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Duke Robillard's command of guitarist T-Bone Walker's flashy but fluid style--full of rich passing chords, rippling melodies, sweetly sculpted bends, and elegant jazz-influenced phrasing--anchors this 12-song tribute to the pioneering electric bluesman from Texas. But it's obvious that Robillard has absorbed every detail of Walker's music. The horn arrangements are lush and, when muted trumpet and clarinet enter the mix on "I'm Still in Love With You" and "Born to Be No Good," downright sensual. Every track swings, from the revved-up guitar showcase "T-Bone Boogie" to the slow, simmering heartbreak ballads "Blue Mood" and "Love Is a Gamble." And Robillard emulates the bold, declamatory side of Walker's singing style with husky power and authority. Although no substitute for T-Bone's own high-voltage recordings, these tracks are a winning testimonial to the durability of Walker's creative genius. --Ted Drozdowski ... Read more

Reviews (1)

T-Bone would approve!
He's been a part of Roomful of Blues and The Fabulous Thunderbirds. He's cut a number of very fine solo recordings including two collaborations with Herb Ellis. This one is a labor of love. "Blue Mood" is a tribute to and the songs of the great guitarist T-Bone Walker. I didn't know how much an influence T-Bone was on Duke until I picked up a T-Bone Walker collection. Duke is a master of T-Bone's stylish, fluid, swingin style. Recommended if you're a fan of either gentleman. Very well done! ... Read more

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Every photo included in Big Wide Grin's booklet has Keb' Mo' looking just as pleased as punch. The material on his fifth album is likewise overwhelmingly cheerful, a series of upbeat meditations on family life that, while occasionally idealized, are usually refreshingly realistic. It's this realism, the implicit understanding that families are frequently assembled out of far-flung components rather than adhering to some nuclear ideal, that makes Grin such a winner. That principle informs songs such as "I Am Your Mother, Too," addressed to an adopted child, and "Color Him Father," about the entrance of a stepparent into a family. The whole album is, in fact, a family affair, with members of Mo's family occasionally pulling background-vocal duty. Big Wide Grin is a summertime album for those still young enough to have the summer off. Fortunately, there's just enough bittersweet mixed in to keep the result from Pollyanna-hood. After all, what's the point of being reminded to count your blessings if you don't realize that that's what they are?--Genevieve Williams ... Read more

Reviews (37)

Keb' Mo' is all I need.
On Big Wide Grin, Keb' Mo' reaches right out and touches my very soul. With heartfelt renditions of such classics as Gamble and Huff's "Love Train" and Sly and The Family Stone's "Family Affair," Keb' Mo' redefines the term "cover" -- these songs take on new meaning with his unique interpretations. "Color Him Father" had me crying, and the voice of Kevin Moore II -- Keb's son? -- on Joni Mitchell's "Big Yellow Taxi" brought a big wide grin to my face. His versions of such classics as Bill Withers's "Grandma's Hands" and Stevie Wonder's "Isn't she Lovely" rival the originals. Touches of pure joy include "Everybody be Yoself" and "The Flat Foot Floogie," and the three original songs are some of Keb' Mo's best. Rounding out this terrific collection is a blues version of "America the Beautiful" -- wait 'till you hear it.

fun kid's album without being hokey
I am a fan of Keb Mo and was glad to see he made a kid's album. As a mother of twins, I'm trying to find music that we all can listen to. Avoiding the silly albums out there isn't too hard, it just takes a bit of research. I want my boys to be exposed to all kinds of good music, and Keb's album is one I put on often. He has a great voice, and the upbeat songs are fun to dance around to. (My boys love watching me dance and do hand movements to Love Train.) I like that he includes a wide definition of family. The grandmother's hands song is wonderful and sweet. By the way, for Keb fans he has a wonderful lullaby on Just Like You album. If anyone is looking for other kid's albums, another good one is Jazz for Kids with real jazz singers like Ella Fitzgerald, Nat King Cole, Louis Prima etc. singing fun jazz songs.

Not the typical Keb Mo...
I read over the reviews and observed mixed emotions about the material on this CD. I purchased this blindly and without reading about any of the songs on it, not realizing this contained mostly covers. Disappointed, I had thought about giving it away or returning it, but I have decided to keep it, for I am hoping that it will grow on me. Nothing wrong at all with the material on it, I like his interpretation of "Grandma's Hands" "I am your Mother too" and "Big Yellow Taxi". It's just not the typical Keb Mo we've all come to appreciate. It is a family CD. However, instead of criticizing him for having his son appear with him on the CD, I think it's cool. That's the great part about making a name for yourself, you're able to take some liberties and do what you like, instead of doing what the record companies tell you to do. For that, I give him 5 stars. And I will have to add that this music is full of love, and if you're a true fan of Keb... well, then you will appreciate his celebration of: "Life...love...family..."

Huh, what happened to Keb' Mo'?
I'm a big fan of Keb' Mo'. He's one of the few really new voices in blues, if you can even define what he does in that fashion. This album is a HUGE disappointment. I actually came online to see if maybe this was a children's album--at least one way to excuse what he did. Save your money, please.

Certainly Not What I Expected...
I'm truly a die hard Keb' Mo fan but this CD is certainly not what I expected. Keb's earlier work is outstanding but this... I am sorely disappointed. After listening to it I definitely didn't have a "Big Wide Grin." ... Read more

Reviews (5)

The best of Buddy Guy's Chess sides
If you're only going to buy one Buddy Guy-album, I'd probably go with Rhino's career-spanning "The Very Best Of Buddy Guy".
But this one is pretty much a must-have as well. Rhino's disc does include a handful of Guy's Chess sides, but his years at Chess were arguably his best period, and this excellent 15-track compilation brings together the cream of the crop.

