webster with 'Pussycat Moan', Son Seal with 'Going back home' and Hound Dog Taylor and the classic 'Give me back my wig'. The album is uneven as you would expect for a label show case but well worth it as a introduction to a variety of blues styles and artists.

The 1993 20th aniversary tour album has only Li' Ed, (the late) Kattie Wester, Elvin Bishop, Lonnie Brooks and Koko Taylor. The album does typify Alligator records music that by my definition is mostly reasonable blues without being great. This live album has plenty of energy and is listenable, but fails to scale the heights I expect of the blues.

I discovered most of my favorite blues artists from this CD
Alligator records has some serious talent on it's label. Many of them are big names that you will recognize if you have been into blues for very long. I have tried samplers from other blues record labels and have been very disappointed with the mediocre talent on their label. Usually there are only one or two people -out of fourteen or fifteen - that stand out on other blues samplers. You will recognize that the vast majority of artists on Alligator Records are true talents - even if you don't like their style. This album is definitely worth the investment.

good,better,best
Alligator has compiled a very good collection of its artists on this CD. It has Iceman , SRV , KOKo , Son Seals, Johnny Winter and many other of the best of the blues. If you buy it, find some storage for the rest of your collection, because you won't remember who they are. ... Read more

Amazon.com

The harmonica's not exactly an imposing instrument; who would guess that a pocket- sized hunk of metal could be capable of so much expression? Volume 16 of Rhino's BluesMasters series shows just how much; the harp can trade leads with the vocals (Jimmy CottonBlues Quartet, "Cotton Crop Blues," Junior Wells Chicago Blues Band, "HelpMe"), lay down a raw edge (Papa Lightfoot, "Jump the Boogie"), or playsmooth as you please (William Clarke, "Pawnshop Bound"). As even a cursoryexamination of the above performers will indicate, the harmonica is well represented in all stylesof blues; Jimmy Reed, Sonny Boy Williamson, J. Geils, and Howlin' Wolf appear here as well.As capable as a horn or guitar of carrying the lead, and infinitely more portable, the harmonicamay well be one of the most expressive and versatile instruments out there, and MoreHarmonica Classics offers several excellent examples. --Genevieve Williams ... Read more

Reviews (2)

thrash punk at its worst
I thought sublime was good, but this cd proved me wrong. Instead if hard core reggae rock, i was disapointed to hear stupid, painful, harmonicas. I mean it REALLY SUCKED. I mean by the time it was over, i had put at least 5 pairs of ear plugs on.

A Must for hamonicists and harmonophiles
This power-packed CD is a must for both players and lovers of the harmonica, particularly of the blues-harp variety.

Most all of the tunes here are listenable, but some mighty powerful stuff abounds. On Howlin' Wolf's number, he sounds as if he's playing 2 harps at once. Junior Wells, in his rendition of Sonny Boy Williamson II's "Help Me," does a moving tribute to Sonny II both vocally and harmonically (as Sonny II died shortly before this was recorded). Sonny I is well represented here with "Shake Your Boogie" (although his harmonica is drowned out by the other instruments in parts of this song).

The king of Country blues harmonica, Sonny Terry, does an amazing turn with "Hootin' Blues Pt. 2" which defies written description. Wisely, Magic Dick Seltzer's classing "Whammer Jammer" is also included, as it sounds as if this tune may have been inspired by the above-mentioned Sonny Terry tune (listen and compare).

So for anyone who likes good harmonica music, listen and enjoy. For aspiring harmonicists, you may have think you've got it down pat, but listen to this to see how far you still need to go. ... Read more

Amazon.com

Slim Harpo recorded really good rhythm and blues. He never got too fancy; he never forgot the importance of the groove. He died young in 1970, but his music reached the Rolling Stones (who covered his "I'm a King Bee"), the Kinks (who sang his "I Got Love If You Want It"), Van Morrison, and Them (whose first single was Harpo's "Don't Start Crying Now"). These songs and other greats--"Tip on In," "Baby, Scratch My Back"--are all included in this excellent collection ofHarpo's greatest sides. --Robert Gordon ... Read more

Reviews (6)

A knockout R&B singer, that will bedazzle you...
A heavily rhythmic jump blues/R&B singer, who has a rough and rowdy style. This music will have you stompin' on your living room dance floor, you'll be uncontrolably jitterbugging across your dining room into the kitchen.

