Amazon.com

Sonny Landreth's 10-year career as a leader has always seemed tenuous, because he's a one-dimensional singer and only an adequate songwriter. But these 12 numbers run deeper than his previous recordings. Like much of his catalog, they straddle the worlds of blues, Cajun and zydeco, and New Orleans party music, but the blues dominates. And that gives the conflagrant Mississippi-born and Louisiana-raised slide guitarist plenty of fuel. So he burns liberally at every turn, from the acoustic resonator guitar that opens and closes the disc to the percolating funk of "Hell at Home" and the Allmans-like, riff-driven intensity of "Fallin' for You." "A World Away" is this album's tour de force, with Landreth summoning soul from the seldom-used soft side of his voice and slow, moaning guitar lines, whose steel-on-steel cries echo the resigned heartbreak of the lyrics. The CD's sterling production puts Landreth's guitar front and center, which reaffirms the former John Hiatt and Clifton Chenier sideman's instrumental mastery. --Ted Drozdowski ... Read more

Reviews (17)

What a surprise!
I have always recognised that Sonny Landreth is one of the best slide guitarists around. However I have never been a "great" fan of him because I am not too much in "tune" with zydeco or cajun kind of music. I like it but it is not my passion, I prefer to listening to other genders, and the one that I like the best is the "blues". I bought his new CD because I read the above editorial review and apparently it would have been more focused on the "blues" rather than on other stiles. In his previous album "Levee Town" I found a song that from my point of view, or for my taste if you prefer, by it self worth the price of the entire CD: "Broken Hearted Road" a very solid traditional blues played with intensity and passion. As soon as I received the delivery from Amazon I put this record in my CD player with a lot of hope but also with a touch of scepticism. What a surprise! From start to finish this is a great blues collection! Other influences are still present of course, however blues rules this time. The opening track "True Blue" is a masterpiece and it gives you an immediate flavour of what is about to follow. Not bad songs on this CD, no a single one. Sonny shows his ability in playing slide but also "traditional" stile guitar as in the blues-rock oriented title track. Excellent guitar work throughout the entire album, excellent singing, excellent band, excellent mix and production. I can't possibly find a weakness on this CD. I just love it from start to finish. As far as I am aware this is one of the best blues release of at least the last 12 months (and maybe more). I think that we already have, so early in the year, a very serious contender for the "best traditional blues album" award when time will come. I hope that Sonny Landreth will continue following the "road he's on" and that with his next one he will be digging even deeper into the "Blues". I can't rate this CD less than five stars!

SONNY IS AWESOME!
We just returned from the Fort Smith Blues Festival after witnessing Sonny Landreth perform. We purchased the Road We're On directly from him. Buy it, buy the others too! If you are a guitar fan, you'll no doubt admire the incredible, magical talent of Sonny Landreth.

He combines blues, cajun zydeco and rock and roll to his OWN unique style.

I've seen many slide guitar players in my life, but Sonny IS the MASTER!

Heaven To My Ears
From the first notes of "True Blue" to the last chords of "Juke Box Mama," this release is heaven to my ears. Landreth has always been applauded for his musicianship, but often knocked for his lyrics. He gets them both right this time around.

From up-tempo rockers to slow burning blues, a lot of territory gets covered expertly on these tracks. As always, Landreth displays his chops as one of the best slide guitar players in the business. These tunes are more than guitar theatrics, though. There is more of an emphasis on the big picture. This music is a result of the fine art of song craft.

Lyrically, the mood of each song is enhanced with great metaphors and story telling. On "True Blue" you feel the pain as Landreth sings, "The hurt is pourin' down on you / You got to dig down deep to find / Strength to shelter you through." It is a tale about suffering and finding the strength to move on. "Hell at Home" conveys a little ditty about a domestic disturbance and global warming seems to be the topic of "The Natural World." Of course, there are a few tracks that you just want to crank up and who cares what he is saying! A well-rounded release from this incredible fret burner.

Astonishing!
It gets better and better.

Astonishing!
Sonny has kicked into high gear with his new release. Remarkable in every way musically. Recording is a little weak...too much overhead mic on the drums and then turned to mush in mastering by listening on a small Genelec monitoring system...Goddess forgive them for they know not what they do. None the less, get this CD and go to Guitar Player Heaven. ... Read more

Amazon.com

Ry Cooder has long had an interest in other people's music, from the blues and gospel of black America through classic jazz and the music of Cuba. Even by this standard, his meeting with Mohan Vishwa Bhatt is certainly a departure. He is neither a serious student of Indian music nor in any way a master of its intricacies. Yet on his improvised session (this album was recorded without rehearsal in one evening), he and Bhatt truly collided musically and created moments worthy of the world-music Grammy they received for it. Bhatt is an iconoclastic character himself. He plays a modified box he calls the mohan vina that is a hybrid of a classical Indian instrument and slide guitar. He is long trained in the arduous classical style, yet his work has always demanded a lot of freedom. His duets here with Cooder are completely unique, liberating both artists from the usual constraints and creating a new musical style that is unlikely to be repeated or imitated. --Louis Gibson ... Read more

Reviews (21)

Toure collaboration is better
I accidently bought this album thinking it was the Ali Farka Toure collaboration, which I had heard before and loved. This one was a little bit of a let-down. There are only four songs, and only one of them could I really distinguish from the others, Ganges Delta Blues. The album is a little short in play time, and a little short on imagination. Ry is a master of understatement with the guitar, and his playing just can't be heard or affect in any way Bhatt's music. It's a "Meeting by the River" alright, but these two fellas jumped in together for a swim and I'm afraid poor Ry drowned.

Subtle beauty is inspiring, also imparts tranquility.
This album contains a particular mix of Western and Asian instrumental styles that I had not heard elsewhere. The playing is lyrical, sensitive, and subtle. While there is a strong, moving rhythmic line underneath the melodies, that is very engaging, the album has a meditative feeling. It restores a sense of peace and optimism after I have had a hard day. Since purchasing this album, I purchased another by Ry Cooder, and listened to other albums by V.M. Bhatt. This effort by V.M. Bhatt is more successful than some of his other ones. I am also keeping an eye out for other offerings on this label. This album exemplifies some of the best qualities of World Music. The artists blend different musical cultures very deftly. There is a keen sense that they are conversing with one another. They reassure me that personal and cultural boundaries can be transcended.

good slide work
It helps to have listened to Indian music before. You can easily get fatigued by it, if you've never heard Indian music.

