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This reissue of the Boston favorite's 1995 debut clearly highlights her greatest strength: her voice. Susan Tedeschi has been singing since she was 4 years old, and it shows; her voice has the power and control that comes from long experience. If her version of "Hound Dog" doesn't blow the top off of Big Mama Thornton's original, it's still a strong effort, and she's just as good with her own material. The title track--penned by Adrienne Hayes, guitarist for Tedeschi's band--is especially good, as the slow tempo allows Tedeschi to stretch her pipes a bit. Unfortunately, even by the release of Just Won't Burn, Tedeschi's guitar hadn't caught up with her voice, and the discrepancy is even more obvious here--there's a spark, but it doesn't quite catch fire. Still, there's no question that her heart's in the right place, and if her guitar work continues to improve, there'll be no stopping her. --Genevieve Williams ... Read more

Reviews (26)

The makings of a superstar - Better Days!!
I bought Just Won't Burn on a whim at a music store and fell in love with it the same day. I heard this woman named Susan Tedeschi with this remarkable bluesy voice that so reminded me of Bonnie Raitt. And who doesn't love Bonnie Raitt. But I discovered Susan Tedeschi is even better. Her voice has that Janis Joplin edge on tracks like It Hurt So Bad and Rock me Right.

I recently bought Better Days and love this album too though it's not quite as strong as Just Won't Burn. But that's a good thing cause we want our artists to improve with each album. That isn't to say Better Days isn't great. The title track is well written and well sung. It's an amazing ballad-like blues song. I also enjoy Love Never Treats Me Right and Locomotive. I feel the best track on this set, though, is Ain't Nobody's Business. It's pure blues and shows us just how much talent this lady has.

I recommend this to blues fans, Bonnie Raitt fans, Janis Joplin fans, and just fans of artist who really can sing. Susan Tedeschi is a superstar and should continue to get more recognition from the public especially with a bigger record label. She is currently writing and recording songs for her new album. I hope she takes her time. I saw improvement with Just Won't Burn from Better Days. I want to see improvement again. But it's difficult to improve on perfection!!!

Great music, bad production
I love Susan Tedeschi and was thrilled to get a hold of this "pre-fame" CD. It's a great CD too. Full of powerful blues that are more reminiscent of Bonnie Raitt than of Janis Joplin.

The production on this CD is really pretty spotty. The first track "It's Up to You" has a very muddy quality to it and "It Hurts Me Too" is painful to listen to on headphones with the mixing from left to right channels constantly moving. Most of the tracks however, are adequately mixed.

All in all, this is well worth listening to if you're a Tedeschi fan, but her following CD's are far superior to this one. She just keeps getting better.

A good record
Like most people, I fell in love with Susan Tedeschi after hearing "Just Won't Burn". It became the soundtrack of my senior year in high school...so I immediately bought "Better Days", and at first listen, I was disappointed. Nothing seemed to click. It wasn't bad, just okay. I set it aside for a couple months and just recently started listening to it again. I don't know why I didn't love it before! Some of the songs almost have a country feel, like the first track. Most are mellow blues, but they still rock. I can't wait for the new album!

This gal knows how to play the blues!
I first heard Ms. Tedeschi when she opened for B.B. King in his year 2000 tour. What a night! I happen to be a big fan of the blues, and when I heard those performers, I was more than impressed! But Ms. Tedeschi stood out from the rest, because she expresses such a great amount of talent. You can tell that she loves her work! She can really play the blues, and her voice is just the icing on the cake!
It's hard to say which song on this album is my favorite. It's like trying to decide which one of your children you love more. But I will say that her interpretation of "Hound Dog" is not one to be missed. I would also have to say that the instrumental work on "You're On My Hair" is great! Not to mention, she can play a mean slide guitar! (When you hear "Locomotive" you'll know what I mean). I recommend this album to anyone who has a deep respect for the blues, you won't be disappointed!

Better Days
First I heard Susan Tedeschi's CD, Just Won't Burn, and I was hooked, then I went in search of everything she's recorded, and found Better Days. I love it! She rocks you hard, and breaks your heart, and moves your soul. You know how Marilyn Monroe could where a potato sack and still looked great? Well, it doesn't matter what Susan Tedeschi sings, it's all great! She's up there with the big leagues, like Stevie! ... 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

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The premise behind this compilation is somewhat unusual: classic tracks, yes, but classic tracks recorded by John Lee Hooker... and friends. Charles Brown, Eric Clapton, Ry Cooder, Los Lobos, and Bonnie Raitt are only some of the performers who appear here, and the tracks, selected from recordings made by the prolific guitarist since 1988, show that Hooker hasn't lost his touch. Among the highlights, there's a smokin' duet with Raitt on "I'm in the Mood," a rendition of "Boom Boom" with a guest appearance from Jimmie Vaughan, and a reprise of Hooker's 1956 hit "Dimples" with Los Lobos backing up. Mention must also be made of the lone solo track on this CD, the acoustic "Tupelo," which hearkens to Hooker's Delta blues roots. There are also three previously unreleased tracks, which are probably the real reason to get this compilation. --Genevieve Williams ... Read more

Reviews (13)

Simply said, this album is a must-have for all Hooker fans.
Blues fans will be pleasantly surprised by this recording pairing the master himself with some of the finest musicians alive today. Special mention should be made of "I Cover the Waterfront" and "Don't Look Back" which feature the soulful voice and guitar of Van Morrison, as well as the familiar touch of Carlos Santana in "The Healer". Last, but certainly not least, adorers of Bonnie Raitt will love the playful duet she and Hooker provide in "I'm in the Mood".