A great cd, that will appeal to fans of blues, roots of rock'n'roll, swing, and rockabilly. Though Slim Harpo is a "blues" artist, his music would have been considered r&b back in the 50's, and now would be categorized as jump blues. A perfect beat for swing dancing, this music was big in jukeboxes at Juke Joints & roadhouses, across the USA in the 50's. There are a few chart hits that he had, and his popularity was immense.

A great cd, is the bottom line here.

BuzzzZZZzzzzzzzzzzzzzin'
It's no wonder that the Stones aped Slim Harpo on so many of their early records: they were slaves to the groove and had a truly thumpin' bass player; Harpo's records were all about the groove, usually led by a great bass line. The Stones version of
"Hip Shake" on the classic EXILE ON MAIN STREET is a near perfect copy of the Harpo version found on this record.

The sound on these recordings is excellent. How a little label like Excello, recording low-budget acts in the (relatively speaking) middle of nowhere could capture such a great sound is beyond me.

Shake Your Hips
One of the things about the blues is how well it ages. Some of the standards stay surprisingly fresh and new after many years, waiting for new fans to discover them as if for the first time. I believe that this CD and Slim Harpo exemplifies this.

This is a very easy to listen to CD, with great standard songs written by James Moore aka Slim Harpo. Among them are TeNi Nee Ni Nu, Shake your hips, Baby, Scratch My Back ,Rainin' in My Heart, I'm a King Bee, and I've Got Love If You Want It. Harp was a talented guitarist and harpist. Harpo had a unique nasal vocal style which was developed because a producer didn't like his singing so told him to sing through his nose.

Harpo was a truly gifted song writer. His songs have been covered by Rolling Stones, Yardbirds, Hank Williams, Jr., Elvis Presley and Muddy Waters among others.

This is a good CD for those wanting to learn more about the blues and begin developing their own collection. If you are already a blues fan and are not familiar with him take a listen.

See if you can stand still to Slim Harpo!!
Here in England real raw rock'n'roll & blues has a very large following,when any club DJ plays a blues set you can guarantee Slim Harpo's King Bee or Shake Your Hips will be blasted out, instantly filling the dance floor with guys & gals boppin to the hypnotizing sound from the Excello King. Have yourself a couple of drinks, loosen up & crank that volume up on Shake Your Hips & see if you can stand still !!! Not many blues artist's have created such a unique sound & influenced so many, another who is on his own is John Lee Hooker who's different style also influenced many of the same Bands as Slim Harpo, both creating a real solid backbone for the 60's British R&B Bands who were to make big names at the time thanks to guys like this.

Excello's "swamp blues" means great rock 'n' roll
Slim Harpo's two biggest hits of the 60's were Baby, Scratch My Back and Raining In My Heart. They're here but many of the songs on this album cook even more - raw, primitive and great! There's nothing like the swamp blues sound that epitomized the Excello label. Actually, it's more rock 'n' roll than blues with elements of both. If you like the early Stones' sound c. 1964, you'll love this. While they were influenced by a number of American blues and soul artists, none more than Slim Harpo. He died young and didn't leave a particularly large body of work. The best of it is here! ... Read more

Amazon.com essential recording

Few blues artists covered as much territory as did Muddy Waters, and it's more than evident if you put this collection and The Complete Plantation Recordings side by side. Even more than the prior His Best collection, these recordings illustrate Waters's talent not only as a composer and performer (as usual, many of the songs were written by Willie Dixon), but also as a bandleader. The backing musicians--including several who were by now name artists in their own right, such as James Cotton, Buddy Guy, Earl Hooker, Little Walter, and A.C. Reed--are tight as a drum and smooth as a greased axle. This essential collection contains several classics, including but not limited to "Got My Mojo Working" (Waters's studio take on what has to be the most-covered blues song in existence), "She's Nineteen Years Old," "Good Morning, Little School Girl," "The Same Thing," "You Can't Lose What You Ain't Never Had," "You Shook Me," and "You Need Love" (which will sound oddly familiar to Led Zeppelin fans). It rocks, it rolls, it shakes, it's quintessential Chicago blues. --Genevieve Williams ... Read more

