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One of the best recordings in Chess Records' 50th Anniverary series is the first of two bookend Muddy Waters collections, His Best 1947-55. Documenting Waters's most creatively and commercially successful years at Aristocrat/Chess, this CD begins with his formative years and ends with Waters at his peak. So you're in for a lot of terrific bottleneck slide guitar work as well as electric Chicago blues. What's to criticize? Superb remasterings of "I Can't Be Satisfied," "Rollin' and Tumblin'," "I'm Ready," and "Mannish Boy" are simply beyond reproach. With simple bass accompaniment from Ernest "Big" Crawford, Waters's bottleneck tracks are spare, haunting and, quite frankly, perfect country blues. And listening to Waters, Little Walter, Willie Dixon, and Jimmy Rogers piece together (and perfect very quickly) the classic Chicago sound is pure blues epiphany. At the very least, this collection shows you why Waters's rollicking stop-time classics like "Mannish Boy" and "I'm Your Hoochie Coochie Man" have sparked endless imitations over the years--and why nobody has played them better since. --Ken Hohman ... Read more

Reviews (18)

ESSENTIAL EVEN FOR NON BLUES LOVER
These are the songs that the BRITISH INVASION groups played to death in the sixties;here's your chance to hear the originals in this wonderful collection.In fact to be frank,this can be the only blues record you ever need when your friends want to hear that kind of music.Just for the record ,let's enumerate which songs were recorded by the likes of THE ROLLING STONES(I CAN'T BE SATISFIED,I JUST WANT TO MAKE LOVE TO YOU,MANNISH BOY);CREAM(ROLLIN AND TUMBLIN,I'M READY)and THEM(BABY PLEASE DON'T GO)and this is only a partial list.MUDDY WATERS was more than anybody else the best performer of the CHICAGO blues.If you like it, you can go with the follow up which completes this anthology perfectly.

this is the one !
I was looking for the definitive Muddy Waters CD, and I found it here. The best songs from his best period with the best musicians. To me this is a CD that will always be heard. All 20 songs are masterpieces but I could single out "I'm Ready", "Mannish Boy", "can't be Satisfied" for their outstanding quality. Little Walter was an amazing Harmonica player who was at his best playing with Muddy Waters. His piercing solos gives the music here an edge I found nowhere else. The sound is very good, and the number of song (20) lets you enjoy the music thoroughly without being abraptly cut. This is a CD for the "deserted island" list.

Blues from heaven
This album blew my mind and is essential listening for any lover of blues, rock or any form of music(interested listeners are requested to also check out Howlin' Wolf 'His Best' CD issued simultaneously by Chess Records).

Nearly 50 odd years later the music sounds as fresh as yesterday. If this isn't where all the rock maestros of later years got their sonic ideas, it should have been.

Great Classic Music
These are the seminal years of the second, the electric wave of Chicago Blues. Muddy Water's collaborations, especially with Willie Dixon here, created the modern Chicago blues which replaced the older acoustic style represented best by Tampa Red and Big Maceo, and by Lil Hardin Armstrong and Lonnie Johnson collaboration.
The older smaller tighter, more person (and it is hard to talk about anything more personal than even the least well prepared Muddy sides),blues. The performances are breathtaking in their strength. You know this man, and you know more about yourself after you hear this.

Excellent compilation
"Excellent compilation", eh? So why only four stars?
Well, the track selection is really good, bringing together almost all the best of Muddy Waters' rough, muscular blues. Or rather, the best of 1947-55, which is why this is "only" a four star-compilation: It's not a career spanning retrospective, and it doesn't work all that well on its own.

But get this CD along with its companion volume, "His Best: 1956-1964", which also features 20 tracks, and you'll have a really fine career overview, second only to the three-disc "Chess Box" set (and perhaps the 50-track "The Anthology: 1947-1972").

This CD only has one significant flaw: A production error means than a sloppy alternate take of "Hoochie Coochie Man" is included instead of the master. Otherwise, it's just about as fine a compilation as you could wish for, including Muddy's first single, the slashing acoustic slide guitar blues "I Can't Be Satisfied", and tough, electric Chicago classics like "Honey Bee", "I'm Ready", "Trouble No More", and "I Just Want To Make Love To You".
Just remember that this isn't the definitive word on Muddy Waters - he made superb songs after 1955 as well. ... Read more

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This soundtrack to the movie features an astonishing array of blues artists from three generations. Recorded during one long night at NYC's Radio City Music Hall on Feb. 7, 2003, the electricity is in the air and on stage. While it may not have been the finest blues show in history, the collection of founding fathers such as David "Honeyboy" Edwards, Buddy Guy, Clarence "Gatemouth" Brown, Larry Johnson, Hubert Sumlin, Solomon Burke, and the ubiquitous B.B. King along with their spiritual offspring (Gregg Allman, John Fogerty, and Steven Tyler) and some usual suspects like Bonnie Raitt, Robert Cray, andKeb' Mo', makes it arguably the most significant blues session ever captured on film.