BUY THIS CD, lower the lights, crank up the volume, and be swept away. You won't regret it.

A bluesmaster!
The photos of John Lee Hooker,at the booklet inside this cd,show us how old is this man,but no doubtly,his musics are still one of the most beautiful things at the modern blues. This album is marvellous in all the ways.The participation of artists such,Bonnie Raitt,Van Morrison,Ben Harper,Eric Clapton....is a great gift for John Lee Hooker,and all of the bluesfans! The voice of John Lee,is pure,fantastic,and .... eternally!

"Blues"
This 1998 compilation draws from John Lee Hooker's guest star-heavy Virgin/Point Blank albums, mostly ignoring the solid Hooker-songs in favour of the attention-grabbing, star-studded duets featuring Robert Cray, Bonnie Raitt, Eric Clapton, Jimmie Vaughan, Los Lobos (!) etc.

Almost all the duets from "The Healer", "Boom Boom" and "Mr Lucky" are here, the good one ("I Cover The Waterfront" with Van Morrison) and all the mediocre ones.
John Lee Hooker's original versions of these songs are almost all significantly better than these overblown re-recordings, which means (as Stephen Thomas Erlewine said in his review) that this disc is primarily for listeners who like to think they like Hooker, but really just want to hear Eric Clapton wail away.

Super CD
Absolutely a gem no doubt about it. You will not go wrong with this cd.

Some Blues Greatness Here
If you love the electric blues and blues slide guitar, this is a must-have album for your collection. Many of the songs are instantly recognizable blues patterns that have set the style for generations of blues and rock superstars. John Lee Hooker is on a par with B.B. King, Robert Johnson and other classic great blues artists. The repertoire of session musicians from the likes of Carlos Santana, Jimmy Vaughn, Bonnie Raitt, and Eric Clapton are not to be missed. John Lee Hooker set a blues standard - get this album. ... Read more

Reviews (4)

Good Stuff
I love this release, the bass lines are great... Of course Ry needs no introduction, he's always up front and sassy. If you have ever heard the likes of say John Hartford's Aeroplane... I would put the bass playin on par with Randy Scruggs (on the Aeroplane release). I can't recall the bassist here but there was this old funky, country... progressive newgrass kind of style, that you still hear, but this (along with Randy Scruggs of Hartford's aeroplane) and the New Grass Revival Releases are great examples of this style... maybe it was an offshoot of The Band's Rick Danko or Goose Creek Symphony or some other such... but it's unique.
"Crow Black Chicken" is a favorite cut, heck the whole release is real good. I bought it years ago on LP, scratched it all up, found another LP at a Flea Market then FINALLY, and thank you Ry, a CD came out. Enjoy!

Boomer's the Best
I have been a long time fan of Ry Cooder's music. Boomers' Story has always been dear to my heart. Ry's version of Maria Elena is the sweetest I've heard, gives me goosebumps! Each song on this cd (album in my day!!) is first rate. Good morning Mr. Railroad Man indeed!!! Seems to me that there is a celebration of a great many important human emotions expressed in this music, and I think I am fortunate to have shared in it all. I saw Ry Cooder in a few small venue performances in the 70's and came away with an enlightened feeling that has stayed with me through the years. This is real art, folks.

Great songs and some incredible guitar playing
I had never heard of Ry Cooder until I found out he did the soundtrack for the movie "Crossroads". I immediately bought this album and it's one of my favorites. I still get goose bumps when I listen to "Dark End of the Street" and "A Wing and a Prayer". Many of these songs were written in the pre-World War II era and I don't think the compositions were changed too much from the originals. With a bunch of great musicians though these songs give them a chance to play some incredible music.

one of his best early works
richly textured, this recording is a prime example of the future soundtrack work and the cultural melting pot that cooder has refined into an ecclectic style all his own. It draws on old tradionals,and has some really silky slide work It is one of his mellower c-d's that he sings on.It's perfect sunday morning music . ... Read more

Reviews (1)

early and dirty
By far my favorite McClinton album. Stripped down to the basics, his talent shines through much more than in recent releases. Not cluttered up with a load of guest atists. Some great R&B! ... Read more

Reviews (6)

Great music
I bought this album years ago (I have it on vinyl) after watching a special with Ry Cooder on PBS playing this music. I was hooked. I love all the songs. The gospel quartet is awesome. At the end of the TV show, he sang "Coming in on a Wing and a Prayer" and I wish it was on this album. Otherwise, I highly recommend you get this CD and if you know where I can get a recording of that last song, let me know.