These classic 60s recordings burn with unbridled passion - just listen to the smouldering slow blues "Leave My Girl Alone" and "I Cry And Sing The Blues". George "Buddy" Guy is one of the very few bluesmen whose vocals (occationally) match the intensity of the great Elmore James, and his guitar playing is superb - an obvious source of inspiration to men like Eric Clapton and Stevie Ray Vaughan.
Also, the sound on this anniversary compilation is magnificent. Excellent transfers and spacious stereo mixes make these forty-year old recordings sound as sharp as anything you'll ever hear coming off the laser beam. If you are into 60s electric blues, this is a must-have purchase.

smooth and smoking
Buddy Guy is THE definiition of the blues. This album is a collection of the Chess recording years and is one of those albums i can put on and let run straight through. The first song on the album "Worried Mind" is a great lesson in "less is more" guitar soloing. "I found a true love is buttery smooth and "leave my little girl alone" is a blues classic. If your not convinced that this is a great album just remember that Stevie Ray Vaughn and Eric Clapton considered Buddy one of their biggest influences.

If you only want to buy 1 Buddy Guy disc, this is it!
An excellent overview of Buddy's 60's material, some of his best. You really can't go wrong with this CD. Great stuff!

Buddy's Blues
Great compilations of the performances from Guy's best time in his career.

great blues music
as always buddy plays great blues musi ... Read more

Reviews (10)

It Is the ULTIMATE COLLECTION
I love this albumn! I bought if for my husband (who is far from [anti-women]), he's a big fan of Delbert McClinton and Bonnie Raitt. I had never even heard of Delbert or Bonnie until I met my husband. I'm just glad he introduced me to a genere of music I have come to love and appreiciate. There is nothing any more [anti-women]), about Delbert McClinton than any other music genere. If you don't like it don't listen but, obviously someone isn't appreciating these songs as a whole, the beat and rhythm is awesome. I can't listen to this album and just sit still . My house cleaning gets done when I put this album on, it just makes you want to get up and move. My favorite song on the collection is Love Rustler! I'd like to think at some point in my younger days I may have been someones secret Love Rustler. ;) I personally think Delbert is giving nothing but a big compliment to women and I for one take it as such.

The Man Who Taught John Lennon Harp......
This collection shows the diversity and strength of a true American Legend. Jay and The Americans may have been a bigger name out of Texas, but time and talent has shown who's the best player. A "must have" CD for anyone who wants to see the many faces of true American music. Delbert McClinton says more in "Victim of Life's Circumstances" and "It Ain't What You Eat But How You Chew It" than most of todays performers will say in an entire career. Turn the lights down low, grab a cold one, put your arm around your partner and let it spin..... you won't be disappointed.

Another Iowa music lover
Alas, there are a vast minority of Iowans who cannot see the artistic value in Delbert's music. I manage to see him atleast every other year, live. His mix of "roadhouse blues/country" is just part of the inspiration behind his lyrics. Anyone listening to his music, live or on CD, that is not either dancing in the aisles or tapping their toes, should be at home listening to rap or watching reruns of Lawrence Welk on TV. A big Texas "hats off" to you Delbert!

Hello?
For the cornpone "Iowa fan"...you must have listened to some album other than the one I did. Imus? Who's that? Delbert's a national treasure!

Iowa's Big Joke---
It's unfortunate that the "music fan" (guess that's vague enough) from Iowa chooses to use Delbert McClinton to vent her sexism-based frustrations--and that her silly "Herb Albert meets whatever" review is the first thing you see.

I've seen Delbert a half-dozen times over the years. Always with a date, who expected an enjoyable evening on equal footing, and enjoyed such. One of my best friends from high school, one of the most independent-minded women I know, has gone on Delbert's Blues Cruise 3 or 4 times and speaks of him as a Saint. She and her husband know Delbert and his wife on better than casual speaking terms.

Unquestionably, as with anyone singing blues-based music about real people, political correctness is really not a big priority. And clearly, more than a few of Delbert's tunes were written with tongue decidedly in cheek, though most have the ring of real life. I think, when he gets down to the serious stuff of life, his view of women is respectful and reasonable in today's odd world.

As for Bonnie Raitt, you might listen a little closer to some of her songs, and particularly covers of old blues from the likes of Sippie Wallace and Bessie Smith (as opposed to, say, Helen Reddy). Clearly these women (and Bonnie) could dish as well as take--and that's as it should be.

Our friend from Iowa needs to relax, actually listen and enjoy the music, instead of trying to filter everything through her fine-gauged sive of political correctness.

Delbert McClinton has been one of our great blues/R&B singers and harp parctitioners for more than four decades, and this is an excellent cross-section of his musical wares. I suspect, based on the resurgence of his career in the past few years, he can survive a few misguided brick-bats from the corn belt.

(Not that I got anything against the corn belt, ya understand.) ... Read more

Amazon.com

This impressive album assures that New Orleans music will live strong and healthy into the next generation. A collaboration between a couple of once upstarts, now stalwarts of the new roots-music generation, this is good-time music. Corey Harris plays slide-steel guitar and about 90 other styles, slipping his strings between the 88 piano keys that Henry Butler dances across. On the collaborative tracks, which make up most of the album, their two instruments leave no room for others. They're tight as yarn, weaving together like a Mardi Gras Indian headdress. Each also makes solo performances. They've been compared to great partnerships like Tampa Red and Georgia Tom, but this suggests too much of a historical sound; Harris and Butler are thoroughly modern. Comparing them to Professor Longhair and Snooks Eaglin is accurate in spirit, but Vü-Dü Menz is so fun, no background is needed to enjoy it; even Martians would shake their hips to this much swing. --Robert Gordon ... Read more

Reviews (6)

Innovative!
Corey Harris, perhaps the most innovative new artist on the blues scene today, traveled from his Charlottesville, VA home to team with Louisiana jazz pianist Henry Butler for an album that fuses delta and Crescent City blues and jazz styles. The subject matter ranges from political to spiritual to social to just plain fun. This cd is fresh and smart, and forges new territory in roots music.