Cooder's slide work is really nice. You'l hear the typical blues music in the back ground and it somehow blends with Bhatt's raagas. Bhatt is pretty good as usual.

Isa Lei
"Isa Lei" is my favourite piece on this cd. It is a FIJIAN farewell song, not Hawaiian like most people tend to think. Being a Fijian myself, I couldn't help but cry when I first heard Ry Cooder and Bhatt's rendition.

a Great Fusion
The blending of Ry Cooder's guitar with Bhatt's instrument is an
exquisite exercise in world music fusion. Tasteful delta sounding passages intertwined with Raga like statements are built into four very listenable pieces that had this listener returning again and again. ... Read more

Amazon.com

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

One of the more creative, successful tribute albums, A Vision Shared was originally released to coincide with a PBS program that premiered in 1988. Packing some serious heavyweights onto one CD, the record features covers of Guthrie and Leadbelly tunes by, among others, Little Richard, Brian Wilson, Bob Dylan, Bruce Springsteen, Sweet Honey in the Rock, and U2. The 14 tracks consist of mostly well known tunes, and it's fascinating to hear what the artists have done to them. Particularly exciting is a supercharged version of Leadbelly's "Rock Island Line" by Little Richard with Fishbone and U2's take on Guthrie's "Jesus Christ." --Ian Landau ... Read more

Reviews (8)

A vision to the past! Wonderful
I can't think of many tribute albums that work great, but I thoroughly enjoy this tribute to Woody Gutherie and Leadbelly aka Huddie Ledbetter. If you aren't familiar with their music, just listen, you will feel the presence of these musical greats. They had powerful lyrical ballads. And what they had to say is clearly from different cultural backgrounds. Woody Gutherie's folk ballads told of the depression and the journeys traveling across the country heading west to escape the Dust Bowl, while Leadbelly's music reflected on the work songs of poor farmers and immigrants.

Musical superstars are featured here, recorded in 1988, and featured are some wonderful music and captivating stories like the a capella rendition of Leadbelly's "Sylvie" by the beautiful harmonies of Sweet Honey in the Rock. Dylan's "Pretty Boy Floyd"; John Mellencamp "Do Re Mi"; Bruce Springsteen sings "I Ain't Got No Home". Equally entertaining are Willie Nelson singing "Philadelphia Lawyers" and Arlo Guterie's "East Texas Red". Emmylou Harris with her perfect sweet voice is mesmerizing in "Hobo's Lullaby" ....can't you hear the steel rails humming?"

A booklet comes with this CD, and read about Bob Dylan's encounter with Woody Gutherie. Dylan passionately studied who Gutherie was and learned the songs. Dylan said when Gutherie's health was failing he met him and sang Gutherie's own songs to him. Dylan called himself a "Woody Gutherie jukebox."

This is a tribute album that is very entertaining with informative historic storytelling songs and music you can sing along with. I love it. MzRizz

A rare breed: the quality tribute album.
Can't stand tribute albums. Hate 'em! But this little beauty really shines. The secret is in the wide-open, folksy nature of Woody Guthrie's and Ledbelly's work--they wrote songs that are *made* to be sung by other folks, made to be reinterpreted and resung by new generations. The other secret is in the line-up here: great talents, from top to bottom.

When this lp came out in the late 1980s I bought it on a whim. I was in my late teens, and didn't know much about the music. I don't even know why I bought the album. But time and time again, I played it instead of my rock and punk albums. I really endured for a couple of years. I don't play it so often anymore, so I had to give it four stars.

Not much to criticize here: Little Richard//Fishbone's tune is out of place--it's kind of a sour moment in an otherwise sweet ensemble. Willie and Emmylou shine, as do U2. But the album's true gem is by Bruce: "Vigilante Man." It's one of the best recordings the Boss has ever set to vinyl.

Fans of folk, folk-rock, country-rock, southern-fried rock, and alt.country should line up for this one, but even a teen like me who was into punk rock can saddle this horse up for a good long ride.

You Must Buy This...
This is one of my all-time favorite recordings. Much of the music is truly timeless, and they're many wonderful performances. Highlights for me include Springsteen (I Ain't Got No Home), U2 (Hallelujah...not the Cohen/Buckley/Cale version either) and best of all, John Mellancamp (Do Re Mi). I could have done without Arlo Guthrie (heck, I can barely stand to listen to Woody either) and most especially the Brian Wilson cut. God is he awful.

Excellent Compilation
To my mind, the problem with many 'tribute' albums revolves around the selection of particular musicians to perform particular songs. They often do not match well. In this case, the selections were excellent. The result is a wonderful CD that brings out not only the best of Guthrie and Leadbelly but also of the artists covering their songs. Sweet Honey in the Rock open with a warm, evocative rendition of Sylvie. Bob Dylan's Pretty Boy Floyd is as good as Dylan has ever sounded. It is reminiscent in tone and content to his own Hurricane Carter. Little Richard's Rock Island Line was terrific as was U2's Jesus Christ. Springsteen, Taj Mahal, Willie Nelson, Emmylou Harris and Arlo Guthrie round out the CD with other excellent tracks. It evokes the era in which the songs were written. The CD is well worth buying.

Had to have it...
I borrowed this album from my Father-in-Law for a Folk music show I was preparing. After raving about how much I enjoyed it I shouldn't have been surprised when my own copy showed up at Christmas.

This album pays tribute to two great pioneers who truly paved the way for Rock and R&B. The blending of Folk and Blues is easy to listen to and the stories are tremendously compelling.

If you have any interest in Folk or Blues, pick this up. ... Read more

Amazon.com's Best of 2000

Powered by producer Jim Dickinson's sons Luther and Cody, this trio brings the hard-driving Mississippi hill-country style of blues-boogie to the jam-band generation. What's amazing is how they are able to stay true to the spirit of the blues perfected by idols (and neighbors) such as Junior Kimbrough and R.L. Burnside while advancing the style in fresh and thrilling ways. --Marc Greilsamer ... Read more

Reviews (57)

The most exciting rock/blues band in years
The North Mississippi All Stars accomplish on this exquisite album what Elvis Presley did on his Sun Sessions; a perfect fusion of black and white music styles. The difference is that whereas Elvis merged the blues with 50's country and pop , the All Stars merge the blues with rock'n roll as it has evolved since Elvis "invented" it on those Sun sessions. One can hear traces of modern country, 60's rock and even hip hop rythms on the first cut, Mississippi Fred McDowell's "Shake'em down". The most amazing thing about this CD is that none of the songs are originals. They are all covers of great blues classics by Mississippi Fred McDowell, R.L. Burnside or Junior Kimbaugh and yet, they sound nothing like the originals. Another common trait with the King's Sun recordings. It is no accident that two of the band members are relatives (sons?) of one of the greatest southern American musician and producer, Jim Dickinson. These guys obviously know their roots.The guitar playing is stunning and mixes electric and accoustic in perfect harmony. This is music at its best. Raw, gritty, creative, fun, deep...superb.