Jazz
There are a few releases that stand out above the others. Jazz is certainly one of them.
It is very hard to classify the music. Is it blues, jazz, rock?
All of the above?
Whatever the genre, Ry is most definately a master. And whatever the genre, this album fits into the top 10 list of all time greats.
Don't be surprised if, after hearing it, you add it to your top 10 list as well.

satisfied and stupefied..
I'm certainly not the only guitar player out there with a smile on his face after listening and re-listening to this amazing guy..he makes the strings continue to sound long after he has left them, if you follow..I don't really resonate so much with the record's cultural bite into the history of jazz; rather I see its influence on several of my favorite players: James Taylor, all the finger-style guys...and gals, Sting, some of the Brazilian masters, etc. For me this recording epitomizes greatness and inspiration channeled through music.

Essential Ry Cooder!
Beautiful timepieces from the era of Bix Beiderbecke and Jelly Roll Morton. If this were Ry Cooder's only recording he would be legendary, but fortunately for us, Ry spends his life discovering and sharing timeless musical treasures. One of Ry's most accessable excursions into realms forgotten or obscure, Jazz' highlights are, 'Big Bad Bill', 'The Pearls/Tia Juana', 'The Dream' with Earl 'Fatha' Hines on piano, 'Flashes', 'Shine', and 'Nobody', not to slight the other fine tracks here. A thoroughly enjoyable album of Jazz Americana with a cast of peerless players.

Sensational offbeat collection of early Jazz
I love this album. It's an affectionate look at traditional jazz and blues music from the early part of the century. A wonderful dynamic recording. Humorous, poignant, all done with great sensitivity considering the politically incorrect nature of some of the material. A Cooder classic. ... Read more

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Most will be drawn to this for the throw-away solo track by Mick Jagger, "Memo from Turner." It's a troubling collection, which tends to be a fair representation of the movie, except for the always rock-solid Ry Cooder, who has since developed into an excellent film score artist. Here he offers three tracks, though none approach his best work. Randy Newman is always a pleasure, especially when not throwing himself at gimmickry, and Buffy Sainte- Marie's "Died, Dead, Red" is worth a spin. --Scott Wilson ... Read more

Reviews (9)

Before they WEREN'T rock stars
Never mind "best soundtrack;" this is one of the best records, ever. Back before Randy Newman became a Hollywood hack; before Mick became a recycled old ponce; before Ry Cooder (God bless him) became a full time archivist; before rap became an industry; before Jack Nitzche became , well, dead; this is what they were capable of. (Remember; the film was made back when Anita Pallenberg looked good ...)Every cut on this disc is masterful, rip-roaring, full of dark ecstacy. Not a throwaway in the bunch. Jack Neitzche stitched together this mad, joyous, terrifying collection. I don't think anyone has done a better job since, painting a soundscape of acid,[and] bad whiskey .... A recent quote from Charlie Manson could apply: "I was crazy back when crazy meant something."

Happy Halloween!
This is one of my three favorite soundtrack albums (along with Midnight Cowboy and Harder They Come) and it's one of the scariest sounding albums I know. The music on it is very eclectic, but it all contributes to an atmosphere of menace and dread. I assume Ry Cooder's participation led to him playing on Let It Bleed (ditto for Merry Clayton), and Memo From Turner would certainly fit on that album. Randy Newman's singing on Gone Dead Train is as energetic as I've ever hear him. (A bump 'n' grind version of this song is also on that first great Crazy Horse album.) I wouldn't be surprised if Tangerine Dream learned a thing or two from Nitzche's great orchestrated atmospherics.

Track One Artist Correction
Track one ("Gone Dead Train") should rightly be attributed to writers Jack Nitzsche and Russ Titelman, but performance credit should be given to Randy Newman (with bottleneck guitar work by Ry Cooder). Listing Nitzche isn't incorrect, per se, but confusing since the usual practice is to give the recording artist credit instead of the composer.

A favorite of mine for over 30 years
Several years ago at a Yoga class, I asked Ry Cooder about the Performance soundtrack, and he merely said "Oh, that Jack Nitzche thing?" Perhaps to many it was just a soundtrack. In contrast, I think it was a watershed piece of work. There is Ry playing his guitar in counterpoint to intense tablas more than 20 years before "A Meeting by the River" and The Last Poets heralding the birth of Rap more than a decade before the word Rap was invented. Some may not be familiar with Buffy Saite-Marrie. I was wild about Buffy when I was in high school and remember seeing her in concert when I was about 15. Unfortunately, she doesn't do much in the way of her affected tremolo vocals on this album, but her mouth bow performance has never been more creative. Randy Newman and Mick Jagger obviously need no introduction, but I have never been able to find out who is playing bass with Mick on this version of "Memo from Turner". Merry Clayton, now known mostly for her work on "Dirty Dancing" was around in 1963 with the Capitol single "It's in his kiss". Jack really gets her to belt it out - although only too briefly - in "Poor White Hound Dog".

Five Stars!! Highly recommended!!

