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

Reviews (97)

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

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

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

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

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

Respect!

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

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

Amazon.com

The stage of Tennessee jam band festival Bonnaroo is an unlikely setting for the year's most important blues recording, but young firebrands North Mississippi Allstars pulled off a creative coup in June of 2004 with their Hill Country Revue. The concert teamed patriarch R.L. Burnside and his guitarist and rapper sons, the late Othar Turner's fife and drum band, the Black Crowes' Chris Robinson, and eccentric producer-pianist Jim Dickinson, the father of Allstars Luther and Cody Dickinson, with the wiry trio. The historic results handily blend all the racial, geographic, and cultural elements of the genre with adventurous musicality. Burnside is present more for his inspiration than his musical contribution. But his sons carry on the tradition while pushing its borders into hip-hop and six-string psychedelia. If there’s a star here, though, it's guitarist Luther Dickinson, who playfully quotes Duane Allman, Jimi Hendrix, Jimmy Page, and the elder Burnside, and then adds a level of tonal and textural exploration to his performance that makes him a one-man defibrillator for the genre--insurance that the heart of the blues will keep pumping into the future. --Ted Drozdowski ... Read more

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This double-disc, 19-song concert recording, which serves as a fittingly funky retrospective of McClinton's 30-year career, is as close to the definitive Delbert as can be imagined. And, oddly enough, his third and best live album was an inadvertent one--a Norwegian radio broadcast captured a festival set too hot to confine to the airwaves. Here, the Texas honky-tonk blues hero dynamically delivers the core of the live McClinton experience, including an energetic rendition of his 1980 breakout hit "Givin' It up for Your Love," a testifying take on Otis Redding's "I've Got Dreams to Remember," and a rambunctious (and extended) reading of his own "B Movie Boxcar Blues." But Live also fills in around the edges with surveys of McClinton's early influences: "Rebecca Rebecca," a slow-burning, stream-of-consciousness blues medley, features Kevin McKendree recycling some sparkling Otis Spann piano lines while the album closer, the vintage rockabilly romp "Fine and Healthy Thing," offers a great guitar getaway by Rob McNelley. --Michael Point ... Read more

Reviews (14)

A rocking good time
Texas legend (and one of our favorite customers at Gumbo Shop), Delbert McClinton, turns it all loose in this hot two disk live set. As good as his last few studio recordings have been, this new release gives an accurate picture of what a great live performer Delbert is and what a hot band he has put together. This one just stays in the truck all the time and if it's possible to wear a cd out, this one will need to be replaced by New Year's

HE'S THE BEST !!
Delbert McClinton has long been considered the definitive Texas Roadhouse Boogie/R&B artist extant by those in the know (critics and a sizeable cult following). With this 2-disc live CD offering (his first live since 1989) he definitely lives up to his legend and might even goose it a bit higher!! The sound quality is excellent and in-your-face and you're not likely to get any closer to Delbert live unless you see him in concert. The musicianship and arrangements are superb, and D McC's voice has still got that ol' smokey grit and soul in spades!! The man has never sounded better!! With a mix of old favorites and his newer stuff, this is THE Delbert McClinton package to have, bar none!! If this one don't make you tap your feet, check your pulse !!

he's great, as usual, but . . .
. . . but releasing a second live version of songs that have not undergone any reinterpretation doesn't make a lot of sense to me. It might if the recording represented an entire concert -- but this one does not. So as much as I like "Maybe Someday Baby," "Back to Louisiana" and "Giving It Up For Your Love," none of them differ markedly from their rendition on Live from Austin. The other repeaters -- "I've Got Dreams To Remember" and "B Movie Boxcar Blues" especially -- are reworked effectively, and it's always a pleasure to hear how an artist has kept his older material fresh.

And it's always a pleasure to hear Mr. McClinton. Other reviewers have mentioned his ability to fuse rock & roll with the blues, R&B and country, so I won't go there. I will add that he is unique in his ability to pull that fusion off without sounding contrived or insincere or calculated or formulaic in any fashion whatsoever. Pure country music fans can listen to "When Rita Leaves" and they know somewhere in their gut that they are listening to one of their own. And when an R&B aficionado hears his take on Otis' "Dreams" -- nothing artificial there. A fan of electric blues can latch onto "Leap of Faith" (the studio version of which featured none other than B.B. King on guitar) with the same conviction. And all of it rocks, all night long.

Other performers will throw in a Motown thing now and then, or a countrified number to show off their presumed versatility, but I've never known anyone who could do so with utter credibility, and make the song completely his own the way Delbert does every single night, and on every single record.

With the passing of Ray Charles, and a nod to the singer that Gregg Allman used to be, there is no performer who owns his material and puts it across with more authority than Delbert.

Live the blues...
The only other Delbert McClinton album is own is "Room to Breathe." A good CD, yes; this one, though, really got me hooked. This is the blues, with country, rock, and pop thrown in...a mixture of music that melts into one flawless sound, glued together by Kevin McKenree's keyboard, Rob McNelley's guitar licks, and McClinton's gravelling voice and harmonica.

From the opener "Old Weakness," you know you're in for a treat. Other classic bluesy rockers include "I'm With You," "Giving It Up For Your Love," and "Smooth Talk," while "I've Got Dreams to Remember" and "Don't Want to Love You" are moving ballads.

Delbert McClinton is a man who can sing. And "Live" showcases that singing--and his backup band--like nothing else can. If you do not own this album, I sincerely believe you should. I don't know if it's a good retrospective or not, but I DO know that as a two-disk album, it's damn good. It's the blues, baby...the blues and everything else.

Should buy, MUST see !
A couple of the reviewers made reference to the fact that this disc leaves something to be desired as far as sound quality on the recording. Okay, it isn't some cleaned up,over produced, studio concoction that 99.7% of todays albums are. That is exactly the point of the whole Delbert experience. It is the essence of his craft that makes him a "have to see at least once before you leave this world" type of showman. If you want a cold,antiseptic, feelingless Blues CD, buy Johnny Lang. If you want to hear someone that plays for the love of the game, buy this disc. Then go see him in person. As a matter of fact, come join me at the Col Ballroom in Davenport, Iowa on March 27th. Then, six months down the road when you have a serious Delbert "jones" working, pop this disc in and think about how close it sounds to being there! ... Read more

Amazon.com essential recording

The series of Stevie Ray Vaughan concert albums that began with Live Alive (1986) and continued after the guitarist's 1990 death is far from the catalog-bloating cash-in you'd expect from the record company of a platinum seller cut down at a career peak. Instead, each disc gives a distinctly different view of the Texas blues-rocker's stage strengths. Where Live Alive captured Vaughan and his band Double Trouble in full arena roar and In the Beginning recorded a looser early club gig, Live at Carnegie Hall finds the outfit broadening its range with guest shots from Dr. John and the Roomful of Blues horn section. Rather than overpowering Vaughan's signature tautness, the bigger band makes for an entertaining switch--in effect allowing a fresh look at his R&B roots. --Rickey Wright ... Read more

Reviews (25)

Good If Not Overwhelming
Stevie Ray Vaughan is undoubtedly a legendary guitarist. On this live recording as on other recordings, Stevie adds so much color to his magnificent solos. Its a true joy to listen to the many ellaborate bends, use of feedback, and fast picking on the many blues numbers on this release. Some people may criticize Stevie's growl of a voice but truthfully I enjoy his stylings in that department.