Beginning acoustic, the double disc builds momentum and volume as we hear the blues mutate to electric and finally hip-hop with Chuck D. exploding on a rap version of John Lee Hooker's "Boom Boom." The crackling house band led by drummer Steve Jordan provides foundation for gritty, roof-raising pieces like the unusual collaboration between former New York Doll David Johansen and guitarist Sumlin on Howlin' Wolf's "Killing Floor." Not all of the film's music is included but there are enough magnificent performances for established blues fans and to entice those first experiencing the genre's abundant riches. --Hal Horowitz ... Read more

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A million or so collections, all from different record labels, document this Detroit blues guitarist's influential boogie-woogie career. This 16-song Rhino CD is an excellent starting point, with definitive versions of Hooker's classics "Boom Boom," "Boogie Chillen'," "I'm in the Mood," and "One Bourbon, One Scotch, One Beer." It's interesting to hear the singer's voice progress from a deep, growling slur to the more polished later material, such as his collaboration with slide guitarist Roy Rogers on Robert Johnson's "Terraplane Blues," but he never lost his bottom-line rawness. --Steve Knopper ... Read more

Reviews (11)

The Stuff Legends Are Made Of!
Every once in a while, a budget disc comes along that is surprisingly good. Such is the case with Rhino Records release of "The Very Best of John Lee Hooker." On this release, Rhino combines 16 stand out tracks and some nice liner notes which briefly describe the man as well as the origin of each of the tracks. The selection of songs range from Hooker's signature "Boogie Chillen'" recorded in 1948 through "Terraplane Blues" recorded with slide man Roy Rogers in 1987. This is not a comprehensive collection nor was it ever intended to be. Instead, you get a flavor for a younger John Lee Hooker and his amazing guitar work. The recording quality is excellent especially considering the age of the songs. Well worth the purchase.

16 John Lee Hooker classics all in a row!!!
This great CD from Rhino collects 16 classic tracks from John Lee Hooker's awesome career!!!Includes:Boogie Chillen',Crawling King Snake,Boom Boom,Big Legs,Tight Skirt,Shake It Baby,One Bourbon,One Scotch,One Beer,Terraplane Blues(with Roy Rogers!),and more!!!An awesome collection!!! Two thumbs up!!! Five stars!!! A+

A fine starting place
This single-disc compilation actually does a better job than Rhino's double-disc "The Ultimate Collection (1948-1990)", from which these tracks are taken. It's not a complete career overview, of course, but where "The Ultimate Collection" tries and fails to be definitive, "The Very Best Of John Lee Hooker" doesn't strive to be "ultimate", but only to provide a good introdution to the daunting legacy of the Hook.
And it does a superb job, collecting sixteen of Hooker's best song, including "Boom Boom", "Dimples", "I'm Bad Like Jesse James", "Big Legs, Tight Skirt" and "It Serves You Right To Suffer".
A perfect introduction for the curious.

simply and absolutely Blues
It's the best way to enter the world of the blues and the finest way to realise why the man with the guitar is the one make you feel good everytime you want to relax.It's the combination of that electrical tone and the rough voice that relax you during or after a dificult day.It's simply and absolutely blues.

pioneer of the blues
There is nothing like drawing the shades close, putting on a set of headphones, and listening to a good John Lee Hooker disc. Whether it be something from the late 40's or his newest releases back in 2000 with John Lee Hooker and Friends. That is what was great about this man, he just got better as time went on. To start out, The Very Best of John Lee Hooker is a great way to get into him if you are interested in the blues. You wont be dissapointed. The Classic Boom Boom, One Scotch, One Beer, are great, but the others that you may never heard of are just as good. It serves You Right To Suffer, Burnig Hell, and Crawlin' King Snake are just a couple on this cd that will grab you. I give this disc 5 stars and then some. ... Read more

Reviews (10)

Excellent value for the newcomer...
Yeah, I read the review below by a 'music fan' who says there are an overabundance of Vaughan comps and while that's true, this one has one thing that the earlier Greatest Hits doesn't have: VALUE.

This two CD set comes in at a price considerably cheaper than if you bought the two earlier Greatest Hits CDs, separately.

And unless you are a Vaughan completist who HAS to have the four studio albums, the 'live' stuff plus "Family Style" with Jimmie or the SRV box, then this one is a pretty good value, price-wise for a beginner new to Vaughan's work.

This is all a part of Sony's 'Essential' series that's coming out during 2002-2003 year and for them not to do an 'Essential comp on SRV would, I believe, be quite noticed by SOME fans out there. After all, SRV was an important artist for Columbia/Epic in the 1980s and that's what this series is about.

Excellent for Newcomers to SRV/DT
The Essential Stevie Ray Vaughan is an outstanding introduction to the greatest guitarist of the last 30 years. Being an SRV/DT completist, I already have these songs in one form or another, so I would have liked to have seen some additional, previously unreleased tracks. If you're new to SRV, pick up this collection first, then work your way backwards from In Step (his masterpiece) to Texas Flood for some incredible album tracks not included on The Essential SRV. Then get Live at Montreaux 1982-1985 for a pair of absolutely blistering live sets.
Just ensure that Voodoo Chile (Slight Return) is played at MAXIMUM volume for greatest enjoyment!
RIP, SRV - there will NEVER be another musician of your calibre.