Reviews (8)

You gotta have it!
If the first part of this series gives you the transition from delta slide acoustic to electric blues versions of the same thing, and some of the most graphic and personal recordings of the blues ever done, besides standards no cultured person can be without, this CD is a record of the birth and perfection of the electric blues band, and a classic version of that band with some of the greatest soloists of the blues working for Muddy. I don't play in blues bands. In fact, the most band music I play is in old timey string bands, but still this record speaks to me about the meaning of a tight band, the way great soloists can work with a great master, and the way a great creator created what we now call the Chicago Blues (which was actually the third or fourth wave of Chicago based blues).
Of course, like the previous CD in this series, the songs are so much fun, speak so much truth, and are such a strong part of the real culture, not just of the blues, but of the entire world, that you should have it. I think this series is all right to have, because with Muddy, you need to have it all, at least up to about 1962 or 1963 when he started making toooooooooooooooo many albums and making rip off albums for the "folk blues audience," although the album with that title is a superb one.
If you don't know, Muddy Waters is still one of the great artists of the 20th Century in any genre. You are loving somet hing precious about the world if you don't have his classic recordings.

Great overview of Muddy's late-50s-mid-60s material
A must-have companion volume to "His Best: 1947-1955", this CD brings together almost all of Muddy Waters' finest songs from 1956-64, including superb electric blues classics like "Forty Days And Forty Nights", "Got My Mojo Working", "The Same Thing", and the swinging, swaggering "I Love The Life I Live, I Live The Life I Love".

This is not a complete career retrospective, obviously, but if you don't want to invest in the elaborate three-disc "Chess Box", the two "His Best" CDs are a very fine alternative. The only "problem" is that the superbly well compiled double-disc "Anthology 1947-72" features 50 songs and costs a dollar or two less than this CD and "His Best: 1947-1955" put together, which makes it a slightly better purchase.

Not as good and gritty as 1947-55, but still excellent
By the late fifties, Muddy Waters was as rich and famous as an African-American performing a distinctly African-American form of music could be in the late fifties. The singer was now far removed from the rowdy environments, grueling day labor and lack of genuine opportunity that inspired most blues songs. Thus, this compilation, collecting Waters' best cuts from the late fifties and early sixties, is significantly less gritty than its companion piece, His Best 1947 to 1955. A loss of rawness and gutsy-ness, however, should not be confused with a loss of ability, passion and relevance (or at least not a complete loss of ability, passion and relevance). Waters is still the powerful vocalist, clever wordsmith and dynamite guitar player he was when he released "She Moves Me" and "Mannish Boy." Although it is not the unyielding succession of great material that is 1947 to 1955, 1956 to 1964 is home to more than a few undeniable blues classics, "You Can't Lose What You Ain't Never Had," "Forty Days and Forty Nights," "Rock Me," and "Got My Mojo Workin'" among them.

Two musical changes signify Waters' change in status. First of all, Waters relied less on touch-talking like that found in pervious hits such as "Rollin' Stone" and "Hoochie Coochie Man" and more on love and relationship-related lyrics. Such songs range from breezy and gentle ("Just to Be With You," "Rock Me") to fast and celebratory ("Close to You," "You Need Love") to cool and upbeat ("She's Into Something," "Diamonds at Your Feet") to painfully mournful ("You Can't Lose What You Ain't Never Had," "Forty Days and Forty Nights) but are always filled with passion and gusto and continually give the impression that Waters always gave 100%. Second of all, as the words are less intense, the music is given a greater chance to breathe. These tracks feature greater emphasis on instrumentation, which is absolutely no drawback, when instrumentation is supplied by the likes of James Cotton, Jimmy Rogers, Earl Hooker, Little Walter and Buddy Guy. The tracks on which this change is most pleasantly apparent include "All Aboard," featuring an unforgettable dual between harmonica players, Cotton and Little Walter; "Good Mourning Little School Girl" in which the backing band joins together in euphoric companionship and the astounding "Got My Mojo Workin'," in which every performer seems to be racing against another. For moments such as these, His Best 1956 to 1964, despite being a downgrade in roughness and consistentcy from His Best 1947 to 1955, is another important addition to any blues collection.