Unfortunately, most if not all of the songs here are three chord blues. This can be a bit monotonous after a while. The use of the Room Full of Blues Horns on some of the tracks do help a little as a foil most especially on the slow blues tune Dirty Pool. Somehow I wish the horns and Dr John's organ were given a little more time in the spotlight on other tracks.

Overall, the effort is good but not quite over the top.

Vaughn & company at their best
Whether you're a hardcore Stevie fan, or just wanted to get a taste of his record you will be glad you bought it. Most blues musicians have respected Stevie Ray Vaughn as probably the best guitarist that ever lived. I think this live album captures Stevie's energy on stage, which I think makes it more interesting than some of his studio albums. This is the best live album I own. The mix between the instruments and the crowd are just perfect. The CD gives you the sense that you're at Carnagie Hall. It starts off with the most amazing blues song ever written...Scuttle Buttin'. It really shows his playing ability and how fast he could move his fingers over the frets. It certainly would have been a heavenly concert to attend. Among Stevie was his brother, Dr. John, Angela Strehler.(or something) With envigorating tunes like Cold Shot, Pride and Joy, Testifyn', and others make this CD one of SRV's best. A perfect gift for any Stevie fan. Although it probably won't appeal to your 15 year old daughter, who would probably prefer another copy of "No Strings Attatched." If you're really into the mainstream blues guitar scene, you'll enjoy this CD.

Live At Carnegie Hall, Oct. 4, 1984
I always wanted this CD live at the carnegie hall. I just bought it today for a great deal. This CD features many other musicians like Jimmie Vaughan, Dr.John, Roomful Of Blues Horns, and Angela Strehli. The crowd is very loud its almost like being at the concert. This includes most of all his hits like Love Struck Baby, Cold Shot, and Pride And Joy. This CD has everything a music fan could want great music, and great musicians. 5 stars know go add this to your CD collection!

A rare treat
Once in a while a live album really adds to an artist's legacy, producing something different and exciting, rather than just reproducing his studio sound with added crowd noise.

"Live At Carnegie Hall" is such an album. Stevie Ray Vaughan and Double Trouble, recorded the day after Vaughan's 30th birthday with the on-stage assistance of Stevie's brother Jimmie Lee Vaughan on second guitar, Dr John on his customary piano, and the Roomful of Blues horn section popping up on several tracks.

The sound is not quite as crystal clear as on the magnificent recording of Stevie Ray Vaughan's 1982 Montreux appearence, but it is more than good enough, and the band tears through some of their best songs, including the irresitable "Pride And Joy", a horn-augumented version of the slow blues "Dirty Pool", a superb, tough rendition of "Honey Bee" with some truly muscular guitar playing from the Vaughan brothers, and an equally great "Cold Shot".

Vaughan relies quite a lot on instrumentals (they make up five of the thirteen numbers), and it would perhaps have been nice to have a couple more vocal performances, especially since Stevie Ray was actually a really fine rock n' roll singer.
But that's a matter of taste, of course, and his instrumentals are catchy and a real showcase for his sublime talents on the guitar.

"Live At Carnegie Hall" also includes a few rare performances, particularly Eddie "Guitar Slim" Jones' "Letter To My Girlfriend", the instrumental "Iced Over" and Leo Gooden's "C.O.D." (originally recorded by Albert King) which Vaughan never recorded anywhere else.
On "C.O.D." Vaughan is joined by Texas blues singer Angela Strehli (check out her album "Soul Shake").

All in all, "Live At Carnegie Hall" is a very welcome addition to Stevie Ray Vaughan's too short catalogue. And to those who are weary of Vaughan working with a horn section - don't worry, he remains front and center, and his playing and singing is nowhere near overwhelmed by the presence of additional musicians.

Excellent!

Simply excellent!!!
Simply magic, you get the feeling you are in the concert!!!! ... Read more

Amazon.com essential recording

This visceral live recording from April 1, 1980, was broadcast on radio from the Steamboat 1874 club in Stevie Ray Vaughan's adopted hometown, Austin, Texas. It circulated among collectors, and his manager used some of the tape as a demo before Vaughan was signed to Epic Records by John Hammond. Young Stevie Ray's performance bristles with uncorked energy. Vaughan is caught improvising on raw slide guitar, growling through Otis Rush's "All Your Love (I Miss Loving)," and pushing his fretboard speed and vocal limits on Guitar Slim's "They Call Me Guitar Hurricane." Also offered are unpolished versions of tunes that became fan favorites: "Tin Pan Alley," "Love Struck Baby," and "Tell Me." --Ted Drozdowski ... Read more

Reviews (31)

"Stevie-Rave-On"
This 1980 radio broadcast of the 25-year old Stevie Vaughan (not yet known as Stevie Ray) and his band was only released two years after his death in 1990.
It features Vaughan, drummer Chris Layton and then-bassist Jackie Newhouse tearing through a nine-song set with youthful enthusiasm....three of the songs, including the smoking Elmore James-inspired slide guitar instrumental "Slide Thing", are Stevie Ray Vaughan-originals, the rest are cover versions of classic blues and R&B tunes.

Stevie Ray does a funky rendition of Eddie "Guitar Slim" Jones' "They Call Me Guitar Hurricane", a supremely groovy "All Your Love (I Miss Loving)" (the Otis Rush classic) with some excellent syncopated drumming by Chris Layton, and a very good and very mature take on the slow blues "Tin Pan Alley".

His vocal prowess doesn't quite match that of Elmore James or Howlin' Wolf, obviously, but Stevie Ray still manages to pull off a fine performance of Wolf's "Tell Me", and he and the band swing mightily on Willie Dixon's "Shake For Me", proving (if proof was needed) that Vaughan actually had a powerful and often underrated singing voice.

