Reviews (1)

another leaving the blues behind?
i've been listning to mem since i was a kid, and i've really been looking forward to see him make another album. i loved them all, from 1995 to 2001, but without a doubt.. this is the least "bluesy" album he has done so far. It's quite diffrent from the old albums. I don't even think Mem sings the word "Blues" throw the whole album.
i'm worried that mem might take the same road as Keb Mo' did, Keb started out with blues albums, then went more and more to pop. and today Keb Mo's album are simply pop. I've always been imagening Mem Shannon as the new B.B. King, the guy who will take B.B's place, so it would break my heart if he does like Keb Mo', and leaves the blues behind.
I guess my favorite songs are "Phunkville", "I'll kiss a pitbull for some of your love", "Battle Ground" and "Somebody gonna hit you with an ignant stick". I view "Elenour Rigby" as in memory of Ray. I look at it that way, but there is no mentioning of Ray Charles anywhere.
But i miss Mem style protest songs like "S.U.V", "Wrong People In Charge", complaint songs like "Payin' My Dues", "who are they?".. you know.. the blues. down to earth. fun songs like "my baby has been watching TV", "don't talk about my mama!". i can't connect to the songs on this album. it's a distance. mem's other albums are closer more familiar friends of mine. i don't feel to home around this jazz stuff.
i guess i expected more "down to earth", "real life", "familiar" tunes. Like Mem has done before. Legendary bluesman Ray Charles recently passed away, and Mem does a tribute to golfplayer Tiger Woods. What? What's happening brother? I just don't get it.
anyway, it's a good album. great music. it's no way similar to Keb Mo pop music. I've been playing it for days now. very enjoyable. My favorite young bluesman - Mem Shannon. (in blues, middleage is young. and also if you're married to Cher - i know, i stole that joke from Chris Rock)
MEM SHANNON LADIES AND GENTLEMEN!!! Real music. Great music. (But i do miss the blues.. i can't connect to this album like Mem's previous albums) ... Read more

Amazon.com

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

Reviews (3)

Master of the Blues Guitar
Absolutely stunning collection of Freddie King's two instrumental albums from the early sixties. All the favorites are here (Hideaway, The Stumble, San-Ho-Say, etc.). A cram course for aspiring blues guitarists. In impecable stereo for the first time.

The "Holy Grail" of blues guitar
I was looking for the song "Remington Ride" when I stumbled across this CD last week. My motivation is that I am learning blues guitar (at the tender age of 40-something) and the name Freddie King is one I have been hearing about for some time. Little did I know that I had found a "blueprint" (pardon the pun) for learning the blues. This disk is packed with some of the best blues licks imaginable, starting with the much covered Hideaway. Whether you're a blues purist or a newcomer to Freddie King, like I am, this is one for your collection.

Freddie King, more than "just picking"
For my money, this is the best Freddie King available. It is actually a combination of his two all-instrumental lps, "Let's Hide Away and Dance Away" (1961), and "Gives you a Bonanza of Instrumentals"(1965). It contains his classics, "Hideaway","The Stumble", "San-Ho-Zay", the extended raveup "Remington Ride" (based on the bluegrass original!) and many other great tunes. In his playing you can hear the roots of Clapton, Peter Green, Magic Sam,and almost any other blues-based guitarist who came after him. The playing is almost architectural at times, humourous at other times, and, especially in some of the longer instrumentals, monsterously expressive. His music combines qualities of Chicgo and Texas blues with instrumentation that is like surf music and early rock n roll, making for an overall unique sound. Don't miss it! ... Read more

Reviews (7)

Great blues-slash soul-slash funk!
Magic Sam Maghett was a bluesman from the Mississippi Delta first and foremost, but he was also instrumental (so to speak) in introducing an element of soul in his music, which was called "soul blues" or "west side soul".
The soul element is especially prominent when listening to Magic Sam's vocals, which are those of a soul singer rather than a blues singer, but most of the songs are structured and played mostly like blues numbers (except for the funky drumming by Odie Payne).