Truly Special Blues Contrast and Interaction
Henry Butler being little known outside of blues circles and New Orleans, where he is slowly but surely approaching legendary status, my friends often ask me to describe this music of which I am always speaking so highly. My standard reply has become, "If Mozart had decided to go into blues and funk, he would play the piano like Henry Butler." His voice might be described in a similar manner, replacing "Mozart" and "play the piano" with "Pavarotti" and "sing" (the voice comparison is more appropriate than one might think--he has a very unique, powerful, and loud classically-trained voice). If the word about him escaped to the mainstream, his pure technical mastery, knowledge, and creativity could very well turn him into a household name almost overnight, which would be saying something for a blues artist in this day and age.

Butler's blues style is centered around taking standard, irrestible New Orleans piano riffs made famous by artists like Professor Longhair, James Booker, and Dr. John, and attacking them with a strong, unbelievably rythmic left hand, then putting a jazz-influenced right hand with no limitations on top. As George Winston describes him in the liner notes to "Orleans Inspiration," he is easily a "one-man band" The result is a very new, exciting, downhome, funky, and very often "out-there" style of blues.

When I saw that Alligator paired him with Corey Harris, an artist whom one could transplant right into the age of Robert Johnson and never know that he didn't belong, my first reaction was one of pure curiousity.

The music and guitar playing of Corey Harris, in a way, can be considered just as "modern" as the artistry of Butler. While Butler is attempting to take the blues places it never imagined it could go, Harris is taking the blues right back to where it started, and in a way which few other artists, if any, have been able. Whatever the exact ingredients are that made up classic delta blues around the 1920s, Harris knows them all backwards and forwards. On the other hand, many artists attempting to accomplish a similar feat either come off as indecisive as to how to put a modern spin on it, or simply "pretenders".

And yet, despite each artist being so different from the other, on "Vu-Du Menz," they both hit upon a common ground which allows them to create an intense, funky, and often very introspective take on traditional blues which could not be equaled by a pairing of any other two musicians. It's Delta Blues meets Professor Longhair meets The Meters. The only complaint one could have about this album is that they are not paired up for every song on the CD, opting to do some solo performances. Those songs are outstanding and intriguing as well, but we can get those when those two are not busy creating a classic album together.

While every song on this album can be considered "a highlight" as well as an entity unto itself (the variety was carefully and perfectly thought out), there are three songs which deserve three asteriks instead of just two. "Mulberry Row" is a mean-sounding, funky blues tribute to Sally Hemmings (how many other songs could one describe in the same manner?). "If You Let a Man Kick You Once" is a light, dixieland-influenced piece that might leave one wondering exactly how a song with such a classic, catchy melody and lyric made it through almost an entire century of blues without somebody else writing it. "Didn't My Lord Deliver Daniel?", in which Harris takes a solo turn, is a quiet and slow yet powerful take on a traditional tune that might lead the listener to shut off every thought and sound around except for the rough beauty of Harris' voice and understated guitar playing.

This album has already been received by many in the industry with rave reviews. As with all classic albums, as times goes on, all will probably realize just how truly special a pairing "Vu-Du Menz" represents.

**Also recommended for Henry Butler fans: the out-of-print, larger-than-life "Orleans Inspiration," live from Tipitina's in 1989**

Great From Start To Finish
Being a big Henry Butler fan, I was very interested to hear that he had collaborated on an album with Corey Harris. I wasn't sure what to expect, but what I didn't expect was an album that is a joy to listen to from the first song to the last. With a very generous 15 cuts, there is barely a weak moment on the disc. The songs on the album are at the same time soulful, upbeat, and catchy. Stand-outs include: "Mullberry Row", "If You Let A man Kick You Once", and "No Substitute For Love". The production is crisp and clean. Corey Harris' voice is strong and forceful and Henry Butler's piano is crystal clear and mixed just right. If you are a fan of Blues piano, this is a must have album. I love it more and more every day. You can play it loud or as background music.

NEW ORLEANS BLUES
VU DU MENZ COMBINES THE PIANO PROWNESS OF HENRY BUTLER AND THE NATIONAL RESONATOR GUITAR OF COREY HARRIS WITH BOTH MEN SHARING AND ALTERNATING THE VOCALS. THOSE UNFAMILIAR WITH THE VOCALS OF HENRY BUTLER SHOULD CLICK ON "LET 'EM ROLL" OR CHECK OUT ONE OF BUTLERS PREVIOUS CD'S SUCH AS "BLUES AFTER SUNSET". PRIOR TO THIS CD THESE TWO INDIVIDUALS COLLABORATED ON A COUPLE OF TUNES ON COREY'S "GREENS FROM THE GARDEN" CD. APPARENTLY AT THAT TIME THEY DECIDED TO RECORD AN ENTIRE CD TOGETHER. THE RESULT IS VU DU MENZ AND THE DUO PERFORMS VERY WELL TOGETHER. BUTLERS PIANO PLAYING GIVES THIS CD AN OVERALL FAMILIAR NEW ORLEANS BLUES SOUND. THIS CD WILL APPEAL TO FANS OF DR. JOHN, PROFESSOR LONGHAIR, JAMES BOOKER, AND OTHER PIANO ORIENTED BLUES BANDS. OVERALL A GOOD EFFORT. MY ACTUAL RATING IS 4.5!

very authentic sound
Yet another masterful recording from Corey Harris! This album includes Harris and pianist Henry Butler. Henry Butler is an extraordinary player, and his playing and Corey's accompany each other excellently. High points on this recording include "Let Em' Roll," "Mulberry Lane," and Shake What Your Mame Gave You." Harris once again has crafted an excellent recording with many fine songs.A must-get! ... Read more