Prefer the Earlier Years
While Muddy Waters is always a quantum leap above most other blues men, I prefer the earlier compilation: "His Best 1947-1956". The song content is sometimes gimmicky here; I suspect he was thinking about his audience too much. There are even some songs I have to skip entirely.

Still a great CD to own for these songs: A fantastically swinging "All Aborad" with great harmonica playing again by Little Walter, "Forty Days & Forty Nights", a very serious "Rock Me" and my favorite - "You Shook Me".

Perhaps more than the earlier compilation, these songs show a range of structure that's wide and high.

Muddy was a full grown bluesman
When you want a best of from your favorite blues artist, there's no better place to go than Chess Records. And they don't dissappoint with this compilation of Muddy's best from the second half of his carrer. Muddy was often imitated but never duplicated. I first saw Muddy in the great documentary "The Last Waltz", when he joined The Band and Paul Butterfield on stage to do "Mannish Boy". When he sings the words "I'm a full grown Man and when I make love to a woman she can't resist", with that famous head shake of his, you just can't help but believe this man means what he says. Muddy Waters was, without a doubt, one of the greatest, most influential musicians of the 20th century. This is essential listening for any true blues lover. And if you don't like this album, you might get punished in the afterlife by having to listen to Yanni and Enya for eternity. ... Read more

Reviews (3)

The lesser known Butterfield Band, but no less talented
Most of those who will read this are already aware of the late Paul Butterfield's ability on harp,vocals,and band-leading, but perhaps some don't know as much about the other band members: Amos Garrett is a true wizard-guitarist, bending and sliding multiple strings into perfectly in-tune moving chords ,(usually only playable by two guitarists together), without devices. . Some readers will better remember him as the solist on 'Midnight At The Oasis' by Maria Muldaur,(formerly married to Jeff).The late Ronnie Barron, on piano and vocals, was a contemporary of Mac Rebenak,(Dr.John). There's a legend that Mac originally was going produce Ronnie as Doctor John,before deciding to do it himself. The truth of this rumor doesn't matter, what does is how believable it is after hearing Ronnie Barron. Chris Parker has been a major session drummer ever since this recording, perhaps best known from the 'Saturday Night Live' band. With all of their individual talent, they play as a cohesive unit, musically, more so than the original band, (which depended more on hot solos).

It'll do!
This is one of my most favorite non-acoustic blues albums ever. The cover of Walkin' Blues is such a rocker! Amos Garret's guitar playing is unique. But the real treat is Butterfield's harp playing. I've always thought he belonged to the Count Basie school of playing: you don't need to play so many notes if you know exactly the right notes to play. I just wish that the CD came with that big harmonica poster that came in the album. An ex-girlfriend got that years ago.

Timeless and innovative
This album sounds as good today as when it came out 25 yrs ago.I always thought Paul was a step ahead of everyone else, perhaps a musician's musician. Better Days stands out for me as one of his better works; it's still movin' and groovin' ... Read more

Reviews (11)

Dig this...
I watched the first part of Martin Scorcese's "The Blues" last night on PBS. It had live footage of J.B.. The first thing I did when left the house in the a.m. was go to traffic court. The second was go to work and order the complete recordings of J.B. Lenoir. I cannot beleive how overlooked this man IS. I am familiar with many First Gen. Blues life stories, and J.B.'s was amazing. He touched everyone he played for and with to the soul. This man wailed with such ease on that old hollowbody, that you can almost overlook his unreal vocal range. This dude was genuine and unique, and his persona while playing was so deep that most of us can understand but never feel the feeling that was deep inside, but it left me smiling. I can see why John Mayall sang the songs "Im gonna fight for you J.B." and "The Death of J.B. Lenoir". I am truly inspired by this man. You have to see the live footage.