This album doesn't contain the obvious number 1 (or five star) hit - unlike his previous album, "West Side Soul" - but the quality of the songs is uniformly high, with "I Just Want A Little Bit" and "Keep Loving Me Baby" among the best songs.

"Black Magic" is a fine album, made with a contingent of very skilled musicians (Maghett himself being one), well produced (that is, not over-produced), and certainly recommendable to everyone with an interest in both blues and soul.

This is perfect, what can I say.
Sam is first rate. If you like Buddy Guy you might like Sam. If you like Otis Rush, you will almost certainly like Sam. If you like good music with soul, rythm and feeling- this is it. Not too much production, not stripped down either. It is a happy medium for most blues fans. There isn't an overboard horn section or interfering keys, or crazy looped guitar tracks. This is pure taste. A piano that plays perfectly to the music [ Sam learned by West side soul to only play with the best. ] and one Tenor Saxaphone for a few tracks to add some layers. Sam plays lead and some extra rythm. He is the only vocalist. There are two tunes that are kinda soul/ r and b. And the rest are solid blues, sometimes funky, sometimes slow. Sam is one of the great blues singers and innovators. This record does have a happy medium in a lot of respects. You got an instrumental. You got guitar playing that is technically respectable and creative but totally tasteful and with a feel for the music. Sam doesn't drill over the music with confused lines that go no where in particular like alot of bluesmen tend to do. He plays with his band. He solos and he shines, but he doesn't ever mess up the sound of the songs. Its got the slow soul, the feel good, the funk, everything. This album and West side soul are Sam at his peek, and the cream of the electric blues players. The man was an all around innovator of blues music, live he played bass, drums, Harmonica, Piano or whatever the band needed, it didn't matter. He Pushed the cool blues ahead. He and Otis Rush changed the game. And Sam has a respect for Otis because he did his songs, like Keep loving me on here and My Love Will Never Die on West side. I tell everybody I know who likes good music- If you don't know this guy, then you are missing a big piece of the puzzle. This is where it's at. His two major studio records and only real studio Lps are two of my favorites out of hundreds of albums. I can't even see how anyone could not like this.

Magic Sam ---One of the greats who died too soon
Magic Sam's Black Magic and West Side Soul are 2 of the greatest blues albums of all time--absolutely essential for any one who loves urban electric blues. The singing is absolutely incredible --one of the most powerful and expressive voices in the history of the blues. His guitar playing, rhythmic drive, and arrangements are also excellent and unique-he died soon after these 2 albums were recorded just as he seemed about to break out into stardom. His slow songs exhibit a soulfulness that is incomparable and the faster songs have a drive and excitement that is also beyond compare. You can't go wrong with these two albums--highest recommendation possible.

A Definitive Electric Blues Album
I first heard this album (as vinyl) in 1969. As a guitarist and bass player who lived in Chicago on the South Side at the time, blues was in my BLOOD then - as it still is. I had several opportunities to play with Otis Rush on the West Side, and was going to play with Magic Sam . . . when he died.

This album is sheer beauty. Unlike his other blues counterparts in the city at the time, Magic Sam had a very R&B flavor to his blues - clean, always in tune, using that Fender reverb in ways that Otis, Buddy and others didn't. Yet he had an intensity that truly . . . well, touched me. Magic was a wonderful guitar player - and one hell of a singer. he was a gifted musician.