Amazon.com

Austin's Lou Ann Barton displays her sassy blowtorch blues style splendidly on her third recording, on which she receives assistance from friends and former bandmates such as Kim Wilson, David "Fathead" Newman, and current duet partner Jimmie Vaughan (Do You Get the Blues). But Barton, a past member of both Roomful of Blues and an early edition of Stevie Ray Vaughan's band, doesn't really need much help; her amazingly rich, blues-drenched voice is a musical force of nature. Whether using it on a sizzling remake of Slim Harpo's "Shake Your Hips," digging deep into Irma Thomas's Crescent City classic ballad "It's Raining," or energizing "High Time We Went," Barton saturates her sound with raw emotion and unerring blues sensibilities. Even semi-novelty numbers like Lazy Lester's bayou funk standard "Sugar Coated Love" and the tough-woman anthem "You Can Have My Husband" somehow seem more substantial. She further accentuates her no-nonsense image with superlative takes on Barbara Lynn's "You'll Lose a Good Thing" and renegade country legend Wanda Jackson's "Mean, Mean Man." --Michael Point ... Read more

Reviews (1)

A Solid Effort
A very good effort from Lou Ann Barton. I had never heard of her before a friend in college at the University of Boston turned me on to her. This CD moves from slower blues to rhythm and blues with a very strong common demoninator, which is Lou Ann's voice. Very strong and hypnotizing. Her voice pulls you in and wraps you in a cacoon.

A very good introduction to Lou Ann Barton. I can't wait to get more and see what else she is up to. ... Read more

Reviews (13)

Taj Scores Again!
I am constantly amazed at the breadth of Taj Mahal's musical talent. With "Senor Blues" he scores once again. It's all here: blues, jazz, rock, soul, and even country; all performed with alacrity by the versatile Mahal. My favorites are the hilarious "You Rascal You", the equally funny "Mind Your Own Business" and the jazz classic "Senor Blues".I've always heard the last as an instrumental, and a good one at that. I never knew the title cut had lyrics which are so banal as to be comical. Here is a song just begging to be parodied!There is not a bad song on the album and it is highly recommended to be given an honored place in any music lover's collection.

Been waitin' on this one a while...worth every second...
After reading Larry Fulcher's Spotlight Review, I hesitated - I mean, what am I gonna add to THAT? Well, let me say that I've written close to 110 music reviews and all but one(and Otis is long since gone..)have been Jazz reviews. So this CD is really the first non-jazz review. I don't think I could have picked a better one to begin with. "Senor Blues" (written by Horace Silver...so there is a segue, after all), the CD, is a brilliant statement, both musically and lyrically. It ALMOST usurps "The Real Thing" as my favorite Taj of all time (I'm into Live...) From the first finger-pickin' honey drippin' from "Queen Bee", to the unbelievably tight and minor mellow, but tough title track (the organ, and the trumpet work, is stunning), to the gospel-drenched indictment of our brave new world, "Things Gettin' Crazy Up In Here", to the gem - the gorgeous "21st Century Gypsy..." (check out the drum fill as it's fading out), to the Otis tribute (HEY! another segue..)"Mr. Pitiful", well let's just say it's the tightest, most soulful, personal statement from this Master in a while. If you've been waiting to get a Taj CD, don't. GET THIS ONE.

Absolutely Astounding
I had always been a fan of Taj's earlier recordings. I didn't get into this until I saw him in concert and he played "Queen Bee" (which inspired me to seek out this album). What an absolute gem. Quite possibly his greatest album. Every song on here is absolutely scorching, and such a wide variety of genres are represented. If this album doesn't move you, there's something quite wrong. Any fan of the blues or jazz, or just music in general should have this album.

Great Album
This is the first Taj disc I was exposed to. It is very well done including a cover of James Brown (Think), along with some original compositions. Basically there is good reason Taj has won several grammys of late, and if you get into his music you'll immediately understand. The title track and 21rst Century Gypsy Singin' Lover Man stand out on this set. Queen Bee is also a great song that opens the set, and my wife likes very well. Warning, once you discover this artist, you will find yourself digging deeper and deeper craving more. Not the worst thing that could happen to you, Check it Out!!

Not Just Because I Played On It
Having spent 39 of my 54 years as a working musician, I have spent a good portion of my time listening to and performing music. THIS IS ONE OF MY TOP 5 FAVORITE RECORDS OF ALL TIME!
It was joy to record, from the first note to the last, a joy to listen to in the studio booth as we listened to playbacks, and a thrill to hear as a finished product.
The tunes, even the ones that didn't make the finished CD, were a blast to play with the guys in the band. The combination of Taj's voice and the musicality of the Phantom Blues Band blended in the creation of a musical masterpiece.
Now, 5 years after recording it, I still listen to it regularly (which is rare for musicians, too self-critical), and I love it more and more all the time.
We really didn't know how the public or Taj's fans would react to it, it was simply where we were at musically and emotionally and spiritually at the time. But, we recorded it with love and passion and the public response was great. NO GUEST ARTISTS! Just Taj Mahal and The Phantom Blues Band and John Porter producing. 1998 GRAMMY AWARD WINNER.
Personally, it's up there with "Kind of Blue"-Miles Davis, "A Love Supreme"-John Coltrane, Robert Johnson's "Complete Anthology", and Bob Marley's "Survival".
PEACE & ENJOY
Larry Fulcher - bassist
Taj Mahal & The Phantom Blues Band ... Read more