And you get to hear early versions of his own "Love Struck Baby", the opening track on his debut album three years later, and the wonderful, swinging blues-rocker "I'm Cryin'", which was called "Live Another Day" back in 1980, after the line "(If) I can't love my baby / I can't live another day".

This is a really, really good "live in the studio" album, with only a few SRV originals, but featuring some well-chosen and masterfully executed cover songs. A very worthy addition to Stevie Ray Vaughan's catalogue.

Raw
"In the Beginning" is one of Stevie Vaughan's first recordings from 1980. It was before he used his middle name, and Double Trouble was Chris Layton and Jackie Newhouse who would later be replaced by Tommy Shannon. Stevie's sound is in metamorphosis to what would eventually be heard on the "Texas Flood" album. Here he is raw and full of power, quick and on the verge of moving into stardom. Even in his mid-twenties, Stevie had a presence on the stage, and you can hear his larger than life sound in this early recording.

He opens with the powerful "In the Open", a loud and fast guitar workout. You can hear the ease as he moves around the guitar in the instrumental piece. The notes drip from his fretboard. Moving straight into "Slide Thing" he plays with a slide across the strings in another instrumental track. Definitely a cool piece. A few of his standards appear here for the first time, like "Love Struck Baby" his jump blues which opens "Texas Flood", a tad faster played live. "I'm Crying" closes this album under the title of "Live Another Day". The star of this concert is the heartfelt "Tin Pan Alley", which is full of signature Stevie licks and his powerful blues voice. He would record this later as "Roughest Place In Town" on "Couldn't Stand the Weather". This raw version is a must have for any Stevie fan. Another great cut is a cover of Otis Rush's "All Your Love I Miss Loving."

"In the Beginning" is aptly named for we hear Stevie at the beginning of his recording career. This is him before the record deals, just an Austin local bending strings and playing the blues on the verge of stardom. He's not quite refined here, but his sound is raw and powerful, and you can already hear how special of a performer his is. No Stevie fan's collection is complete without this early live recording.

One of Fender Stratocaster's Greatest Moments
This is the stuff that legends are made of. A young gun calling himself "Stevie Vaughn" steps out onto the stage with a bass player, a drummer, and a '59 Stratocaster and within an hour blues music is changed forever. This live radio broadcast's recording quality is marginal and several of the original tracks are missing, but even so, nothing and I mean nothing can detract from the smokin energy, sheer talent, tight vibe and raw emotion of Vaughn's performance on this CD.

Only four stars because it is incomplete!
SRV played more than nine songs the night this was recorded. Lets hope the powers that be will come to their senses and give the fans the complete performance that SRV made that night.

As far as the music included on this cd goes, it is spectacular. Tin Pan Alley is an instant classic off this cd, as well as the cover of All Your Love (I Miss Loving). This live set is far superior to the Live Alive cd. If you like live SRV, pick up Live At Montreux for more stellar guitar work from the "master".

SRV, I wish you were still around man. RIP. Thanks for the great music and inspiration you gave us all!!!!

Stevie is awesome.
Although I don't listen to a ton of blues, I do enjoy the genre. A friend got me completely hooked on Stevie and it started with borrowing this CD. The first two tracks are spectacular! I had never heard guitar playing like that before. Stevie Ray is the best blues guitarist ever in my opinion, and undoubtedly one of the best guitar players of all time period. He poured more heart and soul into his shows than I have ever seen. The rest of the songs on this cd are all pretty good, but the first 2 make it great. Especially good for a live CD. This is great for any fan of the genre, of great guitar playing, or of great music in general. It gets a solid 89 percent. ... Read more

Amazon.com essential recording

Simply one of the greatest live blues recordings ever. Hooker plays alone at Soledad, yet the real thrill is hearing him backed at Greenwich Village's Café Au-Go-Go in 1966 by Muddy Waters and his band, including pianist Otis Spann, unsung harmonica giant George Smith, Francis Clay on drums, and guitarists Sammy Lawhorn and Luther Johnson. All are at the height of their abilities, but it's Hooker who works like a hoodoo conjurer, making misery rain down in "Seven Days" and "When My First Wife Left Me." This August night's reading of "I'm Bad Like Jesse James" ranks among the most intimidating vocal performances ever taped. His guitar and baritone singing sink to rarely heard depths of the blues--that secret place in the music (known only to its absolute masters) where it becomes an elemental force. --Ted Drozdowski ... Read more

Reviews (12)

Classic, Must-Have
Miles Davis once told John Lee that, "You sound like you're buried up to your neck in mud" (that's a good thing if you tell the blues). This CD is deep. Raw. Painful. In fact, "I'm Bad Like Jesse James" hits so hard that you get scared just listening to the song. This live compilation, especially the 8 tracks from the Cafe au Go-Go which are backed by Muddy Waters band (yeah, THAT Muddy Waters), is a must-own for anyone who wants to experience the depth and power of John Lee Hooker. This is the blues in its finest 70 minutes. Awesome.

Great Live
This is my favorite live recording of early John Lee Hooker material. The CD has two different live recordings. The first eight tracks were recorded at The Cafe au Go-GO in in 1966. The last five tracks were recorded inside Soledad Prison in 1972. The last song on the CD, "Bang, Bang, Bang, Bang" which was changed later in his career to "Boom, Boom, Boom, Boom", is probably the best recording of this song that I have heard on any of Hooker's CDs. This recording is raw, rough, and powerful, just like the man himself!

John was right, way back in 1966, when he first sang the song (also on this CD) "I'll Never Get Out of These Blues Alive." Rest in Peace, I drink one bourbon, one scotch, and one beer to you.

A Real Transformation
Despite Hooker being in his prime and having a great band at the Cafe Au Go-Go, I found the tracks from his performance there tepid. It sounds like he was trying to tone down his act for an ofay audience. Really - it's not a lively performance. So, that part of the disc gets three stars.

However, the tracks from Soledad Prison are scalding. "What's the Matter, Baby", "Boogie Everywhere I Go" and "Bang, Bang, Bang, Bang" in particular absolutely cook. That part of the disc gets five stars.

Superb, gritty live blues
This CD reissue combines John Lee Hooker's "Live At The Cafe Au Go-Go" album with five songs from his "Live At Soledad Prison" LP (the other two songs from that LP had John Lee Hooker, jr. doing lead vocals, which is probably why they aren't included).