I Love This Album
Honestly, I'd never actually heard Magic Sam when I bought this album, but a lot of reading on the blues brought me to purchase Magic Sam's "Black Magic." I now own everything Sam-related I can get my hands on. This album is my favorite, and while others may recommend "West Side Soul" over this, "Black Magic" seems to be his most steady and arranged material available. Magic Sam blends Chicago blues sound with a soul inspired voice that is both riviting and relaxing. Everyone I have had listen to this album ends up loving it. "Black Magic" is constantly in my listening rotation, and I would recommend this album highly to anyone who has any taste for soul, R&B, or the blues. ... Read more

Album Description

36 of the late great blues guitarist/ vocalist's finest recordings for the Vee-Jay label, including 'Bright Lights, BigCity', 'High And Lonesome' and 'Ain't That Lovin' You Baby'. Double slimline jewel case. 1999 release. ... Read more

Reviews (1)

BIG BOSS MAN!
LOVE JIMMY REED ALL OF HIS MUSIC! #1 THE BEST! ... Read more

Reviews (11)

Awesome, but Wed & Thurs in SF even better!!!!
Albert is THE master!! This CD is truly powerful guitar playing and great vocals! A must for ALL Blues and rock fans.
As great as Live Wire / Blues Power is, it is very misleading to say that these were the best songs of the live SF shows. ALL songs were great, and the "leftovers" that were placed on the Wednesday night in San Francisco and Thursday night in San Francisco were just as good. All three CD's form the greatest collection of the sweetest guitar playing ever!!!! He was the TRUE master. It's amazing how few paople know about this secret pearl of music.

One Of The Great Live Blues Albums!
Legendary blues guitarist Albert King really hits his stride on this CD (originally released in 1969). Worth it just to hear the uptempo classic "Night Stomp". Arguably, this is King's best album. All the tracks are great, and this is one disc that really sticks-to-your-ribs, and one that you will go back and play again and again! A great disc for budding blues guitarists to listen to... you'll be hard-pressed to find a better teacher (with the possible exception of Freddie King). Regardless, this disc is a must for both blues and rock fans alike. Well worth the price.

king of the flying v's and more....
This is a seminal album....one of the finest live concert recordings ever, irrespective of genre. I saw King Albert twice at the Fillmore East in the old days [this one was recorded at Fillmore West], and this CD [or my old vinyl LP for that matter] captures him in all his live glory. Albert was a consummate professional who hadn't played large venues for the most part in his career when Bill Graham tapped him for the Fillmores, and he succeeded in pleasing [no, knocking out!!] audiences and turning them on to the blues....if you're counting your coins and wondering which next blues CD purchase will best serve your budget [or even if you're made of money and don't care either way but love the blues] - BUY THIS ONE!!!

Albert King's Most Influential Live Album!
Well the Blues is meant to be played live. It was never a genre for three minute radio songs. When Albert king signed at Stax he produced several hit singles beginning with "Laundromat Blues" and going on from there. This was his first live album- ever. He produced three recordings from it, this one and "Wednesday and Thursday Night in San Francisco". The latter two were not released until 1990 when the Stax label was ressurrected under the Fantasy organization. Albert plays a host of new material and reworkings for this LP. It was his first outing at the Fillmore where he was the headliner. He woos the young audience and introduces them to what the blues is all about. He opens the set with Herbie Hancock's "Watermelon Man", a tune he used for about a dozen years after this as his opening with his line "take off your shoes and slip them under the seat". He goes into the title track "Blues Power" from here. This a Talking Blues, a type that Albert excelled at. B.B. and Freddie never did any talking blues, Albert loved to talk! It is interesting that this type of blues originated in Appallacia with white players in the 1920s. Albert is the all time virtuoso of the talking blues witness "Matchbox", "Cold Feet" and others. This ten minute outing contains a comprehensive overview of his guitar style. It is very excellent and the tone of his guitar is fabulous. It of course has his signature stop break he first recorded at Chess in 1961 with "Won't Be Hangin Round". SRV used it in Texas Flood (Live)! This song has a lot of jargon that places Albert as an older player with a young audience, such as "Soda Fountain" and "Guys and Gals"..however, it's over their heads, they were into his guitar. The title "Blues Power" is of course the catch phrase of the sixties various "Powers" (Austen Powers!!) and like "Born Under A Bad Sign" (Age of Aquarius!!)these attempts at contemporizing the blues were lost in the fabulous guitar work outs. No one cared about the lyrics or content only the sound.