Amazon.com

That the trio recorded this stunning, spiritual-minded collaboration in the town of Unity, Maine, is one of life's fortuitous coincidences. Although their voices are dissimilar, Maria Muldaur, Eric Bibb, and Rory Block share roots in folk, gospel, and blues. Brought together, along with a three-piece backing band, in a barn-turned-recording-studio by producer Randy Labbe, the trio cooks up a feisty musical feast that sounds so comfortable and joyous, it seems they were lost soulmates finally joined in song. Bibb's smooth Keb' Mo'-style vocals join Muldaur's huskier, sassy approach and Block's deep blues on a combination of originals and covers that showcase each artist's strengths, both solo and in tandem with the others. From contemporary classics such as Dylan's "Gotta Serve Somebody" and Bill Withers's sublime "Lean on Me" to a languid version of Jimmy Reed's "Little Rain" and a swampy, roof-raising "My Sisters and Brothers," this upbeat album never gets predictable, preachy, or clichéd. --Hal Horowitz ... Read more

Reviews (2)

Rehash
The blues, not the BLOOOZE! Ain't no gutbucket here folks, just some nicely piped wailing, a dab of grease, mispronounce a coupla' key words... whew! Immitatin' Sums-a-b@*%&#s...BAM! and it's all slicked up and ready to sell. Heartless? No sense kicking 'em while they're down, but seriously... sound off like you got a pair, like ya spit 'inna bucket afore you blow... I only wish I could write like Zora Hurston, then you would unnastan'... did I buy it, yeah I'ma sucker too.

Fervor, Wit and Great Blues Singing
Some might say that Maria Muldaur, Rory Block and Eric Bibb are as unalike as they are alike. But it's their "unalikeness" wrapped into their likeness that makes this recording something special. This album plays like a joint effort of three old friends having a jam session of sorts. Its totally relaxed, yet full of fervor, wit, and definitive blues/gospel singing. Some of the standouts are Block's version of Bill Wither's "Lean On Me" with great harmony from Muldaur, Bibb's take on Dylan's "Gotta Serve Somebody" and Muldaur's "Bessie's Advice" (cowritten with Bibb). That's just the icing. There's plenty more including two of Block's standards "Rolling Log" and "Maggie Campbell" where one gets to hear her wonderful guitar playing which sounds as fresh as ever. Bibb's languid, bluesy take on "Little Rain" is right on the money! Things close with Muldaur performing one of her old chestnuts, "My Brothers and Sisters". At the end when she cries out "Hallelujah..Thank Ya!..Thank Ya!" one knows that they've just experienced three great talents doing what they were born to do! If you're a fan of music at its most basic and stirring, this recording is a must! NOTE: Amazon has the son listings in the wrong order.

P.S. Please make another trip to Unity and do it again!! ... Read more

Reviews (6)

Good
I'm not sure this is the best debut ever...I like "6 & 12 String Guitar" a lot more, and didn't Charlie Parker record "Koko" on his first studio date?

But as for whether or not you should buy this album - yes, of course you should. I suggest that you buy as many Ry Cooder albums as you can. Ry Cooder has almost flawless musical taste, on par with Bill Evans and George Harrison. Anyone who has listened to those guys appreciates the integrity and ingenuity they bring to any musical situation; that's why Ry Cooder is as legitimate playing Cuban Son music in 1997 as he was way back then playing traditional American music.

Most Auspicious Debut Ever?
When I saw Ry Cooder live in the early seventies, he was wearing baggy blue silk pants, pink satin pumps, a bandana, and a Hawaiian shirt. Eclectic garb? You bet. But somehow it all went together, a perfect sartorial analogue to his musical eclectism.

As far as the best debut ever, it's gotta be either this or Little Feet's. Nobody was doing this roots stuff back then, and nobody's ever done it better. The opening bars of "Alimony" are perfect. "How Can a Poor Man Stand Such Times and Live" and "Available Space" are transcendent. One marvels at the clarity of musical vision from one so young. Everything here's absolutely top drawer: overall concept, arrangements, production values, musicianship. It all continues with Into the Purple Valley (probably Cooder's best) and Boomer's Story, but to my ears he slips up with Boarderline. Wait a minute. As great as Into the Purple Valley is, Paradise and Lunch gets the nod as his best ever, because it's his most eclectic and has soooo many killer tunes on it. Chicken Skin Music is also great (if you can get by the obnoxious cover art, thankfully much smaller in the CD format)--check out especially "Stand by Me." "Mexican Divorce" from Paradise and Lunch is my all-time favorite Cooder cut; it always puts me in mind of my all-time favorite Byrds song, "Tulsa County Blue" (from their somewhat neglected masterpiece, Ballad of Easy Rider).

Of course, Buena Vista Social Club is also essential Cooder, as is Meeting by the River, with Indian maestro Vishwa Mohan Bhatt, and Talking Timbuktu, with Malian bluesman Ali Farka Toure. Also worth checking out: Fascinoma (with the unlikely but brilliant combination of Jacky Terrasson and John Hassell) and Hollow Bamboo. I'm not wild about all of his film music, but all in all, he's had quite a remarkable career. And I guess that's why Cooder gets the nod over Little Feet for the best ever debut--his subsequent career outshines Little Feet's, although they went on to produce some great stuff. Who knows where they might've gone but for Lowell George's untimely death.

What a debut!
If there is a complaint I have with Cooder's debut album it is that it is too short. Containing a great batch of tunes that are all worth hearing at least once (it must be noted that the lumbering cover of Woody Guthrie's One Meatball might be worth only one listen) and some several times (Alimony, France Chance and Available Space) Ry Cooder delivers a great album that shows that not only is he a far better guitarist than Eric Clapton, his taste and knowledge in music is much better and mature than Clapton's. If you must begin your Cooder collection somewhere, you can't go wrong here.

good slide, good arrangements, bad vocals
Very warm, friendly, personable music. It's too bad that Cooder had to ruin it by trying to sing. He seems to think that mumbling out of the side of his mouth constitutes soulfulness. Good album if you like, relaxed, folky, shambolic music.