The eight Café Au Go-Go-tracks feature Muddy Waters and his band backing John Lee Hooker, and Hooker performs some of his best songs in rough, tough arrangements, topped by his hoarse, expressive baritone voice.
It's a little bit unusual to hear John Lee Hooker backed by a full band, but the arrangements work exceedingly well, and Hooker is in no way overwhelmed by the presence of three more guitarists (Muddy Waters, Sammy Lawhorn and Luther Johnson), and pianist Otis Spann.

Highlights include a truly menacing "I'm Bad Like Jesse James", a swaggering, swinging "One Bourbon, One Scotch, One Beer", a tremendous, slow "I'll Never Get Out Of These Blues Alive", and a soulful "When My First Wife Left Me", to which Otis Spann adds some truly magnificent piano playing.

On the Soledad tracks, which are also band-backed, Hooker lays down great renditions of "What's The Matter Baby" and "It Serves Me Right To Suffer", with the twin lead guitars of Luther Tucker and Charlie Grimes smouldering behind him.
"Lucille" is a great, mid-tempo boogie, and "Bang Bang Bang Bang", an alternative version of "Boom Boom", which rocks every bit as much as the MTV version did twenty years later.

If your idea of what the blues should sound like is latter-day B.B. King or Robert Cray, this might not be your thing...these recordings are far from polished and very much full of grit, but if you like your blues raw and ragged, this is indeed the real deal. One of the finest, most autenthic live blues records I have ever heard.

Awesome
Classic John Lee. Worth it just for "Bad Like Jesse James".....gives me chills.... ... Read more

Reviews (14)

Simmering, sizzling, smoking, & burning
Twice I have seen Ronnie Earl & The Broadcasters live in small clubs, within flicking distance of his beads of sweat. After the first time, I walked out of the club shaking my head, mumbling, "Why isn't this guy famous?" I still don't know the answer, but hopefully this disc will continue to help him along in that direction. If you hear Ronnie talk in person, you can't help but get the impression that he is the most humble and sincere guitar wizard out there.

Blues Guitar Virtuoso Live In Europe does an excellent job of representing Ronnie and the gang's live act, simmering, sizzling, smoking, and burning their way through a set of mostly original compositions. Bruce Katz's B3 organ is the perfect counterpoint to Ronnie's stellar picking, most notably on the cover of Bobby Timmons' classic "Moanin'." and Earl's own "Serezen".

While it's a fantastic performance overall, the recording is not without flaws. First, the audio volume level varies from track to track, such that if the playback volume is adjusted for the louder tracks, you'll strain to hear the quieter ones. So I end up ping-ponging back and forth on the volume. Second, during the quieter passages, an annoying electronic hum is audible. I believe this is coming from Ronnie's guitar amp. (The same hum is also audible in a couple of tracks on his studio album Still River.) And lastly, clocking in at nearly 15 minutes, the closing track "Rego Park Blues" is too long and ambling for my listening pleasure away from the concert environment.

I would give this one four and half stars if I could, but since the review system won't let me, I'm giving it the benefit of the doubt and bumping it up to five. Keep the faith, Ronnie!

Stunning recording!
I don't think that Mr. Ronnie Earl needs any kind of introduction to any serious blues fan. He is one of the best (if not the best from my point of view) living "white" blues guitarists around. His amazing technique and the mastery with which he is able to build up a guitar solo from a quite start to the maximum of its intensity are second to none. I sow him playing several time and this live performance recorded in Europe is a very good example of what he is effortless able to do live on stage. Baked by his regular band Ronnie is in a dazzling shape and his performance is sublime throughout the entire concert. The rhythm section is solid and precise as usual and Bruce Kats does a marvellous job with his B3. As all his most recent albums this CD is totally instrumental however much more blues oriented than his previous studio ones. Tunes like "San-Ho-Zay", "Blues for the West Side" are solid Chicago electric "West Side" blues and "Rego Park Blues" worth by itself the price of the entire CD. The influence of great masters like Magic Sam and Otis Rush, a bit of T-Bone Walker skilfully mixed with a hint of Wes Montgomery are, from my point of view, pretty evident, however his stile remain very personal and unique in the today blues scene. A great album that should be present in any serious blues CDs collection. Five star (I would rate it six but...)

One of the Best Blues Guitar CDs
I heard one of Ronnie Earl's cuts on a web radio station. I liked it so much I took a chance on an album - came out a winner. A local ice cream shoop has three choices: "I Like It", "I Love It", and "I Gotta Have It." Blues Guitar Virtuoso is definitely "I Gotta Have It". Too, it makes great music when I work out at the Healthy Living Center. Highly recommend this if you love blues/jazz guitar.

Stands the test of time
I stumbled on this disc five years ago in Vancouver. I liked the demo enough to buy it. I'd never heard of Ronnie Earl before. I played this CD lots after I bought it. It's one of the few that you can just plug in and let it go from start to finish...Rego Park cooks! My house was broken into a couple of years ago and my CD collection was stolen along with a bunch of other stuff..The first CD I replaced was this one...Ronnie Earl and the Broadcasters can play..I'd love to see them live..this is their best CD IMO

Great recording
Earl is fast and clean and very jazzy, he has a lot of technique. Probably is alot harder to play like he does than it sounds when you listen. The CD is very well recorded. A few of the songs really wail- I mean he sounds very inspired at times. I have no regrets purchasing this disc- it fits well into my blues collection... ... Read more

Amazon.com

Taj Mahal's been chasing the blues around the world for years, but rarely with the passion, energy, and clarity he brought to his first three albums. Taj Mahal, The Natch'l Blues and The Real Thing are the sound of the artist, who was born in 1942, defining himself and his music. On his self-titled 1967 debut, he not only honors the sound of the Delta masters with his driving National steel guitar and hard vocal shout, but ladles in elements of rock and country with the help of guitarists Ry Cooder and the late Jessie Ed Davis. This approach is reinforced and broadened by The Natch'l Blues. What's most striking is Mahal's way of making even the oldest themes sound as if they're part of a new era. Not just through the vigor of his playing--relentlessly propulsive, yet stripped down compared with the six-string ornamentations of the original masters of country blues--but through his singing, which possesses a knowing insouciance distinct to post-Woodstock counterculture hipsters. It's the voice of an informed young man who knows he's offering something deep to an equally hip and receptive audience.