Albert does a reworking of his first minor hit with King Records "Blues At Sunrise" with a small amount of Hendrix type feedback (he'd been doing this for a long time) and it's a great slow blues offering. He also does the closest thing to a slide riff he'd ever done with B.B. King's "Please Love Me". "Night Stomp" is an interesting reversal of the famous 9th chord runs he did in Overall Junction. He wrote this tune with the album's producer Al Jackson, Jr, the famous drummer of the MG's. He also wrote "Cold Feet" the talking blues, with Albert! The album closes with "Look Out" which was of course "Overall Junction" redone. This is interesting with the strange almost Buddy Guy bends he produced- it's different from anything he ever recorded.
This is a classic recording. It was at a time when the blues revival of the sixties was waning and Jimi Hendrix (who played with Albert) had taken the blues to a new level of blues-rock. Albert became accepted as an innovator of modern urban blues with his soulful recordings for Stax records. However, live he always played traditional blues and often his set included tunes from the 1940s (check out the other two albums e.g."Driftin Blues"). I saw him in 1990 and his set included "Stormy Monday" and "Move To The Outskirts of Town". Get all three of these CDs, they are an historic record of the blues influence on music of the 1960s.

Forget SRV? I dont think so.
I agree with all the positives about Albert King, he certainly is CLASS. I do disagree with the person who said "forget SRV" yeah right! He was CLASS too, wasn't he?? ... Read more

Amazon.com essential recording

For the completist, this three-CD, 72-song box remains the definitive collection of one of the leading lights of Chicago blues. The collection spans 25 years, beginning with rare early recordings with pianist Sunnyland Slim and moving through Waters's peak '50s period, which offered the legendary support of Jimmy Rogers, Little Walter, and Otis Spann. Luminaries including Pat Hare, James Cotton, Earl Hooker, Buddy Guy, and Pinetop Perkins all make valuable contributions to his '60s work. Along with his original hits and his noteworthy Willie Dixon interpretations, Chess wisely includes his lesser-known covers of Big Bill Broonzy, Howlin' Wolf, Guitar Slim, Jimmy Reed, John Lee Hooker, and Sonny Boy Williamson. --Marc Greilsamer ... Read more

Reviews (16)

The best from the best
This is the only box set that I can think of that could be essential. All of these historic recording, represents one of the greatest achivements of popular music in the 20th century. Muddy Waters changed music forever. The first half of disc one alraedy delivers some of best performance ever, like 'feel like going home'and 'cant be satisfied', Muddy's first big sellers that turned him into a star. He was still playing very much in the Delta style, although by that time he was cooking in juke joints with one of the best blues band ever. The recordings included in the second half of disc one and practically all disc two are simply in a league of its own, comparably only perhaps to Elvis sun sessions and Loui Armstrong hot five and sevens in terms of perfection and influence in music. Disc three proves that the man could not make a bad record, and includes a live track from Live at Newport, your next essential purchase.
The box includes a booklet with details of every session, and essays on Muddy the man and the musician. This is as good as blues music can get.

If You Only Had One Blues Album.....Yep, This Is It!
A comprehensive collection from the best bluesman ever. Sure, others have done significant recordings, established new sounds, forged creative sounds, but no one has been *the man* for decades, like Muddy has. Regardless of whether it is these priceless early recordings where the genius was just starting to come through or whether it is any of the numerous eras Muddy went through, they are all well represented on this set.

The supporting book is one of the best I've seen ever. It is comprehensive, has new and unusal photos, and gives a good history of Waters' recordings.

The one belongs in the "if I was on a desert island and take only one CD, which one would it be" category.