My favorite from the slide king.
I have nearly all of Ry Cooder's 30 or so albums, and this is still my favorite. It's a museum of very old blues songs, with a few more modern ones thrown in. You'll find yourself learning all the lyrics, and singing them to yourself later on. I also strongly recommend Bop 'Til You Drop, Into The Purple Valley, and Rush. The soundtrack from The Long Riders is also very nice, but it's done in an old-timey style from the late 1860's. ... Read more

Reviews (14)

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

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

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

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

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

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

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

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

Amazon.com

Trying to boil down a prolific 40-year career into 18 songs is an impossible task, but that doesn't stop Rhino from taking a shot. To its credit, this single-CD compilation reaches across many labels, highlighting Guy's explosive work for Chess and Vanguard in the 1960s, Atlantic in the 1970s, and diverse labels in the 1980s. On the other hand, his Chess and Vanguard work deserve significantly more attention than they're given here. In addition, Guy's rejuvenated 1990s work for Silvertone is completely ignored. The result is a rather cursory overview of Guy's career, despite the high quality of what is present. The benefit of this approach, however, is that it displays Guy's versatility: The Guy of feverish guitar pyrotechnics, wailing vocals, and rocker intensity lives alongside a smoother, more soulful and melodic Guy.--Marc Greilsamer ... Read more

Reviews (8)

The all around best intro cd to Buddy Guy!
There are too many great blues artists out there to spend a fortune on every artists complte recordings would cost tens of thousands of dollars, so getting comprehensive samplers of the artists earliest recordings in the best way to go. This cd have mostly the 50's & 60's sessions, his early stuff, and a bit towards the end of the cd his later works, but just a small sampling, the majority of the cd is his best work for Chess and other jump blues labels. This cd is exellent and is the difinitive sampler(though one should not overlook his duo albums with junior Wells), this cd will do a fine job of summing up Guy in his early prime and middle years. Guy has an incredibly piercing voice, similsr in texture and feeling as BB King, though less of a baritone, and his guitar solos, are creative, and even jazz and improvisation occur every so often. This cd is full of energetic performances, from shuffling jump blues to slow blues drags, it's all great stuff. Essential for any blues collection, to be complete.

Like sands thru the hourglass, so are the days of our lives
This is the life, a great cd of blues, lot's of love, peace and yeah man, his guitar is sweet soundin' with some jazz licks. As the world turns baby...

****1/2
This is a very credible attempt to summarize Buddy Guy's entire (pre-Silvertone) career on a single disc.
"The Very Best Of Buddy Guy" encompasses Guy's 1957 demo "The Way You Been Treating Me," a couple of Cobra sides, four of his hottest Chess sides, a few recordings for Vanguard and Atlantic, and three from Buddy Guy's days with the British JSP label.

Four Chess sides isn't really enough, but the compilers have done a fine job considering they only had 80 minutes of disc space to work with (the CD clocks in at approximately 75 minutes), and many songs, such as "First Time I Met The Blues", "Sit and Cry (The Blues)", and "My Time After Awhile", do rank among Guy's very best songs, showcasing his powerful, intense vocals and smouldering guitar playing.
A very good introduction to the reigning king of Chicago blues.

a must have
Buddy Guy is one of the baddest ever.he lays something on those strings.this set is a great introduction to this Genius.he really is something else Live.hearing his Rawness here is a must for any Lover of Guitar based music.what a Great Musician!check this out.

This is where it all started folks!
A wonderful collection from possibly one of the best guitarists there has ever been. Alot of older stuff, so the quality on CD is a bit less than sharp. But, that is what it was back then! A must have. This man should be on the finger tips of every blues guitarist... ... Read more

Amazon.com

On Healing Time, the line Ronnie Earl blurs between jazz and blues gets even blurrier than on his 1997 record, The Colour Of Love. An all-instrumental record of deep passion and virtuosity, Time features song structures that are loose and laden with thoughtful riffs and solid work from Earl and his players, recalling Carlos Santana's fiery licks and the jazz guitar textures of Wes Montgomery. Their attention to each song's changes and transitions makes for vivid textures and wide-ranging moods, while varying the instrumental focal points of each allows the musicians to reveal the songs' emotional cores. Jumping out of the gate with "Churchin'," the record is given a gospel tinge by Jimmy McGriff's Hammond B-3 that pops up again later on "Blues on a Sunday."Throughout, on songs like "Thembi," with its piano-based breeziness, and "Idle Moments," with Earl's mournful guitar work, it's clear that Earl and his band have worked hard to provide these songs with whatever touch of instrumentation or genre-bending they might need to sound complete. By letting his insightful musicality guide him, and allowing each song to blossom with individuality, Earl creates an endlessly fascinating record that fairly brims with the light of inspiration. --Matthew Cooke ... Read more

Reviews (11)

Something for everyone
Not being much of a blues man, I had never heard of Ronnie Earl. This album has quickly become one of my favorites. It is a soulful mix of blues, jazz and rock that anyone will enjoy. The album comes at you hard with the first track "Churchin" and then soulfully but not boringly mellows out. Earl's work on the slower tracks is absolutely searing in intensity. I love this one!

Soaring new work from a master axman
I had the pleasure of seeing Ronnie Earl play here on his Boston area home turf last Spring. It was a revelation..especially for someone who remembers his old "Roomful of Blues" days. This album captures his current direction well. It's not the blues as the old-guard would play it; it's something else entirely, a soaring display of technical skill and musical talent that is quite rare indeed. Great music.

Excellent
This is one of Ronnie Earl's very best works.Soulful and captivating,with a wonderful complement of extras, this album should surely please anytype of musical taste.