Soon, Mahal turned his multicultural vision of the blues even further outward. The live 1971 set, The Real Thing, finds him still carrying the Mississippi torch, while adding overt elements of jazz and Afro-Caribbean music to its flame. But it's overreaching. His band sounds under-rehearsed, and the arrangements seem more like rough outlines. Nonetheless, these albums set the stage for Mahal's career. (For a condensed version, try the fine The Best of Taj Mahal.) Today, he continues to make fine fusion albums, like 1999's Kulanjan, with Malian kora master Toumani Diabate, and less exciting but still eclectic recordings with his Phantom Blues Band. --Ted Drozdowski ... Read more

Reviews (11)

It doesn't get much better than this
I'd been waiting for the CD release to replace two well-worn vinyl copies of this energetic, unique live performance. from the first time I heard this recording nearly 30 years ago, its become a treasure.

Taj Mahal and his back up band perform a variety of "great American folks tunes" with an intensity and ease seldom found in any performance. The music, no matter how old the tunes are, sounds fresh and displays a lack of datedness, pretense or restraint.

The instrumentation and arrangements are unusual (a banjo and tuba duet, for instance) and full of joy.

Great music and great fun---this is "The Real Thing"

Taj Always Had His Own Style
This is an excellent Taj Mahal CD. The album is fun and relaxing and must have been a great show to see. The quality of the music is great considering it was taken from a live performance. Although, a few times on the CD when Taj is talking between songs, the sound drops very quiet for a short time but quickly shoots back up to a good volume. The use of horns is a great change on this album and the other musicians on the stage sound great throughout. This is a good CD which will spice up any blues collection by providing a sound different from most other blues albums.

A-MEN, brother reviewer...
Yeah, man, the "official" reviewer just doesn't get it AT ALL. This is one of the best ROOTS recordings EVER - and I don't say that lightly. Remember...this is 1971...LIVE, a 2 LP recording, at the Fillmore...I mean, the Allman Brothers - WITH DUANE - did their recording that same year. Now, how many acts could have gotten away with playing a tune with nothing but a banjo and a TUBA, for cryin' out loud! ("Tom And Sally Drake")? Taj Mahal, that's who. Taj engages the audience as well as anyone ("Gimme some help...GIMME SOME! - You can do it...if you're jacked up to it...) and standouts here are the norm. "You're Goin' To Need Somebody On Your Bond" is the groover, with Taj 'gettin spiritual' with the blues, and doing the back and forth with the crowd. Also a highlight is "Ain't Gwine Whistle Dixie No Mo'", where every band member gets a piece of the action, and my spine tingles at the thought of John Simon groovin' on the piano, and John Hall doing a GREAT guitar solo, and ending, with Taj whistling over the many horns. No, if you don't get it, you don't get it...but I was 15...and I got it. This is Taj's moment in Time, Live - History, I believe it's called - and he grabs on and holds tight. Any fan of blues, jazz, roots, gospel, or African-American music History has to consider this a MUST HAVE CD. Period.

This is it!
The "official" review doesn't take into account the power of this album as a whole. The chemistry is there, and this has the raw energy of the best blues. One of my favorite albums of all time.

BEGstore.com transaction review
BEGstore was perfect! Prompt shipping, clean packaging, and a free shipping upgrade! I'll do business with them again. ... Read more

Album Details

Live, Eclectic Body of Work by Famed Producer/Slide Guitarist Cooder. 'show Time' is a Mixture of Ry's Incredible Guitar Playing, the Vocal Stylings of Singers Terry Evans and Bobby King and the Handy Accordian Talents of One Flaco Jimenez. Includes the Tracks 'jesus on the Mainline', 'Do-Re-Mi' (A Woody Guthrie Original), the Mezo-American Standard 'volver, Volver' and Much More. ... Read more

Reviews (2)

Solid Live Ry Cooder
"There is so little live Ry available, it's great to find a live CD from a great era of Ry's work. This CD comes from the era of transition from Chicken Skin Music to Bop Till You Drop, with most from the former (along with similar stylings).

Classic Americana, Cooder-Style
Ry Cooder put this incredible band together in the late '70's, combining the soul stylings of vocalists Bobby King and Terry Evans with conjunto king accordianist Flaco Jimenez, and Ry's own amazing slide guitar work. This is a band in the truest sense, traversing American music and bringing fresh, creative interpretations of songs like Woody Guthrie's "Do-Re-Mi", r&b classic "Smack Dab In The Middle", and the Mexican torch standard, "Volver, Volver". This album introduced me to Flaco, and led to a series of trips to furniture stores in Denver's Mexican neighborhoods--the only places you could find his albums,at that time. Leave it to a master musician and musicologist like Ry Cooder to find these talented people, and create something so unique. This is a live album in every way. ... Read more

Amazon.com

Most live blues recordings have a feeling of intimacy, as if the concerts took place in some out-of-the-way venue for an audience who not only know all the lyrics, but know the performers personally as well. Live Alive, in contrast, feels like a large-scale rock concert, an epic production full of grand gestures. But really, nothing suited Stevie Ray Vaughan's style better; everything, from the overall sound to the solos, feels big. The roar of the audience, especially for favorites like "Pride and Joy," "Cold Shot," and "Texas Flood," is huge but distant, an arena sound. Overall, Live Alive leaves the impression of a series of stellar moments caught on tape, with an intensity rarely captured in the recording studio. --Genevieve Williams ... Read more

Reviews (25)

Superb
The late Stevie Ray Vaughan rocked on stage. His rendition of Howlin' Wolf's "Commit A Crime" may lack the raw punch of the original, but that's a minor complaint - most of this album is simply excellent, filled with gems from Vaughan's first three albums.

Vaughan's guitar playing is masterful, with more grit than most of his studio orginals. His vocals are good, too, and the song list is magnificent, featuring the rare, non-LP track "Willie the Wimp" about the bizarre 1984 funeral of a Chicago "wiseguy".

Other highlights include Vaughan's best song, the superbly groovy "Pride And Joy", as well as "Look At Little Sister", "Cold Shot", "Love Struck Baby" and the slow blues "Texas Flood" and "Ain't Gone 'N' Give Up On Love", but there are really no weak songs, and this album should appeal to fans of both blues and rock music.
The sound is good, and the band is excellent. Several songs actually sound better in this live setting than on the original studio albums, partly because of the blistering blues-rock arrangements which include keyboards (piano and organ).

(Some people seem to think that Vaughan's playing wasn't up to his usual standarts when this album was recorded, that he must have been having a bad night or something. I can't make any sense of that claim, especially since "Live Alive" wasn't recorded during just one show, but actually incorporates cuts from different concerts in both 1985 and 1986. He must have been having some bad years, then.)