The most complete overview of Muddy Waters' Chess sides
More casual fans will probably be better served by MCA/Chess's much cheaper (but very good) two-disc compilation "The Anthology: 1947-1972". But if you're looking for the best and currently most thorough available overview of Muddy's recordings for Aristocrat and Chess, this is it.
It is not the final word on Muddy Waters - his excellent latter-day recordings with Johnny Winter as producer aren't here, and you'll need some of his live stuff as well - but these 72 tracks do include the vast majority of his best songs from 1947 and twenty-five years on.

Disc one spans 1947-1954, and most of the 24 tracks feature just Muddy Waters on slide guitar and bassist Ernest "Big" Crawford backing him, although the great Sunnyland Slim rolls the ivories on a few songs, like the delightful 1947 single "Gypsy Woman".
Muddy's arsenal of slide guitar riffs may seem limited, but his playing on the 1948 hit "I Can't Be Satisfied" and the mellow "Train Fare Home" is really great, demonstrating what a fine guitarist he actually was.

Percussion doesn't show up until two-thirds of the way through the disc, when the "classic" Muddy Waters band begins to take shape: Little Walter Jacobs on harmonica, Jimmy Rogers on second guitar, drummer Elgin Evans, and Otis Spann playing the piano.
Along with the songs already mentioned, the lean, mean "I Feel Like Going Home" and "Rollin' And Tumblin'" are among the highlights on disc 1, which ends with the tough, swinging "Blow Wind Blow" and the classic "Hoochie Coochie Man". Big Walter Horton plays superb harmonica on "Blow Wind Blow".

Disc 2 includes the majority of Muddy's classic 50s singles, from "I'm Ready" and the thumping "I Just Want To Make Love To You" to "Got My Mojo Working", the Bo Diddley-ripoff "Mannish Boy", and the superbly swinging "I Love The Life I Live, I Live The Life I Love". Harpist James Cotton appears for the first time on "I Love The Life I Live", blowing a truly inspired harmonica riff.

There are several lesser-known songs here as well, including previously unreleased takes and singles which make their LP/CD debut on this album. Most of them are good, although not quite great, with the exception of a very fine rendition of Jimmy Oden's "Take The Bitter With The Sweet".

Disc 3 covers 1960-1972, and includes a few live recordings, as well as two alternates from the sublime "Fathers And Sons" sessions. Opening with the great live "I Feel So Good" from the Newport album, it is highlighted by Muddy's version of Eddie Boyd's "Twenty-Four Hours", the definitive renditions of his mid-60s hit singles "The Same Thing" and "You Can't Lose What You Ain't Never Had", and a hornless version of "Who's Gonna Be Your Sweet Man When I'm Gone", one of the few good cuts from the otherwise forgettable "London Sessions" album.

There is nothing here from the misguided and completely superflous "Electric Mud", or from Muddy's last Chess-effort, "The Woodstock Album", but that detracts nothing from the greatness of this compilation, the finest overview of Muddy Waters' Chess sides available.

Great place to start.............
For those of you who like the old blues,then I suggest that you get this one.It may not have everything he ever did and there may not be very many rare tracks,but why quibble? Great playing,soulful singing and memorable melodies......Listen to this legendary bluesman who inspired The Rolling Stones and Eric Clapton,among others....BUY IT!!!

In short: all you need
Okay, that's it, that way my review right there in the title.
These three CDs have every important studio recording that Muddy Waters made for Chess - all you need besides this is "Live at Newport", and you're set. Well, that, and maybe the acoustic "Folk Singer" album.
Having said that, this is an expensive set, and in spite of some extra tracks (most of which aren't absolutely necessary), it may be too expensive.
The double-disc "The Anthology: 1947-1972" costs almost twenty bucks less, and serves its purpose almost as well. And you can use the money you save to buy Waters' three Blue Sky-albums :o) ... 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

Album Description

1970 album from Columbia by the great blues/rock guitaristWinter with Rick Derringer, Randy Hobbs & Randy Z. Contains all 11 original tracks including the hit 'Rock & Roll,Hoochie Koo', & the original cover art. ... Read more

Reviews (3)

Johnny Winter's Co-Best Studio Album
JOHNNY WINTER AND and STILL ALIVE AND WELL are Johnny Winter's best
studio albums ever. On these albums, Winter moves into hard rock without abandoning his blues roots. With these albums and JOHNNY WINTER AND LIVE, Winter, who is visually impaired, proves that a handicap is only a handicap if a person lets it be one, as these albums, along with Foghat, Blackfoot, and Molly Hatchet, helped pave the way for the rawer side of 80s metal.