Traditional blues from a brilliant new band
So many of today's new young blues artists, while obviously displaying plenty of chops, usually sound like something's missing, that feel, that edge that blues music is supposed to possess. Thankfully, the North Mississippi Allstars have arrived to deliver that true blues energy in spades on Shake Hands With Shorty.

You only have to hear the opening track, the stompin''Shake Em On Down', to notice that the North Mississippi Allstars are so mired in the Delta muck that you can smell the swamp stink on the opening slide guitar riff. The band, consisting of guitarist Luther Dickinson, drummer Cody Dickinson, and bassist Chris Chew brilliantly, raucously update the old Fred McDowell tune with samples, distorted guitar, and pounding drumming. The song is almost Beck-like in its genius.

The album's one slight disappointment is that the band doesn't consistently provide such an incredible combination of traditional sound and sonic innovation. Several songs come dangerously close to sounding like an overindulgent Phish jam , and their cover of the classic 'K.C. Jones' is basically a straightforward rehash of Furry Lewis' original 78 (which can be heard on Harry Smith's Anthology Of American Folk Music). Still, the few weaker moments are good, worthwhile listening.

Along with 'Shake Em On Down', the other high points on Shake Hands With Shorty are 'Goin' Down South', where the band's blues is at its roughest, and 'All Night Long', which develops into an extended, energetic jam that manages to keep the listener interested all the way through.

Overall, Shake Hands With Shorty is one fun album, great for driving or lazy summer nights, evoking the loose, relaxed atmosphere of an old juke joint.

Great Debut, Not Flawless
I should preface this review by saying that I am a fan of the traditional delta style of blues; thus I am predisposed towards liking this album.

With that said, this really is a terrific album, and I would highly recommend it, with a few qualifiers.

First of all, the album can seem rather repetitive given the nature of most of the songs (7/10 written by the same two ancient bluesmen), and at times this can grate on the listener. Given my interest in this kind of blues, I was not bothered by the repetition, because it is so well done. Those not fully converted to this school of music may find it tiresome after the first listen.

Secondly, (this is inherently related to the first qualification), the album is not diverse with regard to the material. There is only one real departure from the old blues music, "K.C. Jones" which presents an interesting story set against a relatively technically proficient blues-country background. The rest could be one extended blues medley; whether this is good or bad is contingent upon the listener.

To summarize, this is an awesome album within a specific, and very defined, discipline. If the listener is not committed to this type of music, most likely he or she will not really enjy this c.d. If the converse is true, get ready for a great debut!

keeping the blues alive for a new generation
I think it's great that these guys are getting some attention. They're awesome. They put on a great show (even if they're sound equipment is almost unbearably loud). Being a North Mississippi native, it sometimes seems a little unreal that these guys are as well-known as they are. But they're very talented musicians with a fresh (to my generation) sound. BUY THIS ALBUM!

Fun, gritty swamp rock/blues
Incredibly talented musicians play a great set mixing southern rock, blues and other influences. ... Read more

Amazon.com

Never mess with a good thing; Kenny Wayne Shepherd certainly hasn't. There's no appreciable stylistic difference between Live On and its predecessors, Trouble Is... and Ledbetter Heights, except that Shepherd's guitar work here sounds more assured. All of the other usual ingredients are present--a full, crunchy guitar sound, a tight rhythm section, mature-sounding vocals from Noah Hunt, and the usual assortment of uptempo rockers and slower, sweeter numbers. If Shepherd seems to be edging closer to the rock side of the blues-rock genre, it's hardly surprising given that's where he's had his greatest success. And if the result doesn't seem to quite transcend genre boundaries, it is, at least, a high-octane, energetic effort. --Genevieve Williams ... Read more

Reviews (68)

Holy shades of Hendrix, Batman!
Aaaaarrrrgggghhgh. I liked what I heard of Ledbetter Heights. I thought Trouble Is... was a worthy effort despite its being overly derivative. I still find Live On an enjoyable, high-energy slice of blues-tinged rock. However: I still hear Stevie Ray Vaughan, Eric Clapton and Jimi Hendrix all over this disc, and I don't mean just the cover of "Them Changes." For a first record or two, it's understandable that a new artist will have some influences on his sleeve. But since this is Kenny's third album and (to my ears) he's still doggedly following in the footsteps of others, never taking a step in his own direction, I have to notch down an extra star. This is an album full of hot licks and fiery riffs, and I can't shake the feeling that I've heard them all before.

Am I being too harsh? Maybe. If you like hard rock with a touch (or more) of the blues, this is some fine stuff. Kenny's put together a smoking band and Noah's vocals have just the right blend of power and grit. A few nice breathers are thrown in amidst the thunder; "Electric Lullaby" is nicely muted and dreamy. "Was" starts out muted and swampy before thumping into a killer groove. Peter Green's "Oh Well" is kicked into space with hyper rocking force. The overall musicianship is a notch above Kenny's previous work as well (and it doesn't hurt that a few top-notch guests pop up, including Les Claypool and Double Trouble). I still wonder what the KWS band will sound like when/if Kenny lets his own voice as a writer & performer grow beyond his predecessors. In the meantime we've got these flawed little gems to enjoy.. but I for one prefer the original over an imitation.

The sound of some Rock & Roll masters "Live On"
On the band's 3rd album, Kenny Wayne Shepherd continues to play some wicked electric guitar and prove he is a great songwriter too. Influenced by the styles of Stevie Ray Vaughn, Clapton, Hendrix, and the Allman Bros, this kid's rock & roll blues are raw, loud and generally highly charged. He even throws a few very well written ballads in the mix here. This is my type of rock & roll. Lead vocalist Noah Hunt, who has a voice beyond his years, adds to the jam, and together these guys rock throughout the entire CD. Although the CD is energetic, it doesn't even come close to the energy these boys generate in concert. (I'll reserve their five star rating for their release of a live album). Buy the CD first, THEN see them live.