Reflection Time.
Rumours abound that Ronnie Earl is retiring.Apparently, the many yearsof touring and the demands placed upon him to produce as many CD's aspossible have taken its toll on this great musician.

Fulfilling his priorcontractual obligation he has now signed on with Telarc with the apparentunderstanding that his touring will be greatly minimalized.The title ofthis CD is, therefore, appropriately titled as Ronnie enters a period ofreflection or healing.

The music is, for the most part, soothing,somewhat spiritual, soul searching and smooth jazz flavored, revealing amuch more relaxed Earl.Adding to the church like overtones is JimmyMcGriff and his patented B3 on two numbers and the organ like keyboards ofAnthony Geraci.

Earl does his usual exceptional job on this disc and theinterplay between Earl's guitar and the keyboards is outstanding. Beingan old Earl fan, my two favorites are Catfish Blues and Lunch at R&M's. Both break the Jazz mold and hint at the type of blues Earl performed inthe past and hopefully will play again on future CD's.

SUPERIOR GUITARIST AT HIS BEST
I PURCHASED RONNIE EARL'S LATEST RELEASE WITH GREAT ENTHUSIASM AS I CONSIDER HIM TO BE ONE OF THE MOST TALENTED BLUES GUITARIST'S PERFORMINGTODAY. NEEDLESS TO SAYI HAVE BEEN LISTENING TO HIS MUSIC FOR MORE THAN ADECADE. I COUNTED MY RONNIE EARL CD'S AND HAVE 14. RONNIE HAS GOTTENJAZZIER/MELLOWER ON THIS RELEASE BUT HIS KNOWLEDGE OF HIS INSTRUMENT ANDHIS PLAYING TECHNIQUE INDICATE THAT HERE IS A MAN DEDICATED TO HIS CRAFT. IHAVE OTHER FAVORITE RECORDINGS BY RONNIE EARL AND THISWILL BECOME ANOTHERONE. I HAVE NEVER GOTTEN GOOSE BUMPS WHILE LISTENING TO A GUITAR SOLO BUTON THIS RECORDING THE ELOQUENCE OF RONNIE'S GUITAR ON "SONG FOR ABROTHER", "THEMBI", "CHURCHIN" TOUCH MY SOUL ASONLY RONNIE IS CAPABLE OF. THERE REALLY IS NOT A BAD TRACK ON THIS CD. ITTAKES YOU THROUGH VARIOUS MOODS AND KEEPS YOU WANTING MORE. IF YOU WANT TOREALLY ENJOY AN ARTIST AT HIS BEST AND EXCEPTIONAL GUITAR PLAYING, THIS ISFOR YOU."HEALING TIME"( YES, IT WORKED FOR ME). ... Read more

Amazon.com

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

Reviews (25)

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

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

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

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

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

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

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

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

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

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

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

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

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

Album Description

Digitally remastered reissue of the classic folk album originally released in 1965. One of the great treasures of American music interprets the songs of another. 12 Dylan songs including two which didn't appear on the original RCA Victor release, 'Blowin' In The Wind' and 'Paths Of Victory'. Standard jewel case with slipcase. ... Read more

Reviews (7)

One of the Best Dylan Cover Albums
An awesome album. Odetta's version of "Don't Think Twice" is one of the best Dylan covers I have ever heard.

The gospel Tracks (songs of Bob dylan)
Those of you who know Bob Dylan's songs will appreciate this one. Some of these takes just grab you and don't let go till the end and then you'll need to hear them again. WOW! Bob's songs are trully adaptable and hearing them sung this way is a treat.

odettadoesBOBDYLAN
First of all you have to go back to the original Bob Dylan songs that Odetta has chosen to sing and remember when she did this record to appreciate the renditions of these songs. Odetta takes each one and adds her own unique style to capture her feelings in relation to the song. After 30 plus years of being a Bob Dylan fan, it was nice to hear someone else do his songs other that Joan B. or Judy C. although these gals do him jsutice too.
thank you Odetta. CA from Calif.

A treat for Dylan cover fans
If you are not already a Dylan (or an Odetta) fan, this is not the place the start. But if like me you can't resist a good Dylan cover, this album is a treat. I've had this album for years on vinyl and jumped at the chance to get it on CD. The real gems here are the obscure songs: "Baby, I'm in the mood for you", "Long ago, far away", and "Walking down the line". The better known tunes suffer in comparison with the oft-heard originals or covers by bigger stars. Odetta's voice is a marvel no matter what she is singing. The finger picked guitars and acoustic bass accompaniment provide a sparse, classic folk setting.

It's About Time!
Finally, this gem has been released on CD. Odetta, an absolute music legend, would sound magnificent singing anything, and it's an extra treat to hear her take on Dylan. One of the two best Dylan tribute albums ever (the other being Joan Baez' 1968 album, ANY DAY NOW). Odetta's particularly effective on "Baby, I'm in a Mood for You", a relatively obscure Dylan tune, but even on the more famous, oft-recorded compositions -- "Times They are a-Changin'", "Masters of War," etc. -- she manages to find a fresh way to interpret them. An absolute MUST for both Odetta and Dylan fans. ... Read more

Amazon.com

With their third album, this blues-rock outfit from the Mississippi hills further transcends their mimicry of the Allman Brothers and home-turf heroes Junior Kimbrough, R.L. Burnside, and Fred McDowell to forge a distinct sound. Sure, the guitars ring even more like the Allmans' with the addition of Burnside's son Duwayne, who harmonizes his six-string with Luther Dickinson's on plenty of tunes. But improved vocal performances and pop-savvy arrangements make numbers like "Eyes," "Kids These Daze," "One to Grow On," and the hip-hop-informed "Be So Glad" ready for rock radio. Happily, the foursome haven't sidestepped their deep blues roots. The late cane fife master Othar Turner appears on "Be So Glad," and they cover Kimbrough's "Meet Me in the City" with all of its original swing and swagger, plus the warm, joyful tone of Dickinson's expert slide playing. "The One Thing," with its roiling acoustic guitar intro and steel-guitar-style string-bending, unfurls like an epic. It evolves from country blues to country rock and then dives into a gently exploratory jazz-blues instrumental passage before returning to its flat-four beat. If this CD gets the attention its well-written songs and fine playing deserve, the Allstars' smart and solid fusion may well become the foundation for a new school of Southern rock. --Ted Drozdowski ... Read more