I'm not too big on live performances over studio cuts
The one thing that disappointed me on this collection was that they opted for the excessively long 12 minute live version of Hendrix's Voodoo Child. Why not the superior 8 minute studio version found on the Greatest Hits 2 collection? It seriously rocks and was one of the reasons I purchased this set. Wished I had just opted for Greatest Hits 1 & 2 instead of this bloated collection. Most of the other songs on this collection are the same versions found on the others. Why the change-up on this one song? I thought I was getting a better deal by going with this double-disc set. Greatest Hits and "Best of" collections are for the casual listener, like myself, not the hard-core fan who likely has the individual albums to begin with and has little use for a compilation. Why throw in alternate takes of the hits? Just one man's opinion. Still, I'm disappointed I spent this much on a CD with which I'm not entirely happy.

The Essential Stevie Ray Vaughan REMASTERED
I own every SRV CD I did not buy this one but a friend lended it to me. This CD sounds better than the orginal the sound quality is out of this world. This is a must have for an SRV fan who does not own that much of him. If your looking to buy a SRV Cd this one if for you. This includes all his hits like Texas Flood, Pride And Joy, The Things We Used To Do, Change It, Voodoo Chile, and some rare recordings of some live stuff. This is a must have buy this on amazon and you will love it!!!!!

Solid Overview Of Influential Guitarist's Career
Arguably the greatest blues guitarist of the last quarter century, this is two-and-a-half hours of his best work. The 33 tracks are presented essentially in chronological order beginning with a 1980 live performance of Willie Dixon's "Shake for Me" and ending with the stark performance of the autobiographical "Life By the Drop" taken from 1991's posthumous release THE SKY IS CRYING. Also included are a couple of tracks ("Telephone Song" and "Long Way from Home") from FAMILY STYLE, an album he cut with his older brother Jimmie just months before his death.

While there are no previoulsy unreleased tracks on this compilation, this is a solid overview of the most influential guitarist since Jimi Hendrix. If you can't afford his entire catalog, this is an excellent alternative. HIGHLY RECOMMENDED ... Read more

Amazon.com essential recording

This legendary 1983 debut by the fallen torchbearer of the '80s-'90s blues revival sounds even more dramatic in its remixed and expanded edition. Stevie Ray Vaughan's guitar and vocals are a bit brighter and more present on this 14-track CD. And the newly included bonus numbers (an incendiary studio version of the slow blues "Tin Pan Alley" that was left off the original release, and live takes of "Testify," "Mary Had a Little Lamb," and the instrumental "Wham!" from a 1983 Hollywood concert) illuminate the raw soul and passion that propelled his artistry even when he was under the spell of drug addiction. Texas Flood captures Vaughan as rockin' blues purist, paying tribute in his inspired six-string diction to his influences Larry Davis (who wrote the title track), Buddy Guy, Albert King, and Jimi Hendrix. His own contemplative "Lenny," a tribute to his wife at the time, also suggests a jazz-fueled complexity that would infuse his later work. --Ted Drozdowski ... Read more

Reviews (66)

A MASTERPIECE
TEXAS FLOOD is STEVIE RAY VAUGHN'S first album and every song on this album is a hit. Now that it is remastered, the songs are fresher and sound better, and we have some bonus live tracks that show where SRV really earned his reputation, and that is by playing live back in Austin. We have classic tracks such as LOVE STRUCK BABY, PRIDE AND JOY, MARY HAD A LITTLE LAMB,I'M CRYIN, which are uptempo blues rockers, and we also have the slower tempo blues classics TEXAS FLOOD,and DIRTY POOL. LENNY, TELL ME, and RUDE MOOD are classic blues instrumentals that are a must listen to. This remastered and reissued album is great and we be enjoyed by all fans of the blues and will be a great way for new fans to be introduced to SRV music

RIP SRV
Stevie Ray Vaughan and Double Trouble blew us all away with the blues debut Texas Flood. Blues-rock was never any better- not when the Rolling Stones had their glory years or even when Led Zeppelin released their amazing debut. This is an essential blues-rock album, and the key to enjoying it is the guitar. Stevie rips through each song with a long solo or addictive riff while howling into the mike. The best song would be Texas Flood, a song that was amazing on stage. The entire album is his most consistent with not a single mediocre song, and blistering instrumentals, including the soulful Lenny that will turn your heart blue. This is blues rock done better than ever. If this doesn't convince you that Stevie Ray Vaughan is, next to Jimi Hendrix, the greatest guitarist ever, nothing will. If you have a thirst for Texas blues rock buy this right NOW!

One of the few truly magnificent blues records of the 80s
Rarely does a year go by without some new artist being proclaimed the greatest thing since music's birth, and when I first heard of Stevie Ray Vaughan, I was a bit weary. With so many people talking about him as if he was the second coming of Jimi Hendrix, something had to be amiss.

Well, it isn't. The late Stevie Ray Vaughan was actually every bit as great as he was made out to be, and his debut album is by far the best collection of blues-rock and contemporary blues of the first half of the 80s, holding up wonderfully more than twenty years later.