The released singles "In Too Deep" and "Last Goodbye" are good but I like the intensity of the lyrics and the jam on a song called "Was" which features Kenny on a steel guitar. I'm hoping this song is the next released single.

I consider the music these guys play a tribute to some of the great rock & roll masters and Kenny Wayne certainly has the creative energy to sustain this musical blend of rock & roll blues. More studio time, time on the road and years of experience will allow their own individual style to evolve, so they can take the music where some of their influences didn't live to take it.

HOLY MACKEREL!!!
This guy can jam!. Buy his CD's!! If you get the chance to see him and his band live GO!!! - a true talent. I am so thankful that he is making this music as there are not too many out there. I was devasted when we lost Stevie Ray Vaughn. Now look, so young Kenny Wayne Shepherd, so gifted and devoted to the guitar...just think of how awesome he could become. LIVE ON Kenny Wayne, you are totally fantastic!! I dance like a maniac to all of your CD's when no one is watching!!! ;)

Live On - Kenny Wayne Shepherd Band
This release, Kenny's third, finds him leaning towards the rock side of things. It seems as if Kenny is starting to become more mature on this record, playing more economically than on the first two cds, "Ledbetter Heights" and "Trouble Is...". Noah Hunt's vocals are very good on this record also. He makes the transition well from hard rockers like "In 2 Deep" to slower numbers like "Last Goodbye" to blues wailers like "Shotgun Blues". This whole record kicks from top to bottom; every song is great. People who say he still sounds like Stevie Ray Vaughan on this cd I don't agree with. Honestly, can anyone imagine Stevie doing a song like "In 2 Deep"? I think Kenny's songwriting and guitar playing drastically improved on this record. Maybe now he's finally ready to step out of Stevie Ray's shadow when his new album drops in the first week of September. Highlights are the hard rocking "In 2 Deep", the Skynyrd-meets-Robert Johnson "Was", the ballad "Last Goodbye" and the absolutely beautiful, Grammy-nominated "Electric Lullaby".

IDIOTS
ITS A RCOK ALBUM . PERIOD ! GOOD PRODUCTION , EVERYONE SOUNDS TIGHT VOCALS THRU THE DRUM TRACKS ! IF YOU INTELLECTUAL BISCUITS WANT TO ANALYZE GUITAR PLAYING LISTEN TO S HENDERSON , MIKE STERN ,TAL FARLOW , JOE PASS OR WES . THOSE GUYS PLAY ! ... Read more

Reviews (13)

Give this man his due...
I will never understand how this great Texas R & B master can languish in near obscurity while a certain balding mullet headed white "soul" singer of very modest abilities reaps the rewards of ripping off the blues. Oh well, Delbert sings about not worrying about things like that, so I guess I won't either. This CD is a booty beater right from lift off. The rockers here propelled by Bonnie Raitt's wicked slide guitar and Delberts superb singing and harp playing. Dig his version of Tyrone Davis' '60's soul hit "Can I Change My Mind?". Delbert's serving notice here on all the the imposters, "this is how to sing soul music, ya'll. Fans of Blues, Country, Soul, and rocknroll, this man can do it all with the grace and power available only to a few. Get as much Delbert as you can find because you havn't been rocked enough.

Have a little faith in Delbert...
I agree with an earlier user review - Delbert Mcclinton is a seriously overlooked and underappreciated talent.

I'd rate this CD very highly just for the great version of "Have a little faith in me," but the entire disc is just plain supurb.

Just the right mix of Blues, Rock and Country provides a disc that is worth every penny of the asking price.

"Everytime I roll the dice" is a rollicking blues tune, and starts this disc out right. "I used to worry" is a great tune, and just confirms that Delbert isn't worried 'about things like that.' "Miss you fever" is the typical 'sad you are gone (and I probably chased you away)' song, but from there you've got "Why Me" to pick up your spirits and start you rocking.

My personal favorite is "Have a little faith in me," a song that I think of when I hear "If I should fall behind" (performed very well by Springsteen and the E Street-ers and by the exquisite Faith Hill).

"Never been rocked enough" follows that and continues this great disc toward several more great tunes.

Well worth the asking price, and an excellent addition to any CD collection.

Not Enough Straight-Up Blues
This CD is a good CD, but, depending on the cut, a little (or a lot) too R&B, reggae, cross-over pop, or rock sounding for my taste. I was looking for a good, solid blues album by McClinton. After a couple of listens, I don't consider this to be it, despite other customer reviews by blues afficionados who apparently do (and whose reviews influenced my decision to give it a whirl). Of the 11 tracks, I count 3, or maybe 4, tops, that have a true blues sound, and, even then, 2 of them are really "blues light." Of the 3 or 4, "Blues as Blues Can Get" is really enjoyable -- with Paul Shaffer playing Wurlitzer. Again, it's a good CD, and McClinton's lyrics are often clever and playful, but if you're looking for what I was looking for, I'd skip this one.

Delbert McClinton Scores Another Winner
Delbert McClinton is a Texas singer-songwriter and harmonica player who has been making great music since the late 1950's. He made his first big public splash playing harmonica on Bruce Chanel's "Hey baby" and legend has it that he taught John Lennon some of the rudiments of Blues harmonica playing. His songs have been covered by dozens of other recording srtists and has had a career that has spanned decades and shows absolutely no signs of slowing down.

"Never Been Rocked Enough" is an absolutely solid album by an absolutely solid performer. Delbert's back-up musicians are as tight as you can expect. The songwriting is a s strong as always and Delbert's singing is absolutely a joy to listen to. As always, his harmonica playing shows the years he's spent perfecting his craft.

This is a very nice effort by a great artist. I definitely recommend it.

Rockin' Bluesman
Delbert McClinton's NEVER BEEN ROCKED ENOUGH was a 1992 release, but the album is one that keeps on giving. If the listener wants a quick pick-me-up jumping beat, the CD delivers that. And if the listener wants a soul-stirring wonder-of-life-and-love moment, Delbert delivers that as well. NEVER BEEN ROCKED ENOUGH is a great introduction to Delbert's music for a first time listener. Delbert is a bluesman with a foot in the past and an eye on the future. As a result, his brand of music is timeless.