Masterful! Classic!
An absolutely superb collection of songs, sounds and styles. Haunting, disturbing and moody - like the film it supports - "Performance" is one of those rare soundtracks that stands alone as an album. My only niggle, and this has more to do with the sequencing than the tracks themselves, is the song order. I suggest you buy this then program your player thusly:
Track 2, 4, 3, 1, 6, 5, 10, 7, 9, 8, 12, 13, 11. To my ears, this sequence makes the CD blend much better and creates a cohesive whole. But however you listen to this---BUY IT. They truly don't make 'em like this anymore. ... Read more

Amazon.com

What's still surprising about this trio is their unquenchable thirst for fresh inspiration, which they find here in songs by Bob Marley, Hank Williams, and Townes Van Zandt among others. And, after 25 years together, guitarist Wendell Holmes, his bassist brother Sherman, and drummer Popsy Dixon still have the unique ability to transform their sources, which explains why Williams's "I'm So Lonesome I Could Cry" crunches with garage-band raunchiness and Marley's "Concrete Jungle" unfolds as a folk-blues spiritual. But original tunes like the Chuck Berry-style stomper "Run Myself Out of Town" and the gentle ballad "We Meet, We Part, We Remember" prove they needn't look further than their own songwriting for great numbers that play to their long-developed strengths: gentle and soaring three-part harmonies, respect for economical grooves, and virtuosic guitar melodies. It all serves to further their distinctive blend of the roadhouse and God's house. --Ted Drozdowski ... Read more

Reviews (5)

Simply boring!
I read the reviews on this CD and based on them, purchased it. It's one of, if not the most, diappointing purchases I've made on Amazon. The production and performance quality are both marginal. I've tried to listen to the CD multiple times and can't get through it. I enjoy all types of music, but primarily listen to Blues, this CD made me blue.

'nuff sed
Saw them at the Strawberry Music Festival and...WOW! Their live performance was excellent, the next morning's gospel "workshop" sublime! The album, while testimony in itself to the quality of this band, only begins to showcase the harmonies, the musicianship, the soul of this trio. Not a skippable song among them.

Next best thing to live...
You can get this cd if the HBs aren't coming to your town, or to remember how great there were when they DID come, but don't miss them live if you can make it: More great sound comes out of this trio than you could ever believe,(if your eyes were closed).

Worth getting
I had one other Holmes Bros album which was slick & produced to death & had given up on them in spite of hearing that they are amazing live... I picked this one up & it's different! Raw, engaging & full of inspired covers. Some nice guitar, unique singing & harmonizing... highly recommended. Pick it up.

This is the real deal
If you want something that's straight from the heart and pure to the artform then you'll love this latest work from the Holmes Bros.
It's somewhat eclectic, giving you blues, old school R&B and a bit of gospel,they even cover two Hank Williams tunes doing a great job on " So lonesome I could cry "
The music is uncluttered and straight foward supporting the soulful vocals perfectly. ... Read more

Amazon.com essential recording

On this 1993 album produced by John Porter, Taj Mahal applies his revivalist instincts and remarkably pliable voice to the classic rhythm & blues styles of the 1940s through the '60s. The program ranges from T-Bone Walker ("Hard Way") and Howlin' Wolf ("Sitting on Top of the World") to Fats Domino ("I'm Ready"), Otis Redding ("That's How Strong My Love Is"), and the Four Tops ("I Can't Help Myself"). Etta James sings a duet on "Mockingbird," while guitarist Johnny Lee Schell, bassist Bob Glaub, keyboardist Bill Payne, and drummer Richie Hayward provide tight and supple studio backing. --Rick Mitchell ... Read more

Reviews (9)

Give me the Blues!
Taj Mahal gives us the blues through the years and makes it sound timeless. Every song is great, but my personal favorite is "Down Home Girl" Just makes me want eat a mess of soul food! This album is soul food!

Let's dance!
Dancing the Blues is one of my very favorite CD's by one of my very favorite artists Taj Mahal. It's great to listen to, great to dance to and every song is a living thing.

I first saw Taj Mahal in 1972 and was blown away by his performance and command and knowledge of the music that he played and sang. since then I have been lucky enough to see him two other times, on each occasion I received an education in the music as well as having an all out good time.

Dancing the Blues represents the energy, love and respect which Taj has for music. There is a wide range of music from the motown sounds of Taj's excellent version of the four top's "Sugarpie Honeybunch" (oh no I'm in junior high again)to Chester (the wolf) Burnett' "Sitting on Top of the World". I love Taj's version of Mockingbird, with the help of Etta James - there is nothing like it - I could listen to it again and again.

This is an album I strongly recommend for anyone who loves the blues.

One of the Best
This is one of my favorite albums. When I'm down, I like to play this album, and it cheers me up. It kinda reminds me of home. My favorite song on the album is "Mockingbird." It makes me want to just get up and dance. Etta James and Taj Mahal are terrific!