This record brought the blues back into the limelight. It spent some seven months on the American charts (an extremely rare feat for what is essentially a blues record), and it includes several of Stevie Ray Vaughan's very best songs:
The blistering rockers "Love Struck Baby" and "I'm Cryin'" are here, as well as the magnificent slow blues "Texas Flood" and "Dirty Pool", an excellent rendition of Buddy Guy's blues-slash-nursery rhyme "Mary Had A Little Lamb", and of course Stevie Ray's most famous song, the sublime "Pride And Joy".

And the guitar playing is masterful. Vaughan had an incredibly ability to keep his solos sounding fresh and innovative, even when they went on for several minutes at a time, and he was a more than adequate singer as well, switching effortlessly between rock n' roll and slow, soulful blues tunes.

This CD reissue adds five bonus tracks, one of which is a short interview snippet. The other four include a very good live take on "Mary Had A Little Lamb", and the otherwise unreleased instrumental "Wham" (unreleased except on compilations, that is).
And everything here, rockers, blues, instrumentals and bonus cuts, is worth a listen. Many listens. "Texas Flood" is a magnificent blues record, probably Vaughan's finest original album, and it should appeal to fans of both blues and rock.

Bow down to the master
It's very simple: SRV was the greatest electric blues guitarist ever, and one hell of a singer too. This was one of his masterpieces. Buy it, or I'll be forced to hunt you down.....

Want To Here Some Talent?
Texas Flood is Stevie Ray Vaughan's first debut album including the opening track Love Struck Baby with a beautiful texas tone. Then their is the songs that most guitarist never forget including Stevie Ray Vaughan's greatest hit Pride And Joy, and Texas Flood. Lenny is the softer track on the album dedicated to his wife Lenny. I think one of the coolest Blues Shuffles is on Rude Mood. I think Stevie Ray Vaughan had a wonderful talent doing what he did he was one of the greatest guitarist the ever lived. Their are some old great blues songs on here like the Lonnie Mack orginal Wham. The greatest guitar song on the album is Texas Flood. This album has got plenty of radio play that it deserved. Any guitarist should buy this you will not be disapointed. Highly Recomened! Only The Best ... Read more

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Jonny Lang cut his debut album in Memphis when he was just 15, and, upon its release in 1996, the guitar prodigy from Minneapolis instantly became one of the leading lights of modern blues. He's a fast and flashy player whose approach rests equally on technical assurance and musical intelligence. Sizing up a dozen songs, he gets a pleasing, razor-sharp sound out of his ax while building excitement in his lead lines--thankfully, he steers clear of cliché and bombast. As a fledging singer, he acts out the lyrics of Ike Turner's age-old shuffle "Matchbox" and his own romantic ballad "Missing Your Love" with surprising poise and believability. Kudos to producer David Z for surrounding Lang with alert, first-rate sidemen and for helping select good material from Turner, Sonny Boy Williamson, Tinsley Ellis, and others. --Frank-John Hadley ... Read more

Reviews (120)

Jonny "Lie To Me" Anytime
When I first heard this CD I could not believe that it was a 15 yr old singing and playing guitar. Jonny's voice and guitar playing is amazing. The CD is great! The more you listen, the more you like. With a mix of songs like "Lie to Me" and "Hit the Ground Running" which are blues based rock songs, to "I Wonder" and "When I Come To You" where you can feel the emotion in his voice. It's amazing to think that this kid could even understand that kind of emotion at his age. Jonny Lang has made me a believer that "age means nothing" when it comes to the blues.

What does age have to do with it anyway?
I recently read through all the reviews, both editorial and customer, and offer the following thoughts. First of all, anyone who believes this kid lacks talent, either as a guitarist or a vocalist, is simply living in an alternate reality. As I read the negative reviews, what came through loud and clear was jealousy. How dare a mere "kid" try to be good?......Well, guess what?.....He is.... The kind of raw power Jonny demonstrates at the tender age of 16 on "Lie To Me" is nothing short of truly amazing. And while it is certainly true that you can hear the influences of bluesmen like Albert King, Albert Collins, and Luther Allison (I don't hear much Stevie) on "Lie To Me", it is also true that his own unique style is emerging. This is most noticable on the tracks, Missing Your Love and When I Come To You. His follow-up release "Wander This World", reaches down into the soul and literally drags the listener through an emotional rolley coaster ride. For the record, he plays a telecaster, not a Strat, a totally different sound. And would everyone PLEASE get off of this thing about his age! For God's sake,...who cares? Everybody's gotta start somewhere. Talent is talent, and the fact that he is so young only makes him that much more special. Think about where he will go with his music in the next 20 or 30 years....... Way to go Jonny! You will be in San Antonio on January 19 at the Majestic Theater, and I can't wait!

He's the Real Thing
This kid is the real deal. A natural talent if there ever was one. The maturity in this album is amazing, since it was recorded when he was only 15-16! Are his guitar solos melodic and well phrased? You bet. Some very nice work in that regard. But for me, the real magic of Jonny is those vocals - tortured, rich, raw, real and - dare I say it? - SEXY. His voice as an instrument is a very sensual sound. I love the blues - but I ADORE the sound of this kid's voice. If I had to take one album to a deserted island, this might be it.