Reviews (36)

Some fans are too hard to please
Granted this NMAS release certainly has a different sound to it than their first two discs, but there are still plenty of rootsy blues influences to keep you interested. After repeated listenings, there are plenty of hooks that stay with you. It certainly has a more commercial sound than 51 Phantom or Shake Hands With Shorty, but trying to appeal to a broader audience is not the crime most of these reviewers make it out to be. This CD stands well on its own and is an enjoyable listen. It contributes some solid tunes to the NMAS music catalog offering some diversity in their style. It is not as far removed from their former sound as most reviewers indicate, and it should translate well on the stage. One thing is for certain, anybody that has seen these guys live knows that they are not going to allow the stronger pop orientation on this CD water down their stage show one bit. These guys are the hardest jamming band on the scene, they work their asses off putting on a great show just about every night, and they deserve the right to experiment a bit without having everybody simply give up on them. I thought fair weather fans were for sports teams!

Don't buy this! You can have mine!
I really really wanted to like this album. I read other online reviews for months and each time decided not to buy it. But then I heard samples of the good tracks and finally broke down and bought it. Mistake.

Though about 3 of the tracks are excellent, and another 4 are acceptable, the others are painful. So painful I don't think I can ever listen to this again. I'm not sure who sings Otay, One to Grow On (it will never grow on me that's for sure), Polaris, and Time for the Sun to Shine, but they need to stop singing for this band.

Even though NMA's live shows still rule don't buy this. Just let it go, never think of this album again, unless you like MTV hot tracks and you like canned rap rock with bubbly lyrics.

What happened? Why did I buy this? Refund please?

great album
this album is a great. it's bluesy, soulful, rockin, psychadelic. the main sound allman brothers-esque southern rock, but it's pretty diverse and the album has a good pop feeling all around. i personally like most of the songs on the first half of the album. the second half of the album is mostly songs with lyrics about sun rises and sunsets. it's still great though. i'm not going to talk about all of the songs. however, i will talk about the first and last song. "eyes" is a great opener. rockin intro, soulful R&B chorus. the lyrics of the first verse are awesome "i ain't never been to heaven/ but i've been told/ angel's in heaven got/ sweet jelly rolls". "be so glad" is a great song. it's like blues and rock and hip-hop rolled into one. the rap is F**king awesome. the song ends with an allman brothers-esque instrumental. overall, i approve.

Don't Panic Yet
This CD is not as bad as some of the previous reviews would indicate. Sure there's something to be said for being true to what you're good at, but there's nothing wrong with branching out a little too. A true artist will eventually want to experiment a little. There are definitely some Pop tunes on this one, but there is some good music too. Don't give up on NMA yet.....they have too much talent to just crash and burn. Besides, there aren't many groups these days that turn out 2 out 3 excellent CDs. I love my hard edge Southern R&R as much as anyone, but that ain't all that's out there Billy Bob.

The "Rocky III" Syndrome
Remember Rocky III? In that movie, Rocky had become complacent, comfortable and lost his edge. His fight opponents were carefully selected by his trainer, and he had just become a figurehead in the boxing world. Well, the same can be said about North Mississippi Allstars and Jonny Lang (see my review for his "Long Time Coming" album). The first two albums--great bluesy rock. The third--fluffy pop junk. I think what happens is that these kids slug it out in bars the first few years of ther performing careers, cranking out the blues that fills their hungry souls. Then fame and fortune set in to place. Now, like Rocky, they get comfortable. No longer do they have fire in their eyes and thirst for that success--they got it. They got their pick of women--they even settle down and get married, have kids, buy things, etc. LIfe is good--and the blues is GONE. Now they just wanna sing happy little pop songs about the good life that reflect their complacency and comfort.

It's nice that NMA gave a number or two for Dwayne Burnside to sing and show off his blues chops, but then again that just makes the album disconnected and haphazard. I wonder how Dwayne likes the pop crap that all over the rest of the album--maybe he doesn't even play on it.

Bottom line--I'm giving up on counting on a newer band to stick to their guns and continue to do what they do best, album after album. AC/DC is a good example of that. They're not my absolutely favorite band, but at least they know what works for them. ... Read more

Amazon.com

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

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

Reviews (4)

One of the best debut albums ever by a contemporary bluesman
One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Henry St. Clair Fredericks played an enormous role in revitalizing and preserving traditional blues.
His self-titled debut album was recorded in August 1967, and came out just as several established blues stars ventured into psychedelia and rock n' roll at the insistence of their record companies.

But not Taj Mahal. These arrangements may be updated when compared to what Robert Johnson or Willie McTell did thirty-five years earlier, but it's still the blues, genuine, mostly acoustic blues, dominated by harp and howling slide guitar.
These lean, stripped-down arrangements were alien to most record producers at the time, and they are part of the reason why this album holds up so well.
The best of these eight songs count among the best, catchiest, grooviest blues I have ever heard, and I have heard a lot!
Taj Mahal vocals are powerful and confident, he has a great sense of timing and melody, and he is backed by a magnificent band which includes lead guitarist Jesse Ed Davis and the multi-talented Ry Cooder.
(A facsimile of the original LP artwork is included, giving their names as &qu