Very Cool Album
This is a fantastic collection of well-chosen cover tunes as well as originals. They range from the energetic workout, "Hoochi Coochi Coo" to slow blues such as "That's How Strong My Love Is" & "Going to the River". The presence of the Texacali Horns throughout the album give it a distinct 50's feel. Etta James joins Taj for a great version of "Mockingbird". There's not a weak track here. Great blues, lots of fun!

tight
taj&crew are grooving on this great disc.the songs are giving a fine touch by Taj.i've always enjoyed his guitar playing and the different styles of music that he brings into his thing. ... Read more

Amazon.com essential recording

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

Reviews (4)

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

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

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

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

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

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

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

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

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

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

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

Reviews (15)

Review of "Glamoured"
First I must write that this isn't my favorite Cassandra Wilson album. "Glamoured" is a fairly typical work for Ms. Wilson. Initially she was a breath of fresh air with her modern renditions on "New Moon Daughter", her deep melancholy on "Blue Light Til Dawn" (both stunningly good albums) and some of her unique work on Wynton Marsalis' "Blood on the Fields." But lately her albums have been sort of ho-hum. The kind where you listen to it and it sounds decent ... but you've heard Ms. Wilson before and it feels like more of the same. NOW DON'T GET ME WRONG. She is a wonderful singer, but very limited in vocal range. Her voice is musky, brooding, deep and soulful ... but she's no Sarah Vaughn. I love Ms. Wilson's voice and this album is good if you are a diehard fan OR a first time listener. BUT -- it is not all that different from other albums. Now -- she does sing a recently released song called "Vietnam Blues" by former blues/rock guitar great L.B. Lenoir and does a beautiful job. I could hear the bombs falling as Ms. Wilson sang her clearly soft and understated version of the song. She does the song immense justice. One can feel the sad juxtapostion between the words of pleading, agony and the delicacy in which she sings the tune. Well done. I think this version alone is worth the entirety of THIS album. If you want the song "Vietnam Blues" you must purchase it on the Scorsese blues CD series -- the disc is "Soul Of Man" -- which contains other gems as well. If a five-star rating is for a fantastic, must-have- album, you know ... The Beatles "White Album" ... then Cassandra's work gets 3 stars. A good, but not great album.

Miss Wilson and her players
Cassandra Wilson's new album is a bit of a mixed bag. Producer Fabrizio Sotti has ensured a much better mix than the self-produced "Belly of the Sun", on which the bass seemed stuck in the Mississippi mud. The closer of this album, "Throw It Away" by Abbey Lincoln, is a duet for voice and double bass in full splendour. The use of two basses on Bob Dylan's "Lay Lady Lay" also is a special delight. Miss Wilson is offering six new songs, some of them co-authored by producer/guitar player Sotti. "I Want More", apparently improvised more or less on the spot, is an energetic groove.
On most other songs tastefully picked guitar and discreet percussion provide an effective musical setting of the kind that Wilson fans will be familiar with (no trupets or cornets, though). Sotti mostly is a capable accompanist on the guitar. Sadly, on "What Is It?", an acid-jazzy tune that he co-authored, his Gibson guitar sound doesn't fit into the mix at all and his solo is utterly bland. Yuk! Are they going to use this song to get more airplay? I hope not.
The tracks that really take off are those featuring stalwart Brandon Ross, previously a major contributor to "Blue Light 'Till Dawn" and "New Moon Daughter" and Henry Threadgill's band Very Very Circus. He provides an accompaniment that is much more interesting, bluesy and atmospheric. The menacing mood that he creates on Muddy Waters' "Honey Bee" seems to inspire percussionist Jeffrey Haynes to greater heights, too. (During the 2003 North Sea Jazz Festival in The Hague, Cassandra introduced Ross as her musical director, so perhaps we have more to look forward to.)
In all songs Cassandra Wilson's unique low alto is deployed with the familiar devastating effect. In that respect the album does certainly not disappoint.
A final note: due to the Copy Controlled format of this disc, I experienced playback (and other) problems on my G3 iMac. Not enough memory, I suppose. Can't say I wasn't warned, but still...

Cassandra I Finally Got It
Cassandra Wilson is one of those artists whose style is understated almost to the point of laziness. It takes more than one listen to appreciate the vocal nunances that make her great but, I now dig what she's doing. I absolutely enjoyed Glamoured for the sheer vocal magic of Wilson's smokey vocals. She particularly shines on I Want More, Lay Lady Lay, If Loving You Is Wrong, Crazy, and Honey Bee. Cassandra has been doing her thing for some time ....I'm happy I finally caught up.

I'm glamoured!
What a stunningly beautiful album. Cassandra just keeps getting better and better, I think this her best album yet. The opening cover of "Fragile" is surprising and lovely, her vocals embrace the haunting track perfectly. "Lay Lady Lay" is a captivating as is the rest of the album. The last album I was this excited about was Rhian Benson's "Gold Coast" and now I see her as a young Cassandra. Cassandra's mastery of jazz inflection is mesmerizing. Yes, I love it, love it, love it!