Hey Jonny Lang... please do a dvd?
Just hoping my wish will come to reality.... check the reviews, beg borrow or steal a copy of this cd.... it's awsome..... I'd love to see Mr. Lang do a dvd. Being a father of two very young kids, I don't have the time to breath, yet alone see him in concert..... A dvd would surely be appreciated by more than just myself..... anybody reading this, and agree that the man should do a dvd, please find a way to let Mr. Lang know.

Jonny Lang
Lany is a master 6 string player no doubt. This recording documents the facts. His voice is young and his age leads one to wonder if he has had time to feel that pain. Jonny Lang and the Big Bang is a much better compliation of his abilities. ... Read more

Album Description

The Place You're In, Kenny Wayne Shepherd's long-awaited fourth album, marks a stunning stylistic shift for an artist who almost single-handedly introduced blues-rock to a new audience. One of the most acclaimed guitarists of his generation not only leans more heavily toward rock,but also releases his first album featuring his vocals. Says Shepherd, whose first three albums went gold or platinum and who has earned seven Top 10 Mainstream Rock cuts and three Grammy® nominations: "We're all growing and changing....We might as well get behind it and enjoy the ride." And enjoy The Place You're In. ... Read more

Reviews (25)

Greatest Blues Album Ever?
Junior Wells isn't my personal favorite as a harpist (Sonny Boy is), but this album is one of my absolute favorites in the blooze. This album is really HOT, with Junior struttin' his stuff with his mates from Chicago, including the one & only Buddy Guy. Buddy really gels with Wells on this album, not by taking solos, but by accompanying him & the actual song being played. His presence really steps up Junior, & brings out the best in him here.

While Junior is a terrific blues harpist & singer, he has a real funky style that resembles James Brown. You can really hear it from the get go in "Snatch back & Hold It". The cover of "You Don't Love Me" from this album will influence a bunch of guys in Macon, GA. a few years later.

I believe this was also one of the earliest "full" blues albums released, rather than a collection of singles from vinyl. Hence, the greatest blues "album" ever recorded. Yes, that is my personal opinion, but the Chicago blues rarely gets better than this. Essential for any blues collection!

Junior Wells' Showcase
I have been hearing about this album for 20 years, but only got it recently. So naturally I compare it with what I have listened to in the past 20 years.
Earlier Wells albums featured a larger group - with horns, piano etc... The sound was heavy and I loved it. This CD has Wells, Buddy Guy on guitar, plus bass and drums. The sound is lighter, and the band goes for jumping, funky kind of blues. Wells' harmonica gets much more room here than it did before.
As a Chicago harpist, I rate Wells second only to Little Walter, but Wells is a better singer ! Wells is a great singer and performer, and deserves the showcase this CD affords him. He was young and fresh, and felt like jumping much more than laying back. As a result, the best tracks are the fast ones - Chilli Con Carne, Snatch It Back etc...
I love Buddy Guy's playing on the CD - he lets Wells have the main stage, and behaves like a true friend and musician - thinking only about the overall result.
To conclude - this is a great blues CD, worth having to any blues fan.

As good as an album can be.
Listening to this album with the lights out puts me "there" more than just about any album I've heard. In a smoky room where musicians and audience are connected. This album is real.

The Greatest
In case there's any confusion, this isn't just the greatest blues album of all time, this is the greatest album of all time. Don't doubt it. It's perfect. As good as it will ever get.

must have blues album
The greatest blues album ever recorded.. A must have!
B.B. King at the Regal has nothin on this, a classic. ... Read more

Amazon.com

"Yeah, it’s been a long time coming, never thought it’d take so long," moans Jonny Lang on the seemingly autobiographical title track to his first release in five years. But its stark acoustic, near demo quality is in contrast to the preceding 12 songs, which are buffed to an arena-rock sheen. The youngster has shifted from an up-and-coming bluesman into a tough, journeyman melodic rocker with a dab of R&B. He has also honed his songwriting skills, resulting in the majority of this album (except a rugged bonus live cover of Stevie Wonder’s "Livin’ for the City" and the first single "Red Light") being self-penned. Aiming for the back rows, Long Time Coming boasts booming, sing-along mid-tempo choruses in "Save Yourself" and "Goodbye Letter," perfect for the lighter-waving crowd. He has also transformed into a soulman of sorts, evidenced by the Prince/ Michael McDonald influences on "Touch," "Beautiful One," "The One I Got," and the funky "If We Try." Once a burgeoning guitar hero, Lang’s solos are now integrated into the material, further bolstering the hard rock/soul approach. Leaving the blues, Lang has moved towards the mainstream on his most polished and radio-ready album yet. --Hal Horowitz ... Read more

Reviews (246)

Jonny Lang's Coming of Age
I still think this guy's just a kid, but lose that thought quickly when I listen to him sing. I enjoyed his earlier stuff, but this album displays him as a true musician, not just a kid with a manly singing voice. The whole album is excellent, but a couple of tracks stick in your head and make you want to press repeat over and over again. "Red Light" immediately grabs a hold of you as the 2nd track. He didn't write it, but puts enough soul into it to make you think he did. I heard the song on XM radio a week before release, and after hearing it once,I had to buy the album, so that I could hear it again. The title track is a tune that makes you think of older blues superheroes. (Too many come to mind to even start listing them) The best lyrics on the album are in the song "Dying to live". Creative and catchy, with an R&B feel, definitely one of the best tracks on the album. All in all, the album was definitely worth the 9.99 that i spent on it, and definitely worth the time that I spent listening through it. Jonny Lang is no longer a boy playing the blues, he's a man making great music.