Overlooked Master
Among the most expressive and creative blues ever, this music also puts J.B. Lenoir into the category of folk singer/songwriter with its solidly unique guitar and deep lyrics. Well played, well sung, extremely original and deeply personal, this captivating CD of two previous LP's features Lenoir solo and accompanied by Chess veteran Fred Below on drums and Willie Dixon on some backing vocals. The combo of acoustic guitar and drums is funky, and the use of what sound like finger cymbals is inspired. Partly rocking, and partly soulful and profound, this CD of the prematurely departed Lenoir is a tremendous legacy from an overlooked and underrated master of the blues craft. This kind of music brings together the purist and the radical, and would fit along side of Bob Dylan, Jimi Hendrix, Robert Johnson or Ted Hawkins, and shares much in common with a similarly underrated master of blues today, Jimmy Johnson. You gotta hear it.

The Heart and Soul of Blues
This CD is priceless. It is a ticket into another world. The amazing talent & raw heartfelt emotion of J.B. pours out of these songs and takes the listener on a journey. It is political, it's religious, it's sexual, it's unjust defeat, it's resurrection and it's definitely groovin. This is a glimpse into the heart and soul of a black man who lived and died during civil rights movement in the south. This CD gives the listener more than just great music, it serves up human feelings, the composition of life, and that's what the blues is all about.

A jewel unearthed
I've only listened to the five excerpts from this CD, in addition to what portions I have heard on Scorsese's documentary, and I can tell you, this man's a genius. His sounds are pure and full of vitality after forty-plus years. He is unique and original; Lenoir's guitar work is deeply rooted in Delta/acoustic guitar blues traditions, yet, in his riffs and songwriting, he displays the savvy hooks and songwriting skills of a master pop tunesmith. Above all, he is downright cool--one can't help but sway, bump, and grind to his swinging rhythms. I hope his relatives, if they are still with us, are getting a significant portion of these royalties. This man was, and is, an American Blues treasure!

P.S. Mayall's song "The death of J.B. Lenoir" is also great. Lenoir seemed to "produce" great music even after his death! We are blessed for being able to hear, and to see (thanks to this new documentary) his incredible gifts after all these years!

Essential Collection
While most people have learned about J.B. from the recent PBS special, this collection is a good way to familiarize yourself with his great work. He and Josh White were probably the original "message men" when it came to th eblus and this collection shows why.

J.B. Lenoir's lyrical subject matter varied greatly, and his guitar playing was filled with percussion, which makes his solo efforts sound like more than one person on the record. Here we get the typical man vs. woman blues in "Mama Talk To Your Daughter," and some religious tunes in "God's Word" and "The Whae Has Swallowed Me." What is really interesting is th epoliticla tunes, relating to the condition of Blacks in the 1960s, such as "Alabama Blues," the brutal "Born Dead" (about the fate of children being born in poverty in Mississippi), the antiwar "Vietnam Blues" (all once has to do is change "Vietnam" to "Iraq" to bring this up to date) and "Shot on James Meredith" (about the wounding of the civil rights icon in 1966).

While not quite the poet that Bob Dylan or Bob Marley was, Lenoir basically told it like it was using simple and direct lyrics and a voice that sounded like a rougher version of Curtis Mayfield. In either case, lovers of message music and some really good blues in general would do well to snap up this, which is an essential collection of the (up to now) forgotten poet of the blues. ... Read more

Reviews (3)

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

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

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

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

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

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

Album Description

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

Reviews (8)

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

But I wasn't thinking.

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (4)

This is a par-excellent album!!!
This is a wonderful album, I love it! Dorsey is a master, and this album includes a powerful testimony before track one, describing the moving story of the death of his wife, and the inspiration for writing "Precious Lord, Take My Hand". Top to bottom this album is a gospel classic!

One of the Greatest Collections ever
This CD is one of the greatest collections of gospel music ever. This father of gospel music and master songwriter has captured the essence of his relationship with his God and has passed that relationship on to subsequent generations for us to consider. The songs are so well done. You can feel every story he sings about in his songs. I recommend this collection to people of all ages and races.