No opinion
I have not listened to this album but I have a stack of her previous offering for anyone who wants them. Since "Blue Skies", she has been making recordings that always seem to appeal to people who only listen to the music once and think, "This must be a great artistic effort because it is so unlistenable." I've bought several of those CD's and have finally decided there's no future in buying any more Cassandra Wilson albums. Her breathless, whiskey-tinged voice is attractive and seductive, I'll admit. Her photos make her look like a Victoria's Secret model. Her spell on the critics is interesting. But her recordings (since "Blue Skies") are not enjoyable experiences. But she has found her niche and we can look forward to more of this type of output in the future. As for me, I give up. No more. ... Read more

Amazon.com

Without forsaking the bluesy base of their well-received debut, the North Mississippi Allstars soar creatively on this ambitious follow-up. Original material and a spiritual dimension distinguish the song selection, with highlights that range from the gospel call-and-response of "Ship" to the down-and-dirty "Mud," from the psychedelic squall of "Sugartown" to a harmony-laden revival of the Staple Singers' "Freedom Highway." Producer Jim Dickinson gives the music plenty of room to breathe, while his two sons--guitarist Luther and drummer Cody--refine their soul-satisfying interplay with bassist Chris Chew. As the trio continues to emphasize groove and feel over power virtuosity, their musical progression parallels that made early in their careers by the Rolling Stones, Allman Brothers, and ZZ Top--an indication that these young Allstars have just begun to stretch their wings.--Don McLeese ... Read more

Reviews (16)

Jump in the mud
The good ole boys of North Mississippi jump in the mud a second time to come up with a follow up to their much acclaimed debut cd Shake Hands With Shorty. They have followed up with 51 Phantom, a worthy effort, which remains true to the spirit of the blues and maintains the garage band vitality of the band.

The North Mississippi Allstars are a threesome of young musicians consisting of the Dickinson brothers Luther, on guitars and vocals and Cody, doing mostly drums and vocals and their bud, Chris Chew on bass and vocals. These young men are able to produce music while remaining true to delta blues roots, presents it to the modern ear and has the joy and exuberance of a youthful garage band. I just want to join in the fun and start dancing.

51 Phantom differs from Shake Hands in that 9 of the eleven songs are originals written by the band. These songs are resplendent in images of the south complete with snakes hanging from trees to Mississippi mud to the Southern Gospel meeting. Included on the cd is a Junior Kimbrough song "Lord Have Mercy" and "Freedom Highway" a song from the civil rights era, by Pops Staples.

I believe they will be a force in helping to renew young peoples interest in the blues and i hope that this will be just one more of many cd's from them. So sink your feet into the Mississippi Mud with the Allstars and enjoy their interpretation of the delta blues, garage band with licks of Allman Brothers thrown in.

One Step Forward, One Step Back
I'll start off by stating that "51 Phantom" is not as strong as the North Mississppi All Stars' superb debut "Shake Hands With Shorty." And yet, that's not necessarily a bad thing. The debut featured all songs by classic blues artists, albiet most of them with the rock energy turned way up. On "51 Phantom" the band themselves wrote most of the songs, which is a necessary progression for any artist that hopes to be around over the long haul. They may not quite have the touch of there elders (yet!), but what they've produced here blows away any of their wimpy Matchbox 20 peers.

The best song is probably "Storm," a first rate southern rock number worthy of The Allman Brothers. "Snakes in My Bushes" shows that NMAS has a good sense of humor. "Freedom Highway" gets political without going over the top, and "Mud" is a scorching rock song that sounds like Metallica meets Molly Hatchett. Overall, "51 Phantom" is not as successful as NMAS's debut, but that doesn't mean its a failure either.

2nd time works again
The Dickinson brothers and bassist Chris Chew dredge up tons of earth from the riverbank with powerhouse crunching rhythms as they build up a legacy to old blues masters and their roots. Staying more closely in line with traditional blues, the All-Stars sound more like early ZZ Top in the distortion-fractured "Sugartown," but stay at home in the heat of the Delta ("Lord Have Mercy" and "Leavin'"). Like Huck Finn's pappy, someone must have had a frightful case of alcohol-induced nightmares to see "Snakes in my Bushes." The message of "Freedom Highway" stands out for its clarity of purpose and focus, and since these guys are marching for the cause, you'd better check out www.nmallstars.com and www.tonecool.com to see where to catch the bus. Get onboard, y'all, and ride the 51 Highway!

Less 80s, more blues
Their first album, Shake Hands with Shorty, was badass. This time around, they got away from the rockified blues (and R.L. Burnside) and went more mainstream rock and roll. The only problem for me is that the rock and roll sounds way to 80s glam rock. Example: the laser-beam sound in the background one of the tracks. That's 80s, not blues, and way too cheesey.
Recommendation: buy their first album, skip this one.