Different but still awesome!!
I was messing around on CDNOW and saw that this CD only had an average rating of 3 stars and proceeded to read some of the reviews and was astonished to say the least.

No, this is not the typical "blues-rock raspy-voice" Jonny Lang album that we're all used to but it's still awesome! It's great the he can step outside of that and experiment a little and still create an amazing album. We already know Jonny can play the guitar but this album even further displays how talented he is as a singer as well.

Props to Jonny for trying something different and being able to be so versatile. This is one of the best albums of the year, there's not a song that you will want to skip over! Go out and buy it!!!!

Great CD
Best CD I ever bought. I thought I loved Jonny before, well he made me love him even more with this CD. Others may think he's gone bad, but just because he isn't exactly the same as he has been does not mean it's a bad thing. I fell in love with this CD before I even bought it and when I found out that Jonny became a Christian before making this album it made it that much better for me. Jonny showed some changes in his life in a subtle way and I loved it!

An Old Soul with a Unique Voice
I love this album. Lang's voice is like none other I've ever heard. At once raw, anguished, and beautiful, it would draw you in if he was singing "Mary Had a Little Lamb." Instead, he sings some lovely and fresh songs. My personal favorites are the powerful "Dying to Live" and the reflective "Red Light." I recommend this album to someone who likes a bluesy, soul sound and is looking for something different from everyday radio singers.

Great songs - great ballads
I think all of the songs are high quality. My recommendation is to copy all of the torch ballads (tracks 1,5,6,8,10,12). Light some candles and fetch your partner for some very romantic slow dances. You never know what might happen later! ... Read more

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It's not hard to understand the appeal of Kenny Wayne Shepherd, currently being hailed as the heir to Stevie Ray Vaughan. He's young (an increasing rarity in blues and blues-related genres), he writes catchy songs, and his "Blue on Black" is widely played on rock radio. Trouble Is . . . is an enjoyable listen, from rockers like "Slow Ride" and "Chase the Rainbow," to swingy mid-tempo songs like "True Lies" and "(Long) Gone," to slower almost-ballads such as "Nothing to Do with Love" and the all-pervasive "Blue on Black". Expect to start hearing "I Found Love (When I Found You)" at high school proms and homecoming dances. It remains to be seen how Shepherd will develop, but he's among the most promising young guitarists out there today. -- Genevieve Williams ... Read more

Reviews (78)

Pretty good, but the Trouble Is......
Kenny Wayne Shepherd is a great guitarist, no doubt, and that's ultimately the appeal of his music. If you do not like guitar-based music, you'd do well to stay away from this CD. It's basically only for fans of guitar-heavy blues rock. On that level, it's a success. The songs are adequate, but mostly forgettable, and serve as little more than a backdrop for Shepherd's guitar. The lyrics are sometimes painfully derivative, and pretty uninteresting overall. However, the music is so good that the lyrics hardly matter. Vocalist Noah Hunt has a good voice, and sings with conviction but the words he sings just seem to be empty words. The songs about love and women just seem kind of phony coming from such young guys.

The best songs are Slow Ride, Blue On Black (a rock radio favorite), Chase The Rainbow and Somehow, Somewhere, Someway. The Hendrix cover I Don't Live Today is also fun.

Trouble Is... is a fine album for fans of blues-rock. If you like Stevie Ray Vaughan, Jimi Hendrix, Johnny Winter and other bluesy guitarists, then I would recommend this CD as well as Kenny Wayne's debut, Ledbetter Heights.

It starts out great but...
Trouble Is... is the followup to Kenny Wayne Shepherd's killer debut Ledbetter Heights. While the band clearly sounds tighter and Shepherd's playing continues to impress, several tracks from the album's second half are mediocre, making it an uneven followup.

The first seven tracks on this album are all top notch whether it's the blues of "(Long) Gone" and "Somehow, Somewhere, Someway", the driving rock of "Slow Ride", the boogie of "True Lies", or the excellent hit single "Blue On Black". The versions of Jimi Hendrix's "I Don't Live Today" and Bob Dylan's "Everything Is Broken" are also excellent, with the band truly making the Dylan track their own.

Then the album starts to drag with the bluesy "King's Highway" and the closing instrumental title track being the only decent tracks. The remaining tracks "I Found Love (When I Found You)", "Nothing To Do With Love", and "Chase The Rainbow" are unmemorable and lack a strong hook. If you removed these tracks, you can argue that it's as strong as Ledbetter Heights. Still it's worth checking out for tracks 1-7.