Born in Lubbock, Texas, Delbert never has tried to stray far from his blues and Western swing roots. He cut his teeth working roadhouses in Texas along the Jacksboro Highway, quietly lining up work as a sideman on other artists' albums. His first CD, VICTIM OF LIFE'S CIRCUMSTANCES, set the tone for much of his music. Several CDs have followed, including ONE OF THE FORTUNATE FEW, LET THE GOOD TIMES ROLL, HONKY TONK 'N BLUES, THE JEALOUS KIND, and 2001's Grammy Award-winning NOTHING PERSONAL.

In NEVER BEEN ROCKED ENOUGH, Delbert kicks off the CD with "Everytime I Roll The Dice", a slow grooving toe-tapper that became a Top Ten hit. "I Used To Worry" is a blues testimonial to the inevitability of the world delivered with a sarcastic wink. In "Miss You Fever", Delbert reaches into his vocals bag to hand out a tune in a hoarse and hurting voice echoing with the haunting feeling of sitting on a barstool far too long hurting the way everyone who has loved and lost hurts. Delbert wrote "Why Me?" and the background vocals are by Tom Petty, and the song kicks up the CD's overall tempo, hooking the listener solidly and reeling him or her in. "Have A Little Faith In Me" brings the listener back to earth, chaining him or her to the softer emotions, and Delbert's harmonica work underscores the hope the words offer. Then Delbert kicks the doors open and delivers "Never Been Rocked Enough", a tune that he wrote and that drives directly to the fun-loving rocker that co-exists with this bluesman extraordinaire. "Blues As Blues Can Get" is a soft and easy blues talker that speaks of pain and loneliness. Moving back into an up-tempo beat, Delbert delivers "Can I Change My Mind" but stays with the insecurity and pain of relationships. Sounding a bit like a gospel song, written by Delbert, "Cease and Desist" is a sexy and fun romp. "Stir It Up" is a cover of a Bob Marley song, and Delbert dishes a soulful sound that warms the heart and inspires hope. Singing with blues sensation Bonnie Raitt, Delbert blasts out "Good Man, Good Woman", which earned both singers a Grammy Award, and ends the CD with a solid blues feel and Delbert's haunting harmonica work.

NEVER BEEN ROCKED ENOUGH is a great addition to any Delbert McClinton sound library lacking this CD. For the blues enthusiast, the CD is also a definite keeper. Fans of Bonnie Raitt's work will definitely want to check out Delbert McClinton because they've both got the same long past deeply enmeshed in the blues scene and constant flirtation with the crossover pop crowd. ... Read more

Amazon.com essential recording

Ry Cooder may have been an in-demand session guitarist in the late '60s, but what set him apart in his early solo career was his extraordinary, if eccentric, taste in songs. Here he explores the repertoires of everyone from Johnny Cash to Bahaman folk master Joseph Spence to Leadbelly with enchanting results. While Cooder's vocal skills are no match for his slide guitar and mandolin talents (the latter showcased splendidly in "Hey Porter" and "Billy the Kid"), he's an amiable singer who resists the temptation to camp it up, even when essaying such antiquated oddities as "FDR in Trinidad" and "Taxes on the Farmer Feeds Us All." --Steve Stolder ... Read more

Reviews (7)

The Return to the Purple Valley.
Ry Cooder has shown us a wide variety and diversification of musical influences since this 1972 release, but to me, this is his best effort. I love the broad range of musical influences that he has taken over the years, including the commercially successful Buena Vista Social Club, however, Into the Purple Valley is where he is at home. From beginning to end, this album carries such a magical feel, particularly the struggles of the poor and oppressed from a long ago era, however, seems to give us an indication that maybe our own "blues" maybe waiting around the corner for us all. ( You must remember that Nixon was in office when this was released...need I say more?). My personal favorites are "FDR in Trinidad", " How Can a Man Stand Such Times and Live", and the ever amazing rendition of "Vigilante Man". I love Mr. Cooder's travels into the realms of other cultures and rhythems. Through these venture, he has broadened our knowledge and appreciation for the sounds and rhythems of our world through the eyes and ears of those who we would have otherwise never known or heard. However, I feel that there is more for him to explore and interpret from The Heart of America and to give his own special stamp of originality. To those of you who have never heard "Into the Purple Valley" have no hesitation in going out immediately and purchasing. It will become one of your very favorites. And To Mr. Cooder, when you grow weary of world travels, come on back to the Purple Valley. We will all be waiting for you.

I wish I had this CD
I purchased this CD a year ago, right about the time when I was, coincidentally, doing a history project about the Dust Bowl. It provided the perfect backround music for it, and I have loved it ever since. In my mind there are no weak tracks, with the possible exception of Teardrops Will Fall, which I did not care for at first, but has grown on me. What amazed me the most about this album was the diversity within the particular style of music Cooder is dealing with. I normally group music like this under the term "down home," but on this disk that can range from folk to blues, or even a bit of calypso. I unfortunately lost this CD, along with Chickenskin Music, on a Continental Airlines flight this summer (and was rudely accomodated too), but I am sure that I will own it again in the near future.

The essential Ry Cooder
My brother brought this album home in the early 70's on vinyl. There was a production problem with this album and it seemed every copy we bought (must have been 3 or 4) skipped badly. You can tell we enjoyed the music.

The first 20 times we were forced to listen to it, the music and the words grated, it was a different sound. After that we found ourselves humming the tunes, whistling the music and looking for more work by the artist.

Nowadays, people ask me 'who was that?' instead of 'can we please listen to something else?'. While you might be better advised to start with 'Bob till you drop', 'Paradise and Lunch' or 'Chickenskin Music', Purple Valley remains a classic Ry Cooder Album.

Catchy tunes, wonderful guitar, lyrics which will roll you over and make you want to sing them yourself. 'I want money honey'.

Besides which, on CD it doesn't skip anymore.

Bringing History to Life
Leave it to guitar virtuoso Ry Cooder to tackle the Dust Bowl Era, the Great Depression, and the plight of sharecroppers in America. Into The Purple Valley is Cooder's musical take on John Steinbeck's The Grapes Of Wrath: impoverished farmers traveling to the Land Of Opportunity (I'm assuming that 'purple' means 'grape,' or the Napa Valley of California). Sounds pretty depressing? Not exactly. Into The Purple Valley is honest: musically and historically. The majority of the eleven songs are pre-fifties standards, but instead of updating the songs, Cooder captures the music (or perhaps the desperation) of the time. Outdated by contemporary standards (whether seventy-two or today), Into The Purple Valley is an inspired reworking of thirties and forties American music.