Mr. Dorsey's Gospel songs are truly from the heart.
I enjoy my "Precious Lord" CD very much. These songs, by Thomas A. Dorsey are truly from the heart, and the artists have done a wonderful job of singing them as they were meant to be sung. I especially enjoyed the booklet with his story that came with the CD. I'm waiting for the movie!

best form of black gospel music
this is the way gospel music suppose to sound.the music we hear today is not gospel. ... Read more

Reviews (7)

Blues masterpiece
Every single one of the 42 tracks is a gem. All of the original liner notes and artwork are reproduced and augmented with additional notes for a total of 47 pages of blues history with lots of great period photography. I have two complaints though. The first is that the CDs are in hard cardboard sleeves which subjects them to possible scratching and difficulty in returning them to the sleeves. The second is that the song credits are not shown in the 3-CD set. If you buy the individual CDs, however, the song credits are shown! Just sloppiness I suppose.

Three in one, or one in three
I bought all three of the albums in this set separately a few years ago, but you can get all three in a set for this ridiculously low price. It would still be a great deal to buy each of the three discs for whatever it was that I paid, probably [cheap], because this is an utterly superb collection of electric blues that you could never find anywhere else. For my money the Otis Rush contribution is the best thing he ever recorded, the Junior Wells version of Help Me is better than the Sonny Boy original, and every single track on all three albums is absolutely choice. One of the strengths of the set is that with three acts on each disc, there is no space whatsoever for inferior or filler material. If you want Chicago electric blues, this set should be your first purchase.

Great music, horrible packaging!
Wow, this is one of the crown jewels as far as the electric blues is concerned!

You can't go wrong with this although for those of you who think the electric blues started with Stevie Ray Vaughan and Gary Moore, then this might be too 'ethnic' and not 'heavy' enough for you.

That would be a sad thought really, since without albums like this, there wouldn't have been people like two mentioned up above, imo.

However the packaging is terrible. The CDs were scratched when I opened it for the first time, prompting a return to the store for an exchange. The second copy was just as scratched leading me to believe that the paper sleeves themselves were the problem. A very poor design.

If this is a big concern, then stick with the older CD reissues in their individual jewel cases. I believe they're still widely available through Vanguard.

If You Want To Know What Real Blues Is........
If you want to know real Blues is, then buy this CD set. From the hard, honest singing of Johnny Shines to the soulful guitar of Otis Rush, to the Sheer Power of James Cotton to the sincere crooning of Junior Wells: Its all here! This album reads as virtual yearbook and testament to 1965 Chicago. If you want to know what the Chicago Blues scene was like in the 60's, then look no further. This stuff is too good die, it will just keep getting better!

Chicago Blues Heaven
Quite simply, blues heaven. This compilation is a whole lot of bang for anybody's buck. Produced on a limited budget back in 1965, the musicians just streamed into the studio and did what they were known to do best. A barebones approach to recording, you won't find much in the way of studio wizardry here, but who cares?

Legend has it that Johnny Shines and his band just walked in, unpacked their instruments and powered into a version of "Dynaflow Blues" that pasted the onlookers in the studio to the wall and that song is captured forever here as that one take. The onlookers themselves happened to be some of the finest blues musicians of the day.

I later met some of the people bearing witness to that memorable day and they were still talking about it. Two decades later, Charles Musselwhite was still impressed enough to name one of his bands the Dynatones, in honor of the "Dynaflow Blues." Johnny Shines's voice is exciting and electric, his guitar playing has an electrified delta sound, and his music is pushed along by back-beat drumming. Johnny Shines and band continued pushing hard in the studio that day, laying down their tracks, I think recorded in the same sequence as they were played. They blistered through an essential hard blues, "If I Get Lucky" and at the end one of them shouts "Roll the tape!" as if that was all just a warm up session for the band. Man!