A true talent! Unbelievable!!
It is so great to hear a talent like this is rising through the scene. He is so young and so talented! Love the sound. If you get a chance to see him live don't walk....RUN!!! I saw SRV twice and this guy's fingers burn on that guitar. Keep up the great work Kenny Wayne. We need your music!!

The Next Best Young Guitarist
Kenny Wayne Shepherd is without a doubt a great guitarist with alot of potenital, but he copies Stevie Ray Vaughan too much. I think he is the next best young guitarist out their proving his skills with the debut album Trouble Is. He is a great blues guitarist with a style of both himself, and Stevie Ray Vaughan. I will not knock him down for having influences such as Jimi Hendrix, and Steive Ray Vaughan I think every guitarist should carry on the guitar trait but I dont agree with copying anybody's style. This album is full of blues/rock including songs such as (Long Gone), hendrix's cover I Dont Live Today, and True Lies. This album will soothe any guitarist weither you like Hendrix, or Steive Ray Vaughan this one is most defiently for you. The only reason I gave this a 4 is because his copying of Steive Ray Vaughan other than that he is the next best guitarist. My favorite song on the album is Somehow,Somewhere,Someway. Other than that go buy this album and enjoy. Highly Recomened!

Not bad, i've enjoyed it
I really liked the album, I understand all the critizm for sounding to much like SRV. But it does have its strong points.
The guitar is amazing, wonderful rock and blues. I love Slow Ride, True Lies, and Blue On Black. But, it has all been heard before. ... Read more

Amazon.com

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

Reviews (97)

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

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

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

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

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

Respect!

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

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

Amazon.com

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

Amazon.com

This Boston-bred blueswoman's follow-up to Just Won't Burn, which earned her a Best New Artist Grammy nomination in 2000, trades its predecessor's bar-band bluster for a sensual, soulful approach. By slowing the tempos, Tedeschi is able to make the most of the warm, middle range of her voice, pouring honey all over sweet ballads and making the Memphis funker "Alone" jump like a lost Hi Records nugget. Although her guitar-star husband, Derek Trucks, adds fire to two numbers, including Paul Pena's classic "Gonna Move," Tedeschi herself dishes out some fat-toned, terse solos that sting with the style of the late Johnny "Guitar" Watson.

Also here is a haunting take on Bob Dylan's "Don't Think Twice," which fits perfectly with Tedeschi's own songs about mature romance. And she teams with Handy Award-winning country-blues duo Paul Rishell and Annie Raines for the spare and touching acoustic tune "Blues on a Holiday." Wait for Me may not win Tedeschi the attention her last album drew, but it's far better, and it marks her arrival as a full-grown artist. --Ted Drozdowski ... Read more

Reviews (57)

AWSOME, Simply awsome!!
DO YOU LIKE THOSE ROCKING SOULFUL BLUES SONGS THAT JUST OOZE LOVE?

If you answered yes.

BUY THIS DISK!!

If you like songs that sound like they belong in a hot sweaty blues bar where everyone is dancing, drinking, and having a great time, well, this disk has those too.

For the party animal in you, Susan rocks hard on "I Fell in Love", "Gonna Move" and the funky "Hampmotized" which features a rhythm that would make Bootsy Collins groove.
"The Feeling Music Brings" is a straight up boogie blues guitar tune that has some of the hottest guitar playing of the disk. Accompanied by Susan's sultry vocals cooing along with the extended solo. It's so hot that it will bring up the temperature of the room it's being listened to in.

Susan's voice never sounded stronger then it does on the title track "Wait For Me" where she channels Etta James in a "belt it out" slow building blues number that had me dancing on the sofa.

Oh, it's not all Bar-Room-Sweat-Soaked-Blues.

There's the sweet spring morning of a song "In The Garden" that has an amazingly heart stirring violin solo mid way through it. "Blues On A Holiday" sounds just like the tile suggests, a song that you might hear Susan singing in front of her fireplace on a family holiday.

I'm Thankful For The Feeling This Music Brings!
Susan Tedeschi is one of the great artists in music today - blues, pop, rock, folk whatever you want to call her. Her 2nd album garnered her a best new artist nomination that she deserved to win. That album, Just Won't Burn, is her best! It combines blues, rock, folk, and a bit of country tinged blues for a kickin' record. Her first album, Better Days, is very rough-hewn and more akin to Just Won't Burn. Here on Wait for Me we see a more subdued Susan Tedeschi. She's seems to be staying strictly with the blues here and focusing less on pop, rock, etc. Whereas earlier we heard some of Janis Joplin in those vocals now we see more of Bonnie Raitt which isn't bad but one longs for an artist who can't be confined by genre. Still, this album is a major success for any fan of real music - blues or otherwise. Highlights here are Alone, Gonna Move, Wrapped in the Arms of Another (really more of a ballad)and The Feeling Music Brings and I Fell in Love which are really the only two songs where Susan rocks and she succeeds in spades. Blues on Holiday is the best track on this record though. It's simple guitar and harmonica accompaniment and Susan's sweet vocals make it one of Susan's best ever.