Desperation and misery are at the center of 'How Can You Keep Moving,' 'Hey Porter,' and 'Vigilante Man.' What picks these numbers out of the melancholy doldrums and lifts then into the blissful clouds is Cooder's mesmerizing guitar work: his technique is majestic. The bass-thumping R&B song, 'Money Honey,' reminds me of the "High Maintenance" ladies whom I have met, but couldn't afford. 'Teardrops Will Fall' shines with a heavenly angelic choir. Cooder makes the 'Denomination Blues' sparkle with (I don't believe it myself) a xylophone! His finger-sliding technique on "Vigilante Man' is breathtaking. Studying this period of history in school is often dry and boring. Into The Purple Valley brings history to life.

Better that the first...
Running a little longer than the first album and ditching some of the bugs that slightly marred it (the strings being one), "Into the Purple Valley" shows Ry Cooder coming into his own. While tackling most of the same issues and types of songs from his debut, "Into the Purple Valley" takes a more direct and stripped down approach to the music. He also takes on a few more musical styles with the gospel influenced Teardrops Will Fall and the calypso flavored FDR in Trinidad. While people claim that "Paradise and Lunch" was his greatest album, this one, his first true masterpiece, should not be ignored and was certainly a springboard for his more delicious mix of musical variations. ... 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

One of the more woefully underappreciated blues artists of the last three decades, Taj Mahal has consistently made great records that combine his extensive knowledge of roots music with a refreshingly non-elitist sensibility. Giant Step/De Ole Folks At Home from 1969 was Taj's commercial high point, and it's easy to understand why. The first half of the album (originally released as a two-record set) features Taj and band blending rock, pop and blues on songs like "Take a Giant Step," "Give Your Woman What She Wants" and "Good Morning Little Schoolgirl." The second half is more laid-back and down-home, with Taj essaying solo renditions of "Fishing Blues," "Stagger Lee" and "Light Rain Blues" on banjo, harmonica and acoustic guitar. The most effortlessly enjoyable record of an effortlessly enjoyable career. --Dan Epstein ... Read more

Reviews (4)

A Great American Album
Taj at his best with a GREAT band , but Jesse Ed Davis III ,-alone-, is reason enough to need this cd. His perfect string bending solos and fills are backed up by his own keyboard work,(Taj himself makes -no- apparent instrumental contribution on tracks such as the classic re-working of 'Six Days On The Road'), and the songs are marked down in the liner notes in his artful handwriting. He manages to use modern effects,(for the time,such as guitar through a Leslie speaker), and still sound down-home all the while, and played impossibly difficult riffs with such grace,relaxation, and musicality that he could easily be taken for granted. Davis is a great forgotten American treasure,(perhaps best known for the fills and solos on Jackson Brown's 'Doctor My Eyes', {but even -that- was thirty years ago}, he was favorite of Eric Clapton and George Harrison).

A Unique Experience
If you've never heard him before, it's hard to describe Taj's music. He's usually labelled as a blues man - but his music is a mixture of all kinds of folk traditions - including american, african, and caribbean. I've seen him live several times - he's intelligent, articulate, warm, and has a great sense of humor. He plays a wide range of instruments - most often guitar or banjo. There is something truly special about him. His songs are usually playful and infectious - you just can't help tappin' your toes and humming along. He's recorded a number of great albums, but Giant Step has always been my favorite. The CD includes both albums in the original vinyl release, Giant Step and De Ole Folks At Home. On Giant Step, Taj is backed by a small group of electric blues musicians (featuring Jesse Ed Davis on lead guitar). On the more down-home De Ole Folks At Home, he plays solo, accompanying himself on guitar, banjo, and harmonica. My favorite song is "Take a Giant Step" - it's a tender look at rediscovering love. There's something about this song that captures Taj's essence - it's simple and direct and honest. Taj is a unique soul - his music always makes me feel good.

Landmark Recording
Taj has contributed a lot of great music over the years he's recorded music but I keep coming back to this one. A lot of critics have termed it a "blues" recording but it's really more than that. I see it as a very enduring document of American folk music...not Dylan...more like an audio history of rural southern America...the subjects he deals with are those dealt with daily in the rural south by the common man living there. There are a number of songs that work their way into your mind...simply irresistible tunes...you find yourself humming them at the oddest moments... If you only buy one Taj Mahal recording, make it this one.

Still A Classic After 30 Years!
Originally released in 1969 as a 2-album set, this is one of Taj's best discs! Now it's all together on 1 CD, so no more album flipping and swapping. The first 9 tracks are electric blues band based, with Jesse Ed Davis on lead guitar. Some of the excellent tracks on this portion are: "Keep Your Hands Off Her", "Gonna Need Somebody On Your Bond", Dave Dudley's "6 Days On The Road", "Give Your Woman What She Wants", "Bacon Fat", and a great bluesy version of The Monkees' hit "Take A Giant Step". The "De Old Folks" portion of the disc is solo Taj singing & playing banjo on such classic turn-of-the-century "down home" country-fied black tunes as "Colored Aristocracy", "Fishin' Blues", "Cluck Old Hen", "Stagger Lee" and "Candy Man". A wonderful disc by one of the most underrated blues artists of the past 30 years. Loads of fun to listen to, and the band plays in great ensemble on the electric stuff. Still a classic after 30 years, and still one of my favorites by Taj, or any blues artist. ... Read more

Amazon.com essential recording

This 1976 effort contains some of Cooder's most compelling work and findshim reexploring some of the fundamental influences on a musician known forremarkable eclecticism.Most notable are "Always Lift Him Up," "Smack Dab in theMiddle," and a beautiful adaptation of "Stand By Me" (which includes Flaco Jimenez onaccordion.) The album opens and closes with covers of Leadbelly, namely "TheBourgeois Blues" and (you guessed it) "Goodnight Irene." Also notable is a fine reworking of the traditional number "I Got Mine." --Wayne Pernu ... Read more

Reviews (13)

slack key playing will leave you slack jawed
Ry Cooder should get some kind of U.N. award for 'world music' just for his efforts to record with treasured 'world' musicians over the years. This session includes Flaco Jiminez cutting up on the conertina and Gabby Pahinui (who's since passed) playing Hawaiian slack key guitar. Oh...you don't know what slack key sounds like? Pilgrim, here's your chance to get hep, it's not too late. Great backup vocals, and guitarplaying that would the angels weep. Great album.