One of the best young blues bands
The second cd from this band shows them branching out musically while still keeping true to their blues-rock roots. There are bits of gospel, soul, and even some hints of reggea on some of these songs. This is better produced than their first album and even though the songs are shorter and more compact the musicianship still comes through loud and clear. This new outing shows the band is growing. ... Read more

Reviews (7)

another guitar god
Another master class in guitar playing. Ronnie Earl plays a sort of improvisational style of blues / jazz with tinges of SANTANA and other wordly flavours. He may use some familiar phrasings but always infuses them with enough EARL to make them his own.
Some of the songs on this CD seem to be improv sessions and leave the musos with room to move within the loose structure of the compostion, allowing each of these outstanding talents to shine. Just like the listener, these guys are having tons of fun, and isn't that what musik is meant to be all about. Some of the slower pieces bring tears to your eyes, as they are loaded with emotion and RONNIE's guitar is crying in the most pitifull way. If you like the guitar, you simply must have this mans musik. RONNIE EARL is unique in his styling and approach and should therefore be in any guitar fans collection.

An incredibly versatile guitarist
Without going into a blow by blow description of every song on this CD, I would like to say that Ronnie Earl is one of the most talented and versatile guitar players I have ever heard. At times he can remind you a bit of Carlos Santana, but most of the time you just think, "Man, I have never heard anything quite like this before". Ronnie is probably best known as a blues guitarist but this work (and some of his others) goes much further, exploring the boundaries where the blues meet jazz. The rest of the players are also top notch. Ronnie seems to recognize this, keeping his playing within the context of the songs and allowing others to stretch out as well. For kicking back and relaxing after a hard week at work or to add just the right touch to a romantic environment, this music is hard to beat. We never leave for a beach vacation without a couple of Ronnie Earl CDs along for the ride.

An incredible album
I wish I could sum this album up in one sentence, but I can't. It's so many things: romantic, powerful, intricate, blistering.. Especially appreciated are Anne's Dream, Mother Angel, I Liked That Thing You Did, and Everyday Kinda Man. An amazing album that I never get tired of. Goes very well with Stevie Ray Vaughan (Best of) and Robert Cray (Take Your Shoes off).

Excellent Jazz/Blues CD!
COLOUR OF LOVE FEATURES AS SPECIAL GUESTS, JAZZMAN HANK CRAWFORD (RECENT CD: CRUNCH TIME) ON SAX, GREGG ALLMAN (ALLMAN BROTHERS) ON B3 AND VOCALS ON ONE SONG, JAI JOHANNY "JAIMOE" JOHANSON (ALLMAN BROTHERS) ON DRUMS AND MARC QUINONES (ALLMAN BROTHERS) PLAYING PERCUSSION.

COMBINING THESE TALENTED MUSICIANS WITH THE BLUES GUITAR OF RONNIE EARL RESULTS IN A REALLY NICE BLUESY JAZZ RECORDING WITH LATIN, ALMOST SANTANA LIKE, OVERTONES. IN FACT, INSTRUMENTALS LIKE "BONNIE'S THEME" WILL HAVE YOU CHECKING THE LINER NOTES TO SEE WHETHER CARLOS SANTANA IS ACTUALLY PLAYING ON THE CD. HE'S NOT!. WHAT YOU WILL SEE HOWEVER, IS THAT EARL DEDICATES THE ENTIRE CD TO CARLOS SANTANA, DICKEY BETTS (ALLMAN BROTHERS) AND JAZZMAN PAT MARTINO ALL OF WHOSE INFLUENCES ARE WEAVED THROUGHOUT THE CD.

IN ADDITION TO THE OVERALL CD DEDICATION THERE ARE INDIVIDUAL NUMBERS DEDICATED TO JIMMIE VAUGHAN, ANNE FRANK, PETER GREEN, KAY LANDRY AND ALBERT COLLINS. THIS CD IS TOP NOTCH AND WILL BE ENJOYED BY BLUES FANS, JAZZ FANS, SANTANA FANS AND PEACH HEADS ALIKE. 5 STARS.

A not-so-old Blues Fan
This album was thrilling to listen to, especially if you had heard this artist in his beginning at a place called Bunratty's in Allston, MA. This kind of passionate guitar playing is what will keep the Blues alive for a long, long time. You've done well Ronnie! Give us more please. ... Read more

Amazon.com essential recording

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

Reviews (14)

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

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

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

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

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

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

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

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

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

Amazon.com

This 2 CD set represents the best introduction to Hooker's trademark sound: one- and two-chord vamps delivered with a hypnotic, perpetual boogie rhythm and accented by reverberating staccato runs and intense foot-stomping. With his deep, rich voice, Hooker electrified the blues of the Delta, bringing the stark, brooding sound to the city and influencing scores of rock musicians. Most of his highlights are here: from early Modern classics "Boogie Chillen," "Crawlin' King Snake," and "House Rent Boogie"; to Vee-Jay singles "Boom Boom" and "Dimples"; to 1966 Chess work with Chicagoans Lafayette Leake and Willie Dixon;to 1971 collaborations with rockers Canned Heat;to performances with modern blues stars Roy Rogers and Bonnie Raitt. --Marc Greilsamer ... Read more

Reviews (9)