Hodge Podge Of Noise
Really with an lp featuring Johnny Winter and Rick Derringer you would expect a top notch effort but this album fails to impress.
It's almost as if you want to like the songs but they fade into a scramble of noise and poor songwriting.
Even Rock And Roll, Hoochie Koo sounds terrible.
Honestly nothing here to recommend.

Winter Rocks Out
The only Johnny Winter album with no blues tunes, it was cut on a single day. The rapport between Derringer and Winter is incredible! I love the funk of "Ain't That A Kindness", and the soulful vocal on "No Time To Live". But my two favorite tracks are probably "Nothing Left" and "Prodigal Son", two Winter originals that show he could write heavy tunes with the best of them. Some real Hendrix influences on several tracks. A fantastic record, but the CD is not as clear as it should be. ... 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

This 16-track anthology spans the first decade of albino Texas blues guitarist Johnny Winter's career, especially the early (1969-'73) Columbia albums that built his legend. While some purists have groused at his often manic precision, this collection makes a point of underscoring his impressive range as a musician. The fervent gospel-blues of "I'll Drown in My Tears" showcases Winter's vocal stylings (and is one of several tracks featuring brother and frequent sideman Edgar), then segues neatly into the spare, acoustic heat of the dobro-'n'-flute rarity "Come On in My Kitchen." But the emphasis is on Winter's showy rock star turns and the collaborations with his potent band (and fellow axeman Rick Derringer and his cohorts from the McCoys, of "Hang on Sloopy" fame) on "Rock and Roll Hoochie Koo," "Still Alive and Well," and forceful live workouts of "It's My Own Fault" and "Mean Town Blues." His original, late-'60s power trio is on display here, too, and that small, formidable outfit can't help but emphasize the debt that Stevie Ray Vaughan and many of his musical progeny owe Winter. Indeed, Winters's bassist in the trio was none other than Tommy Shannon, who would enjoy another turn in the spotlight a decade later in Vaughan's Double Trouble. If American electric blues is your gospel, this collection should be one of its cornerstones of faith. --Jerry McCulley ... Read more

Reviews (4)

Great starter CD
This is a great CD to get you going into the world of Johnny Winter.

I'm not too thrilled about the Rick Derringer tune but a little bit of everything is covered here. From the rocking 'Johnny B. Goode' to the slide playing on 'Highway 61 Revisited' to the shredding on 'Hustled Down In Texas' to the melodic blues of 'It's My Own Fault', this is a great buy.

Best of Johnny Winter
This is a nice CD that covers the early years of Johnny's career. His range in many aspects is one of a kind. Its nice to feel the music rather than just listen to the music. For all you young rock and blues fans take notice, Johnny truly is an American guitar legend. Go out and get this one now!

Best of
An excellent introduction to the early years of Johnny Winter. It shows the scope of this often overlooked musician. A true american genius. "Johnny B. Goode" a ripping version that Chuck Berry would be proud of!!! And he plays it in the key of "B". "Come on in my kitchen" is a beautiful slide piece. And the best tune, in my opinion, "It's my own fault", shows off his vocal range and phrasing and a million guitar licks that every guitar player should know. Awesome and inspiring.