That's Johnny Shines on two of his six tracks. But elsewhere on different tracks on the disc there's also a young Charles Musselwhite disguised as Memphis Charlie ... Johnny Young, Otis Spann, Otis Rush ... I don't have room here to say all that I want to say, just read the list of names on all the tracks and take a chance on this. I think it's superlative. Chicago/The Blues/Today has always been one of my favorite blues series, and one that will continue to inspire people for as long as it's played. There's a beautiful little book with this collection, full of photographs and stories, some 47 pages. ... Read more

Reviews (6)

What a pain
I spent hard earned money on this cd and was kind of dissappointed. It's a pain to give a mediocre rating to a great bluesman. I gave it 3 stars for its music. As a blues record it is not all that much in truth. A good collection of music though. This is the second time that I feel a talented keyboard player has Hurt the bluespower of a record with some interesting ideas that might've worked but just didn't. The first was in the album Harp attack. Lucky petersen on that record plays like leon russel on this one- often without taste but with some good points. Probably both made otis spann turn over in his grave here or there.

They at points have all the feeling and tasteful notes of a self-playing piano. The song Lowdown in Lodi is a good one but nothing special. Reconsider baby is the crowning achievment of the record. It was great and Freddy was all a true bluesman could be. Then Big legged woman came on. Fun and a nice aside. Then came another one that just wasn't anything special. Followed by 2 or 3 okay songs but not very deep blues sounding. Then an interesting and good interpretation of The great Howlin' Wolf's How many more years. Ain't no sunshine was not a blues song really but one of the respectable tracks having a real feeling and not being disturbed by the session guys but rather well accompanied. This album gets funky too... of course it's not a real credit to funk in some ways like an Albert King song might be. I don't want to be too hard on the change but The sky is crying may be to different for some people's taste as it has a different kind of beat and may take some getting used to [ I hated it when I first heard it, but I was just expecting something different and was thrown off ]. Freddy is alright, but whoever [ probably Leon or Denny Cordell ] had the idea to set a slow blues masterpiece to this funky beat and rythm really turned me around for a while there. I have no problem with changing the music of a great song - that's part of the art. But being one of my favorites I was turned off by the change- I guess it's not all that bad though now that I am familiar with where they were going with that. It is still not as powerful that way though I don't think.

Freddy was one of the greats but this is not one of his greatest, or even close. Reconsider baby is the only traditional slow blues blues track [In my opinion]. I didn't dislike the music in general but I thought I was buying a blues album... ... I do not recommend this to anybody who didn't like Harp attack or understands what I mean about the self-playing piano or is just out for a straight up blues album. I did purchase Albert King's Years gone by with the sky is crying on it recently, and that I do recommend being funky but blues at the same time, great groove. I hope this saves you some frustration.

Cool vocals and hot guitar
A good album. I borrowed it from a friend along with 5 or 6 other CDs (Johnny Winter, etc.) -- and I played this CD much more than the others. I am a big fan of Freddies guitar playing -- but it is the vocals that really captivated me with this album. He does this thing with his voice, it is hard to describe but he seems to hold a note and then increase its volume (any vocalists out there?) -- I had never heard this before and was fascinated by it. I found myself singing along trying to imitate it! Anyway I had an awesome blues-jam guitar lesson immediately after that -- my guitar teacher was blown away. Can't be bad.

Texas Cannonball
My favorite blues album. Contains moving vocals, choice guitar licks, and excellent piano by the legendary Leon Russell.

Its FFFFFFAAAAAAANNNNNNTTTTTAAASTIIIICCCCCCc
Its great a must bu

Absolutely brilliant!
The actual core Album tracks are great Freddie King. The voice and guitar playing are tremendous. The Bonus tracks on this are variable but the acoustic playing on "That's all right" made my day. Buy this if you could only buy one Freddie King album. IMHO ... Read more

Amazon.com

It might be impossible to overestimate the importance of The Paul Butterfield Blues Band on American music in the latter half of the '60's. Unlike British blues revivalists The Rolling Stones, the Butterfield band was schooled in the tough Chicago bars that housed Muddy Waters, Little Walter, and Howlin' Wolf. They didn't imitate the blues, they were the blues. They were also virtuoso instrumentalists to the man; and the extended raga-like "East-West," powered by Butterfield's defiant harmonica and the guitars of Elvin Bishop and Mike Bloomfield, virtually created the concept of psychedelic jamming. This 2 CD set profiles the best of their massively influential early work, and samples later R&B-inflected, horn-driven material as well. Essential for blues fans. --Michael Ruby ... Read more

Reviews (13)

One of the Finest Blues Bands Ever
No one who hasn't at least heard the Paul Butterfield Blues Band can consider him/herself a true, red-blooded blues fan. One of the greatest groups ever to grace the clubs of Chicago, the Butterfield Band was also perhaps the first blues band to successfully bridge the racial barriers and allow blues to become a music for anyone and everyone who cared to listen.