This is a very enjoyable, soulful live album, and it is highly recommendable to anyone with an interest in Stevie Ray Vaughan, or contemporary blues and blues-rock in general.

****1/2
The late Stevie Ray Vaughan rocked on stage. His rendition of Howlin' Wolf's "Commit A Crime" may lack the raw punch of Wolf's original, but that's a minor complaint...most of this album is simply excellent, filled with gems from Vaughan's first three albums.

Stevie Ray's muscular and versatile guitar playing is sublime, with more grit than most of his studio orginals. His vocals are good, too, and the song list is magnificent, featuring the rare, non-LP track "Willie the Wimp" about the bizarre 1984 funeral of a Chicago "wiseguy".

Other highlights include Vaughan's best song, the superbly groovy "Pride And Joy", as well as "Look At Little Sister", "Cold Shot", "Love Struck Baby" and the slow blues "Texas Flood" and "Ain't Gone 'N' Give Up On Love", but there are really no weak songs, and this album should appeal to fans of both blues and rock music.
The sound is good, although not always crystal clear, and the band is excellent. Several songs actually sound better in this live setting than on the original studio albums, partly because of the blistering blues-rock arrangements which include keyboards (piano and organ).

Apparently some people feel that Vaughan's playing wasn't up to his usual standarts when this album was recorded, that he must have been having a bad night or something. I've heard a lot of live SRV, and I can't make any sense of that claim, especially since "Live Alive" wasn't recorded during just one show, but actually incorporates cuts from different concerts in both 1985 and 1986. (He must have been having some bad years, then.)

This is a very enjoyable, soulful live album, and it is highly recommendable to anyone with an interest in Stevie Ray Vaughan, or contemporary blues and blues-rock in general.

Don't buy the cd, get the tape or record!
This is a great album the way it is, but without the 14th track (Life Without You), it's only half as good. For some reason, this track is not on the cd version, but appears on the cassette and vinyl version. It may take some hunting, but it is certainly worth it. Stevie may be stoned out of his mind, but the live version of Life Without You, with the three minute recitation at the end, is a beautiful, touching moment. Besides that, live Stevie Ray is always amazing. Highlights on this are "Pride and Joy", "Ain't Gone 'n' Given up on Love", "Cold Shot"(Check out the guitar tone on this one), "Texas Flood", "Voodoo Chile" and "Change It". Still, GET THE TAPE OR RECORD. You won't be dissapointed.

Heard only a few songs
This album is one of the only live albums that I don't have. I have heard samples, and a few extra songs on other cds though. The first thing I hear from somebody that tell about this album is basically that Stevie couldn't have been more high. His performance was just imbarrassing for the other members in the group (specifically Reese Wynans). Most poeple don't know this but, on the old vinyl copy of this album, (I've never heard it but someone told me) there was originally a 14th track. It was the song that usually comes close to the end of Stevie's sets. The song was Life Without You. Since it was the very last song, I'm guessing Stevie was more pooped than ever beacause it was the last song and that he was extremely high and everything. Being high is one thing, but being high and playing your last song in a set is terrible. In the old vinyl disc, Stevie was on his last song and he was so terribly slow that Reese Wynans walked off stage embarrased and discusted. This track was taken off the album because of its discracefulness.

SRV LIVE ALIVE
Stevie Ray Vaughan did not always play his best its one of those things that guitarist go through even Jimi Hendrix had a bad concert. This concert would prob have to be one of Stevie Ray's worst concerts. I am a huge SRV fan and I have about all of his stuff my favorite DVD is Live At Elbocambo this DVD SRV plays his heart out. Also on this CD they include the piano player who toured with SRV around the time of this concert and the Austin City Limits. There still is great guitar playing sounds good for what it is. Some cool songs are Pride And Joy, Cold Shot, Willie The Wimp, Voodoo Chile(Slight Return), Texas Flood, and Love Struck Baby. I was disapointed SRV did not play Lenny but it most have been one of those days I gave this CD 5 stars. If you love SRV then try this one out see how you like it listen to the samples. ... Read more

Amazon.com

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

Reviews (15)

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

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

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

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

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

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

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

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

Amazon.com

It's not the familiar, fiery playing of Stevie Ray Vaughan that tips listeners off that this set's first disc has captured an extraordinary moment in modern blues history; it's the jarring, rising chorus of boos that accompanies it. As with previous musicians as disparate as Dylan and Stravinsky, Vaughan's willful tweaking of staid genre conventions initially infuriated purists. Though few could have imagined it at the time, Vaughan and company's July 17, 1982, show at the Montreux Jazz Festival (included here in its entirety) ignited not only a brilliant career, but a widespread revival of the blues as well.

David Bowie was there that night, but he was not booing. He secured the Texas guitarist's services for his smash Let's Dance album on the spot, nearly a year before Vaughan would make his major-label debut.

Straight from the Austin club scene, the band displays their nervous energy in a set that contains several previously unreleased/rare gems from SRV's early repertoire, including the Hound Dog Taylor romp "Give Me Back My Wig." By the time of this set's second disc, recorded just three years later, SRV was a worldwide star, the boos had turned to rousing cheers, and Vaughan's nervousness was replaced by an incendiary swagger he seemed all too happy to push into the crowd's faces. With the band (drummer Chris Layton, bassist Tommy Shannon) now augmented by Reese Wynans on organ and guest guitarist Johnny Copeland sitting in on "Tin Pan Alley," the triumphant show (11 of the 15 songs are included here) centered on the cream of SRV's first three studio albums. While some of these tracks have found their way onto other releases (Live Alive, Blues at Sunrise), the show's "Scuttle Buttin'," "Voodoo Chile," "Gone Home," and "Couldn't Stand the Weather" are released here for the first time. The set's comprehensive liner notes contain new commentary from the band's Shannon and Layton, David Bowie, early confidant Darryl Pitt, and many quotes from the guitar legend himself. All history lessons should be this riveting. --Jerry McCulley ... Read more

Reviews (18)

Double disk set of live blues rock from Texas axe slinger!
This recent 2 disk set is another great live release from the vaults by Legacy. The first disk contains Stevie Ray Vaughan's first appearance at the Montreux Festival in 1982. The second disk contains a later appearance at the festival in 1985. The set contains nineteen tracks (The songs "Pride And Joy" and "Texas Flood" appear on both disks). The first disk contains an interesting set list with the inclusion of some rarely played (by Vaughan) covers of Freddie King's "Hide Away", Hound Dog Taylor's "Give Me Back My Wig" and Albert Collins' "Collin's Shuffle". The set while short (approximately 42 minutes) provided fans and musicians alike a preview of what Stevie Ray Vaughan was about. He was unsigned at the time of this first performance and while he wasn't a hit with all the fans (some even booed him), he gained the respect of musicians like David Bowie and Jackson Browne who attended this show. The musicians enabled Vaughan to further his career by inviting him to guest on an album (David Bowie) and allowing him free studio time to record what would eventually become his first album (Jackson Browne). Stevie's playing was already developed by this time and is highlighted on the Grammy nominated "Texas Flood" from the "Blues Explosion" compilation album of this festival. Vaughan's slide playing is spotlighted on the aforementioned "Give Me Back My Wig".