A Combination of Conviction and Zeal
The cover art is vulgar and absurd, and 'Chicken Skin Music' is a bizarre title. Those who aren't frightened by atherosclerosis know well that the tastiest part of fried chicken is the skin. And one of the most tasteful guitarists in popular music is Ry Cooder. He can make the instrument cry with jealousy (He'll Have To Go) or sing praises of joy (Always Lift Him Up). And as absurd as the cover and title, Cooder's Hawaiian treatment of the blues and R&B sounds like a foolish endeavor. Few musicians could pull off such a combination with conviction and zeal - Cooder does both.

For those unfamiliar with Ry Cooder, he sings like a Southern black man. His "white boy singing the blues" voice is natural and convincing, as convincing as, say Randy Newman. His treatment of the blues and R&B is, by all standards, traditional. Cooder makes no attempt to add a contemporary shine to 'Chicken Skin Music.' 'The Bourgeois Blues' is loose and ragged: Cooder's combined banjo-bottleneck guitar break is dazzling. The pro-gambling song 'I Got Mine' features a clever horn arrangement. The R&B 'Smack Dab In The Middle' has plenty of spunk and funk. Cooder plays tiple and slack-key guitar on the light dance number 'Chloe.' I don't recognize either of the instruments, but in Cooder's hands, they're luscious. Overall, 'Chicken Skin Music' sounds like Ry Cooder got together with a couple of his buddies to "make" not "sell" music. Cooder and the boys make some terrific music.

Cooder's Vision of American Roots Music
Ry Cooder is one of my all-time favorite artists. [One of my first amazon.com reviews back in 1999 was for Cooder's classic PARADISE AND LUNCH.] And CHICKEN SKIN MUSIC is right there at the top of my list of favoirte Cooder albums. While he's spent the better part of the last two decades doing soundtrack work, this album displays his encylopedic knowledge of musical styles. He's also a gifted mulit-instrumentalist (bajo sexto, mandola, mandolin, even accordion, in addition to being a superb guitarist. Also, Cooder relies on a wealth of talented session musicians, including Jim Keltner, drums; Flaco Jimenez, accordion; and Chris Ethridge, bass.

The album opens and closes with a couple classic Leadbelly songs, "The Bourgeois Blues" and "Good Night Irene." In between he covers gospel ("I Got Mine"), Tex-Mex ("He'll Have to Go," "Stand By Me"), Hawaiian ("Yellow Roses, "Chloe"--both actually recorded in Hawaii, with native musicians Gabby Pahinui and Atta Isaacs), and all of it filtered though Cooder's vision of what constitutes the roots of American music.

In his liner notes, Cooder states, "For me, this album reaches a level of real understanding and mutuality in music." It is one of Cooder's most satisfying albums. HIGHLY RECOMMENDED

Polaroid
A very nice effort from one of the most respected guitar players around. I'd say this resembles hawaiian folk music with strong US blues/rock influences, allthough the voice and guitar-playing of Ry Cooder and his companions really takes it all to another level. There's nothing new, nothing exceptional to be found here - it's this record's spirit that really drives it forward.
Oh, and just a comment to the previous reviewer; I think the cover art of this album fits the music quite nicely. It's a picture of a skeleton having a go with what seems to be a hawaiian woman - giving the record an edge while still justifying some of the more strange fusion stuff going on here.
Just my 2 cents off course.

A child's intro to his parents' music
I'd read a concert review of Ry Cooder in Rolling Stone; sounded fascinating, so I bought this Chicken Skin thing that'd just come out. Here I was tryin' t'stay hip with Dylan & Beatles solo mat.

He'll Have to Go was such a tear-jerker, you wished he could've recorded it with Jim Reeves. Always Lift Him Up: later this would be called world music (as opposed, I'd reckon, to non-world music), but back then it was just a loving confluence of modern pop & creaking standards.

This was basically a child's intro to my parents' music, although I think they thought Cooder was making fun of it, because of his off-kilter & animated singing. It was also my intro to jazz, really, & I never again looked to Dylan or Beatles for hip. ... Read more

Reviews (18)

Great Blues playing and historical value
Croassroads the soundtrack is an invaluable source for early blues afficianados.Ry Cooder has surpassed himself with this soundtrack for the equaly engrossing movie.
Pity though that the duel between Macchio and Vai is also not on the soundtrack, as this would have made it even better and more popular.
The soundtrack is rather short clocking in at around 37 min.
Maybe one day some bright spark may reissue it with the missing tracks added.

What the f**K
One of the previous reviewers was going on about real blues and all that but im just guessing people weren't buying a film soundtrack for real blues they were buying it for what you expect to get - music from the film. The complaints arent about the type of music but that fact that a piece music that plays a big part towards the end of the film was missing. If people wanted real blues theyed have ended up buying albums by BB King etc (if they didnt already own a few).

Ah, the wonders of marketing!
Just wait until August, and buy the DVD. The 'soundtrack' only has just over 30 minutes of music on it, and omits some of the good stuff! If you simply MUST HAVE it, by all means, go ahead. As for me, I'm using my copy for a coaster right this minute.

The missing "Cuttin' Heads" Guitar Duel
This soundtrack is an excellent display of Ry Cooders considerable talents. But to own the final guitar showdown between Cooder and Steve Vai, purchase Vai's Elusive Light and Sound Volume 1 to hear one of the greatest examples of blues and rock guitar.

Disappointment
The soundtrack was a total disappointment since I purchhased it entirely for the last track featuring some awesome guitar. I will be returning it tomorrow. ... Read more

Album Description

This Album includes All versions of Stand Up In It which hit #1 on Billboard for several weeks and as of 2004 April is still #1.All includes Stand Up In It Part 2. ... Read more

Reviews (1)

Theodis Finally Gets His Due
The single "Stand Up In It" has been Number 1 for months on Southern Soul charts + charting Number 1 in Billboard's R & B sales charts and number 68 on the Billboard R & B Hot 100 chart. It joins Clarence Carter's "Strokin", Marvin Sease's "Candy Licker", Mel Waiter's "Hole iN The Wall" & others as one of the biggest songs on the "chitlin circuit". Finally Theodis' label got around to releasing a full album containing "Stand Up In It" (in three verions, clean, explicit & "Stand Up In It Pt. 2"). First the good news: This album is excellent througout- Grade A soul & blues songs like "Bluesman Lover", "Lil Brown Eyes", "All My Baby Left Me Was A Note, My Guitar & A Cookie Jar", plus new songs like the dancers "Move With The Motion", "If You Keep Rockin'", "Don't You Wanna Party". There's also duets with Francene Reed ("Baby You Got What It Takes") and Chick Willis ("You've Got To Hurt Before you Heal"). The only (semi-) bad news is that if you bought his 2002 cd IT'S A REAL GOOD THANG you already have half the songs on STAND UP IN IT. Nevertheless, the remaining songs make it a necessary purchase. ... Read more