As Close as It Gets!
Let's get one thing straight: as of today 09/15/03, there is no "ultimate" John Lee Hooker collection. But with 31 of his best tracks, this Rhino mini-box comes the closest to Hooker nirvana. (There is a 10-CD set, Epitath, but since it would take a week to listen to it once, I'll pass.) The problem with compiling such a collection is implied in Boogie Man, Charles Shaar Murray's fine biography. Hooker recorded for a number of different labels, especially in his early days, and also under a variety of different names (John Lee Booker, John Lee Cooker, Little Pork Chop, etc.), so it takes a lot of legwork to figure out just which recordings were made by Hooker at all, much less obtain the rights to rerelease them. (Murray spends almost half the book on such detective work.) Therefore, such classic gems as "The Flood" and "Whiskey and Wimmen" are not included in this set. Still, it's a very good attempt. Rhino has chosen to start the collection with the track "Teachin' the Blues," which is an aural primer on how he created his unique sound. Thus educated, the listener can then move on to such primal tunes as "Boogie Chillun" (A live staple for virtually every major blues band from Canned Heat to Savoy Brown, this was the number Hooker chose to perform in a guest spot on the Rolling Stones Steel Wheels tour in the eighties.), "Crawling King Snake" (covered wonderfully by the Doors), "Boom, Boom" (the Animals), and his reinterpretation of an Amos Milburn song, here entitled "One Bourbon, One Scotch, One Beer (which, when combined with John L's House Rent Boogie, was very well covered by George Thorogood). He recorded several such reinterpretations, most notably "Frisco Blues" (In this case, he reportedly didn't try to get the correct lyrics to Tony Bennett's famed "I Left My Heart in San Francisco;" he just sat down and recorded his own off-the-cuff rendition.). In conclusion, there is plenty of John Lee Hooker's best stuff here to warrant a recommendation; it's just not as "ultimate" as his most devoted fans would want it to be.

One of the best available overviews of the Hook's career
So why "only" four stars?
Well, the music is great, but Rhino could certainly have found room for more than 31 songs on two compact discs. And why include two versions of "In The Mood" when songs like "I'll Never Get Out Of These Blues Alive", "Onions" and "Old Time Shimmy" are missing?

The sad thing is that there are really no John Lee Hooker-compilations on the market that truly get it right. Either they're too short, or they're limited by the fact that the compilers were only able to chose from recordings made for one particular record company.
This one is the best of the lot in my view, though. It almost gets it right (although the missing "Never Get Out Of These Blues Alive" is a pretty big minus), and the sound quality is very, very good.

(If you're not against spending a little extra, you might want to look for the fine Vee-Jay compilation "The Early Years", which also spans 31 tracks, and MCA's "The Best Of John Lee Hooker 1965-1974" instead of this album. Those two will satisfy almost everyone. And if it doesn't, there's always the ten-CD "Epitaph" box set.)

Rhino Captures the Hooker.
This is such a nice set.

Almost a primer for the new fan, and a refresher course for seasoned vetrans...John Lee is well portrayed on these very nicely remastered cuts.

Disc 1 starts with his solo accoustic stuff...

"Teachin' the Blues" is a classic blues gem, and this is a great cut of it.

Disc 2 features gritty, rocking cuts of legendary blues tracks including Hooker staples like "Boom Boom," and "One Bourbon, One Scotch, and one Beer."

If you think you like Hooker, this is your starter kit.

If you love him, this little portable collection completes the set.

There is also a 2CD set from Tomato Records that closely mirrors the titles on the Rhino collection but uses different cuts. It is grittier, and poorly produced, but makes a wonderful companion peice to the Rhino set.

Boogie, Chillun.

Good tunes, but compilers show lack of respect for music
This is the first John Lee Hooker album I've ever bought. I love the music, but as a product, it's not worth the price. Originally, I couldn't decide between this and a couple other compilations. I went for this one because it had good reviews and seemed the most complete. I was dismayed to find out that, although there are lots of tunes, many of them fade out right in the middle of the song for no good reason. There was plenty of room left on the disc to have the songs in their entirety (less than 50 minutes of music out of a possible 75?). Personally, I think that fading out tunes like that shows a complete lack of respect for soloing and arrangement. In addition to this, the liner notes are are less than thorough and not too interesting. I would recommend finding another recording of this fine artist.

Now I got this rent, let's have a ball!
People who know nothing about any kind of blues and blues afficionados alike will have a ball with this collection of some of the finest moments of Hooker's long career.

Many different styles and a whole array of production values are laid down chronologically in order to give one a linear idea of Hooker's output.

So many great moments exist on this puppy that I will not begin to list them. There is lots of treasure here - that's for sure. ... Read more

Amazon.com

For years Ted Hawkins sat on a milk crate on the Venice Beach boardwalk in California and passed the hat. Although he strummed an acoustic guitar, he was not a blues or folk artist; he was a soul singer in the fashion of his biggest hero, Sam Cooke. On Hawkins' first major-label release (though his sixth album overall), that passionate soulfulness in his raspy voice and insistent guitar still dominates the foreground, even though producer Tony Berg has tastefully mixed in supportive musicians. Readers have good reason to be suspicious when critics hail an obscure street singer as a major talent, but Hawkins, who died shortly after this record's release, was the real thing. If Cooke himself had bounced in and out of p