The second disk adds organist Reese Wynans to the band to flesh out the sound. The 1985 set is longer and contains the rare cover "Gone Home". Other highlights include the smokin' instrumental openers "Scuttle Buttin'" and "Say What!" Other notable cuts include the touching "Ain't Gone 'N' Give Up On Love" and a cover of Jimi Hendrix's "Voodoo Child (Slight Return)" which also contains bits of Hendrix's "Power Of Soul". Follow bluesman Johnny Copeland shares duties with Vaughan on the epic slow blues "Tin Pan Alley".

It is great to have both of these shows together to compare Stevie's evolution as a player during the three year interval. A drawback for some purchasers may be the fact that 8 of these nineteen cuts are previously released on various other Vaughan disks. Five of the eleven cuts from the 1985 show appear on Vaughan's "Live Alive" disk. It is interesting to compare that live disk with this one. I purchased "Live Alive" when it was first released and it was the first Stevie Ray Vaughan disk I bought. While I miss cuts like "Cold Shot" "Willie The Wimp" "Look At Little Sister" and the covers of "Superstition" and "I'm Leaving You (Commit A Crime", it is great to have a copy of rarely played numbers like "Hide Away", "Give Me Back My Wig", "Collin's Shuffle", and "Gone Home." This set also provides a contrast to the "Live At Carnegie Hall" disk with the many guest musicians and horn section. "Live At Montreux 1982 & 1985" shows the evolution of the stripped down trio or quartet versions of Double Trouble sans horn section and guests. This new set also presents the songs within the context of the actual concert set list rather than the more piecemeal approach of "Live Alive". Despite the fact that many of the cuts are previously released this set provides a good addition to Stevie Ray Vaughan's legacy.

Live at Montreux 1982 & 1985 [LIVE] ~ SRV & Double Trouble
This newly released cd is another example of Stevie Ray Vaughan's incredible ability playing live. At the 1982 show, the crowd wasn't being too kind to this unknown (at the time) incredible guitarist's amazing performance, or the effort he put into each and every note - They didn't welcome him from the moment he began his set. Even with the crowd booing him, Stevie still didn't let that affect his playing. He played strongly until the end, and left the stage upset from the little response from the audience and the constant booing.

When he returned in 1985 however, this was completely different. The crowd accepted him and loved him. He once again played another incredible show, this time a lot more confident with a great response from the crowd.

This 2 cd set is awesome for any SRV fan, any guitarist, or as a matter of fact, any body who has the slightest intrest in the blues at all. These cd's are up there with the Live at the El Mocambo show, and shows some of SRV's best live performances. I recommend this 2 disc set very strongly, as a huge SRV fan. Get a hold of it as soon as you can!

a good live album
I think this is a good live album. Many people say he's copying Jimi Hendrix, but he ain't copy. His guitar sounds very different. And in this concert he plays really well. The performances sound alike to the studio ones, but it's good anyway.

Excellent
This album is very good. He is a very good guitarist. His guitar sounds very different. In this concert he plays well. But his blues kinda turn into rockblues. The blues are hard. But it's ok. They are not that hard. I recomend it.

The best available live recordings of Stevie Ray
Well, first of all, the 1985 Montreux show is very good. The fact that several of the '85 cuts were released back in '86 on the "Live Alive" album is a bit of a drawback, but the performance itself is flawless. Stevie Ray Vaughan and his band perform superbly throughout the set, resulting in magnificent renditions of "Tin Pan Alley", "Ain't Gone 'N' Give Up On Love" and several more.

But the 1982 show is the real revelation here. I have heard all the official live albums by Stevie Ray Vaughan and Double Trouble, and this magnificent performance outdoes them all.
It is somewhat unpleasant to hear the crowd's reaction (unlike the 1985 show, Vaughan was met with indifference and even hostility when he first performed in Montreux), but the music is white-hot.

Opening with two instrumentals, Freddie King's "Hide Away" and his own "Rude Mood", Stevie Ray Vaughan plays some of the very best and bluesist guitar you'll ever hear, particularly on a smouldering ten-minute version of "Texas Flood".
He was sometimes accused of playing ten notes when three would have done the job, but that accusation certainly doesn't hold up on these fabulous recordings.
Also, his vocal performance is superb. He rocks on "Give Me Back My Wig" and growls menacingly on "Dirty Pool", and the production is excellent. Sometimes a live album will suffer from the vocals being too low in the mix, but here the mixing is perfect. And Vaughan's playing on "Pride And Joy" and "Love Struck Baby" makes it hard to believe there was only one guitar player present.

This is one of the very best live blues and blues-rock albums I have ever heard, and if you like the genre you can't go wrong with "Live in Montreux". ... Read more

Reviews (2)

One of the most powerful voices ever recorded
You have to know Odetta, and this is the best album for getting to know her -- so there you go!

Odetta has one of the most powerful voices ever recorded. Thank goodness we live in an age when we have recording capability! Just think if she had lived a century earlier -- her voice could not have been immortalized for future generations to witness.

She sings folks songs with conviction, humor, and sheer strength.

And she's actually, in my opinion, a little better as a live performer than a studio one -- somehow her passions really cut loose in front of an audience. No restraint. So this is an excellent album to start with.

Best songs to skip to when you first turn her on: TIMBER, FREEDOM TRILOGY, and JOSHUA FIT THE BATTLE OF JERICHO. Once you listen to those, you'll be properly blown away, and you can go back and get started on the rest of the wonderful album. Let those songs be your incentive!