Amazon.com

Few blues artists have achieved as much crossover success as Robert Cray. Though it's not infrequent for blues purists to proclaim a dislike for his work, his skillful blend of blues, R&B, and soul has undeniable appeal. Heavy Picks is the first retrospective of Cray's recording career, tracing the route from his early, semi-independent recordings through his final dates for Mercury Records. The collection includes some of Cray's best material, including "Smoking Gun," "Playin' in the Dirt," and "Bad Influence," which testify to his strengths as a songwriter. One of the few blues musicians to have videos on MTV, Cray's style has a consistency that's helped ensure his longevity in the pop and blues arenas. At 14 tracks, Heavy Picks is also a nonintimidating introduction for newer fans. --Genevieve Williams ... Read more

Reviews (13)

Robert Cray: Blues for the masses
I was 14 when Strong Persuader hit the stores, and after seeing the video for 'Smoking Gun,' I ran out to the store and got my very first blues album. Since then I've expanded my taste in Blues (and music) considerably, but I still really enjoy the plucky stacatto riffs that poor, unlucky Bob treats his listeners to.

Lots of purists dismiss Cray. They shouldn't. Cray's guitar work - especially on his earlier tracks - is fantastic. The arrangements worked out betweeen the four piece band and the Memphis Horns are balanced and attentively performed. And best of all, Cray makes the blues accessible and enjoyable to all of his listeners. Not everyone can listen to Muddy Waters, or Howlin' Wolf, or even Buddy Guy without getting an introduction to the genre first. Cray provided that introduction for me, and these days I hear those three artists (and others) lurking in the background of Cray's work.

So, if you're new to the blues, or want to turn a friend on to the blues, this would be a great choice for you. And if you're not new to the blues, this would be a great choice for you, too; as long as you could give poor lonesome Bob a chance.

Good Compilation
This fine compilation covers Cray's career from 1980 to 1997. "Blues-Oriented R&B" is how Cray labels his music in the excellent liner notes, and that's what you'll get. Add Cray's superb guitar playing and you have a prime sample of the above musical phrase. At 14 songs this hits all but one of his albums up to 1997's Sweet Potato Pie. Oddly, one album is missing representation: 1995's fine Some Rainy Morning. Surely, Mercury could have included a track like "Never Mattered Much" as this CD clocks in at just under 60 minutes. Still, if you think you're interested in Cray and aren't sure where to start, this is the one. Then go and buy other CD's like Strong Persuader, I Was Warned, False Accusations and Don't Be Afraid of the Dark.

Too slick for my taste
"It's not infrequent for blues purists to proclaim a dislike for [Cray's] work", the editorial review says.

Well, that's probably because Robert Cray's bland and watered-down take on the blues is so far removed from the sweaty, swaggering power of Muddy Waters and the intensity of Howlin' Wolf and Elmore James that it barely qualifies as blues.

I must admit I never made it all the way through this album. Sure, there is a good moment or two, like Cray's take on Willie Dixon's "Too Many Cooks", but most of these songs sound so slick and so similar, more like the kind of MTV pop that some people have the audacity to call "soul" than actual blues.

I'm probably being unfair (no, I'm not). But I just have to warn people who associate the word "blues" with men like Robert Johnson and Son House that this ain't it.

Deep Pockets
Heavy Picks is a 14-track retrospective that spans Robert Cray's brilliant recording career. Early independent label cuts like Phone Booth, Too Many Cooks, Bad Influence, and Playin' in the Dirt provide wonderful insight into the amazing song writing potential of "Young Bob" and demonstrate why the Robert Cray band was a college radio favorite. The 1986 release of Strong Persuader on the Mercury label marked an important milestone in Robert's recording career; more importantly, it helped spark a major blues revival. Cray's blend of blues and Memphis soul, combined with the Fabulous Thunderbirds straight ahead, Gulf Coast style and Stevie Ray Vaughan's merciless intensity, brought blues to the MTV generation. While hair bands like Quiet Riot, Motley Crüe, and Poison were prancing around stage in women's clothing, singing about the clichés of adolescence, Robert Cray released overtly adult themed songs like Smoking Gun, Strong Persuader, and I Guess I Showed Her. With the Grammy Award winning Strong Persuader, Robert's ability as a guitarist became the talk of every guitar-geek magazine on the newsstand - and rightly so. His percussive attack, amazing timing, and hip phrasing landed him a deal with Fender guitars that resulted in the production of the "Robert Cray" model Stratocaster. With both critical and commercial success under his belt, Cray was free to developed as an artist. With each recording subsequent to Strong Persuader, Robert has made the story the most important aspect of the song; consequently, the guitar has often been cast in a supporting role. Robert Cray is brilliant as a songwriter and often genius as an instrumentalist but what makes him special is his ability to deliver lyrics. Tracks like I Shiver, the Dream and Forecast (Calls for Pain) are testaments to Cray's awe-inspiring talent as a vocalist. Robert's dynamic voice effortlessly produces the hollers, moans, and melismatic leaps characteristic of the great gospel singers in the Southern tradition. As a result, Cray is able to confidently approach songs like the Otis Redding classic, Trick or Treat and deliver it with an earnest authority. I was Warned, the final track of the album, is perhaps the best, most defining tune on Heavy Picks. This dark and brooding minor rumba is Robert Cray at his very best. Layers of guitars frame the poignant melody as Cray recalls the warnings of his friends regarding the love of his life. In a classic moment of irony, Cray sings, 'whether they're right or wrong, at least the mystery is gone.' Throughout his career, Cray has suffered from categorization. His music is found under the category of blues in most record stores but purists more often than not scoff at this classification. They insist that his music is not the blues in a traditional sense but, while they may have a point, it is a shame to overlook the casual brilliance of Robert Cray as a singer, songwriter, and instrumentalist. Cray may not be the torchbearer of the blues as many had hoped following his work with Albert Collins and Johnny Copeland on the Alligator release, Showdown, but he certainly represents a continuation of the legacy cr