A GREAT CD BUT A BOXSET WOULD HAVE BEEN BETTER
The songs on this cd are great & sound great. I would recommend this to any Winter fan new & old. Most of the songs came from the first two recordings Johnny did for Columbia. My complaint is that there is alot missing here. There is no way you can release a BEST OF from this guitar god on only 1 disc. This disc should have been joined by a disc 2, 3 & 4 with a nice booklet & put in a box. But for now, this will do just fine. BUT IT!!! It's killer tunes from the master of blues/rock. ... Read more

Reviews (2)

Big Fun
The CD is 10 tracks culled from various Rounder Records artists CDs. I bought this to make my $25 minimum shipping but didn't expect much from a cheapie. When I put on the first track, I hooted out loud at how delightful the opening riffs were. The rest of the tracks were just as good. Consider getting this along with Gallerie "Portrait of Boogie Woogie Piano" for a complete and very fun collection of the form for just over the minimum shipping.

excellent modern boogie woogie selection
If you're looking for a more recent selection of boogie woogie selections, this is your disc. All the tracks are upbeat and jumping. It just makes you want to get up and move. ... 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

Amazon.com

Why settle for one great female vocalist when you can get three, especially when they're stylish soul diva Irma Thomas, Tracy "Mother Earth" Nelson, and swamp rocker (and roller) Marcia Ball. The talented trio take the Sing It! title seriously, belting all hues of blues with satisfying sass and sincerity. Backed by a fine and funky band of Memphis-soul stalwarts and New Orleans session stars, the ladies shine both individually and as a team. Thomas, the longtime "Soul Queen of New Orleans," struts her stuff on the Bobby "Blue" Bland classic "Yield Not to Temptation," while Ball puts some patented bayou boogie, powered by her slinky piano lines, into her spotlight songs. Nelson repeatedly stops the show with her enormous, wraparound voice, transforming tunes like "In Tears" from simple country-flavored ballads into cathartic emotional experiences. But it's the combined voices that makes the session so special, and the title track, a soulfully scintillating second-line anthem, is the most enjoyable example of the vocal virtuosity of these women. It's a quintessential New Orleans celebration of singing, well worth the purchase price by itself, and it, like the entire album, also serves as an excellent sampler of the multiple talents of the superb song stylists involved. --Michael Point ... Read more

Reviews (12)

Lovely songs, don't miss them!
This was the first CD that I can hear these three great musicians. However, I love it so much and go to bed with this CD almost everyday. Whenever I hear this CD, I always find a passion. If you are a person who hides the passion of love deep in your heart, Dont miss it!

this cd will give you goos bumps
Anything with Tracy Nelson on it is bound to be great and this collaboration with two other wonderful singers is as good as it gets. The funky Memphis sounds are a perfect vehicle for these three strong female voices and to hear Tracy and Marcia Ball wail with Irma Thomas, one of their mentors, is a treat. This CD should be a best seller. All the love and pain these women have shared comes through on every note. check it out. they deserve to be heard.

Good Music, good singing
It's not often you listen to a cd and it's all good. This is a very good collection of songs, sung by three very good singers. I would recomend this cd to a Martian that just landed on earth and wanted to know what "SOUL" music and good singing was. Get this one, you'll be glad you did, it's the best.

These gals are the stuff.
I actually heard these ladies first on Austin City Limits and decided that I needed the CD. Friends take one listen to this CD and fall in love with it just as I did. They like it so much that I am eager to let them take it home. I have bought FOUR copies and sent TWO as gifts. And I don't even have a copy for my own right now. My female friends have shared with me that this CD is highly suitable for listening while taking a candle-lite bath to soak away those "man-trouble" blues and also while trying to shake the road-rage syndrome on the ride home from work (of which I agree). BUY IT. And share it with a friend.

Tracy and Irma great combo.
This was the first I have ever heard of any of these ladies. Tracy and Irma stand out and You don't know nothin'about love, is the most powerful piece on the cd. Tracy is heard all over this cd with power force and beauty. I enjoy her thoroughly and will look for some of her solo stuff in the future. She crosses between gospel and blues with authority and passion. The highlight of this cd is the last song You don't know nothin' about love Great song ... Read more