Odetta is one of the best
Odetta sings with the voice of folk, blues, and the heart. If you own only one album by Odetta get the christmas album with spirituals. Then you will definately want to make this the second CD of Odetta's you have. I have loved this album, cassette, CD for years. Odetta is one of a kind. ... Read more

Amazon.com

Recorded live over three nights in Los Angeles in 1998, Shoutin' in Key provides an accurate snapshot of late-1990s Taj and his all-inclusive view of the blues. In fact, blues is really just one ingredient in a stew that offers hard-driving, horn-fueled R&B, gently swaying Caribbean-style rhythms, slow-burning soul, loose reggae jams, 12-bar stomps, smart jazzy grooves, and polished country-blues updates. On this album, he's most compelling the further afield he moves. His reading of Delroy Wilson's "Rain from the Sky," a Jamaican standard, is a highlight here, as is his own Latin-jazz-infused instrumental, "Sentidos Dulce." And he delivers fine readings of signature songs like "Mail Box Blues," "Corrina," and "Leavin' Trunk" as well. While he's not at his most consistently inspired throughout, there are certainly enough high points to make this a worthwhile introduction to the Mahal style. --Marc Greilsamer ... Read more

Reviews (6)

Blues You Can Use
This cleanly recorded, live set from Taj Mahal backed by the excellent, tight Phantom Blues Band, blends all sorts of musical flavors into a refined amalgam. The strain, stress, and anguish that make too many forays into contemporary blues a sure-fire ticket for a migraine are cast aside for grace, craft, and smoothness. On the other hand, there is enough edge here to add texture. In many ways, the energy, vibe, and diversity here remind me of the superb but obscure "Rust" by Kevin Brown, must more so than the largely sterile renderings from say Eric Clapton.

Everything comes together without sounding contrived or forced, and Taj Mahal, as always, marches to his own drum beat (well, actually some snappy percussion work from Tony Braunagel). Mick Weaver, a fellow who has sat in with about everybody at one time or another, handles the keyboards deftly. Danny Freeman, who cut his chops with the borthers Vaughan hits the right tone throughout, and Larry Fulcher clearly knows his way around on bass. The Texacali horns provide the bright seasoning, and Taj deftly stays out front without quashing everyone else's good time or taxing himself too much.

This recording would make a great soundtrack for a ramble through the country or a backyard cookout.

Awesome Blues
Next to Eric Clapton, I'd have to say that Taj's blues are the best around. Look no further than track 3, Ain't That Alotta Love? for the perfectly executed blues song. From the bass line to the vocals, you don't get better. This album has found its way among my short list of classics, and well-deserving. I can't wait to get the chance to see him jam live in person!

Care for an appetizer anyone? Wine, cheese and blues perhaps
Virtuosic playing and uncommonly clean sound quality aside, the diversity of material prevents this set from ever catching fire. It's a collection of appetizers that never adds up to a full meal.

Taj Mahal - Shoutin In Key
As an avid fan of Taj's work for over two decades I am sorry to say that this album misses the benchmark that Taj has set from his earlier works. The Phantom Blues band is tight and on top of it's game but Taj does not rise to the meet the rest of the band. For a really good live album check out An Evening Of Acoustic Music, recorder live in Germany.

Excellent Blues!
Excellent show of years of blues vocals and experience! Taj Mahal is a legend in his own time. ... Read more

Reviews (5)

Great Stuff Here
From the heartfelt Crossing and Come on in my Kitchen to Big Leg Mama, this album traverses alot of emotions and really packs a great blues punch. I have enjoyed this album alot and it is a great live recording, definitely worth your purchase. Taj mahal is an extremely versatile and talented artist and this live recording strongly reflects both of those characteristics.

Puts You In The Mood
At first listen, the guitar can be a little annoying, but once you get into the mood of the CD, it's phenomenal. I've never seen Taj, but would love too, this CD is why. I find one of the most enjoyable ways to listen to is on a clear night with your window open while you drift off to sleep. At the point the songs take an aural quality that is hard to desrcibe--just great though!

Well, Semi Acoustic, Anyway...
The "Acoustic" in the title is a bit of a misnomer. Taj plays an electric piano on a couple of cuts (which is fine) and his guitar sounds like it's miked through an amp with the "chorus" effect turned up to 11 (which I could have done without).

Some reviewers have panned the songs where he's accompanied by Howard Johnson (not the hotel guy) on tuba, calling them "sloppy", however, in my opinion, these are the highlight of the CD. In particular, "Cake Walk Into Town" stands out- This is a song that should be prescribed for people that are chronically depressed, as it never fails to put a smile on my face.

The CD lags a bit on "Ain't Gwine Whistle Dixie Anymo" (live or in the studio, this is a song that is always an endurance test to me to see if I can get through it) and the part where he coaches the audience on clapping in time, which I've never heard any audience do. This is one of those things that are much more fun in person that hearing on a CD, and could have been left off.

I also urge all fans of Taj and Ry Cooder to check out Austin, TX group "Bad Livers", especially "Hogs on the Highway" - Banjo & Tuba at it's finest!

Taj Mahal, singing solo is dynamite!
"An Evening of Acoustic Music" is reminescent of "A Giant Step" from the late 60's. If you loved that album (as I did) you'll probably enjoy this one too. As the Dirty Linen review points out, the cuts with Howard Johnson playing tuba are weaker than those where Taj flies solo; "Big Kneed Gal," especially, is sloppy. Despite that, the CD, as a whole, makes you feel really good. And a large part of its charm is that it hasn't been cleaned up too much in a studio. This is not a slick recording--it has a very direct, authentic quality, a kind of immediacy rare in the music world today. Its definitely not background music. Because its easy to listen to, you'll put it on while you're doing something else--only to find you're no longer doing anything but listening. Taj Mahal is just so charistmatic here he engages all of your attention.

Acoustic magic
This one's not BRAND new, but very recent & apparently only being discovered by a wide audience. LIVE Taj is a phenomena to be witnessed - ask anybody that's been on one of the Blues Cruises with him. Its tough to gauge his disks at first glance, because some contain different versions of the same songs. In his case, they're all good. This one's an acoustic gem. He does his interpretation of a Langston Hughes poem & teaches a German audience how to keep blues time. I won't waste your time with anything but something I can RAVE about. An original that exudes BLUES. One of my favorites & I have a LOT of blues disks. ... Read more

Reviews (7)

Delbert - Live From Austin
To start with, I DON'T like country music. With that said, this CD rocks. I had to try a Delbert McClinton CD after listening to Imus drone on daily about Delbert McClinton and started out with this CD. I am particularly a fan of tight bands and they just don't get tighter than his. The twangy ones I can do without but overall this CD rates a 6 on a scale of 5. And if you get the chance to see him and his band live, well, don't miss it. Pay any money. You will not be diappointed.

McClinton Rocks Austin City Limits
For lovers of good clean rock and roll with a bluesy flair, this album is one of the be