Without question, Butterfield's best recordings were done for the Elektra label. Therefore, it would make sense that Elektra's two disk anthology would be the perfect place to go for a one stop shot at this remarkable band. In fact, with both discs running over 75 minutes in length, this package is a bargain and then some.

Like all of the greatest bands, Butterfield's group had a very distinct sound, one which was both revolutionary and a treat to listen to. This anthology captures that sound and allows the listener to hear the evolution of the band throughout the years. Begining with some of their earliest sides in 1965, this anthology covers their careers all the way to 1971. There's a lot of great music to be found, particularly on the first disc. Classics like "Born In Chicago" (both the recognized version from their debut and an earlier take) and the ground-breaking "East West" are here along with lots of other great material. The second disc is a bit weaker, but still features pleanty of great tunes, especially the live songs "Everything's Gonna Be Alright" and "Driftin' and Driftin'," which are my favorite songs on the set. Butterfield's sound was always very contemporary and cutting-edge; I often find myself forgetting that these were late sixties and early seventies recordings.

By virtue of the outstanding music and the sheer amount of material on this set, I can wholeheartedly reccomend this. Any fan of the blues should hear this at least once; most will probably find themselves playing it again and again.

Paul Butterfield is the best
This 2-Cd set is great. It is one of the best Cd's I own. Paul Butterfield is the pinnacle of white blues. His horns, guitars, and most of all his harmonica go toghether like no other band. His songs are sad and bluesy like I like them, but most of all they get your toe tappin'. I especially like Walikin Blues and Born in Chicago.There is nothing to say besides that it is a GREAT album and if you like blues or harmonica or Paul Butterfield's music it is a must have.

A fine overview
This double-disc anthology offers a really good overview of Paul Butterfield's nine years with the Elektra label.

The track selection is debatable, of course, it always is on compilation albums, and a few really good songs are missing (where the hell is "Get Out Of My Life Woman"?). It would have been nice to have some more songs from the December, 1964 sessions, but you can get those on "The Original Lost Elektra Sessions", and overall "The Electra Years" does a nice job of rounding up most of the highlights, picking the best moments from sometimes uneven records.

Butterfield's first two albums were seminal, and they remain two of the best "white" blues records of all time, but later offerings didn't quite maintain the same level of quality. Consequently, the "Anthology" is quite a valuable package for listeners who simply want a sampling from those later albums instead of purchasing them individually.

This White Boy Could BLOW!!!
If there is anyone out there who thinks that White boys can't play good blues harp, then you haven't heard Paul Butterfield. Undoubtedly one of the greatest blues harmonica players - Black or White - to come out of Chicago, this anthology showcases Paul Butterfield and his awesome band in their absolute prime. This two-disc set (with great liner notes) is a great place to start if you want to learn more about Paul Butterfield and his Blues Band.

Don't play this in your car
I can't play this while I'm driving because I'll lose my license if I do. I haved loved Butterfield since the albums these tracks were extracted from were originally released. I have them all on vinyl, but they're worn out and unplayable. For me, this collection was a quick way of getting a nice sampling of all of Butterfield's greatest bands in one set (Though if all of his original albums with his horn bands were available I would buy them). There is however one issue that should be pointed out. The recording quality of especially the second disk leaves something to be desired. The volume level is quite low, and most of the tunes are severly lacking highs). This set would benefit greatly from a remixing. Despite this fact, I listen to these disks over and over again and can't sit still while they play. If you're a Butterfield fan, or for that matter, if you just like the blues, this is a collection that you will love. YOU WON'T REGRET THIS PURCHASE. I've given it 5 stars despite the recording quality. ... Read more

Reviews (7)

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

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

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

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

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

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