Susan Tedeschi is a phenom. I hope she gets the recognition in the music world she deserves. Still, something tells me she is just fine singing the blues in blues cafe in front of a small crowd of fans and selling 10 records. She's in the business for the music and that's what I call a true artist. Don't make us wait to long for another album and please folks if you get a chance to see Susan perform live - DO SO!

Still waiting
Susan Tedeschi has one of the most astonishing voices in the current musical landscape, and sadly, there's nothing on Wait For Me that stretches it to the extent the best moments from Just Won't Burn did.. That isn't to say it isn't worthwhile - Tedeschi spent the record going into more classic soul and r/b territory than finding the blues, which is absolutely her right, and with songs as fun as "I Fell in Love" or as lovely as "Alone" and "In the Garden", you'll certainly understand why. But for the most part, the record doesn't leave you with much of an impression, or, as in the case of "Hampmotized," it can get downright annoying. Tedeschi certainly hasn't lost any talent, but this record is a subpar showcase for it.

Wait For Me
I think Susan Tedeschi is one of the best Blues singer's I've ever heard and I am looking so forward to hearing her live this Friday, April 2, 2004 at the Tampa Bay Blues Festival. Go Susan!!! YOU ROCK!!!

wait for me
Several months ago I saw Susan preform in Charlotte,North Carolina.Her show was fantastic for the begining to the end.I only wish that after the show I could have stayed and had a chance to speak with her and have her sign an autograph.After the show my wife an I were leaving so that I could get a few hours sleep befor having to go to work (4 am).We spoke only for a minute with her and a band member on the back steeps.They were trying to enter just after we had shut the door.I wanted to ask her where she grow up and went to school.My former home town in upstate New York (Endicott) has several family by the name Tedeschi.By any chance did she once live there.

I would enjoy hearing her again and again in person,I play her cd's almost daily.Looking forward to her new release's

Bill Lambrinos ... Read more

Amazon.com essential recording

In a brief interview that precedes this CD's four bonus tracks--all unreleased gems from the original 1984 sessions--Stevie Ray Vaughan makes the point that "music used to be more based on common everyday occurrences like a train's sound going down the track ... a horse walking." Then he comes on with a version of Freddie King's "Hideaway" that chugs like a locomotive. There's also a heretofore unheard slide-guitar-powered "Give Me Back My Wig" and a blueprint of what became Soul to Soul's radio hit "Look at Little Sister." All those follow the improved mixes of the original CD, which include Vaughan's heartbreak chronicles "Couldn't Stand the Weather" and "Cold Shot"; his first jazzer, "Stang's Swang"; and his initial Hendrix outing, "Voodoo Chile (Slight Return)." It's the sound of the guitar hero growing as an artist on his own terms--sidestepping the irony that poisoned '90s rock to stay true to the real-life aesthetic of the blues. --Ted Drozdowski ... Read more

Reviews (32)

His best studio work
This CD is a window into a breif period in SRV's career. A time when his guitar playing was flawless, but before his drug and alchohol addiction began to drag him and his bandmates down. The album kicks off with the ultra fast and rockin' instrumental "skuttle buttin'." Next comes "Couldn't stand the weather" which quite honestly is one of my least favorite SRV tracks. The funkiness and weird time changes just make it seem like a song that doesn't fit SRV's tastes. "Voodoo Chile (slight return)" is a great Hendrix remake. On bootleg versions of this song, SRV quotes "The Power of Soul" off Jimi Hendrix's Band of Gypsies album, however this is sadly excluded. It is an impressive version nonetheless. "Cold Shot" is a good, but not great blues with the standard SRV flair. "Tin Pan Alley" is a looooooong and sloooow blues with amazing guitar. My only complaint: why couldn't SRV hit a chord at the end of the song instead of just letting Layton pick up the slack? This is really nitpicking, the song is a great one with superb performances all around. "Honey Bee" is a great piece of rolling blues which is a rather underrated song in SRV's catalogue. "Stang's Swang" is a nice short piece of Jazz which seems a little out of place, but definatley establishes SRV as a fan and player of the Jazz genre. Half of the bonus tracks are great, and the other half are rather weak. The weak ones are "Look at Little Sister" and "Gimme Back My Wig" which are just about dumb subjects that nobody really wants to hear about. The great ones are Freddie King's "Hideaway" and Earl King's "Come on Pt.3." Hideaway's rythem and structure allow SRV to go into basic and freewheeling blues licks. A catchy tune and a great one at that. Finally "Come On" is just a killer closer. With its incredibly fast tempo and drenchs of wah-wah, this is the definition of hard-nosed blues rock. This CD is perhaps a little inconsistent, but the music is good 'ol blues, a staple most SRV fans have come to enjoy and will only want more of after they hear this album.

Not so great as Texas Flood
Compared to Texas Flood which is probably the best blues-rock album ever, Stevie Ray's second album is a less impressive recording. This doesn't has so much of Stevie's original stuff. Perhaps his work was already suffering from narcotics-related problems (that he later resolved).

Honey Bee, Things That I Used to Do (Guitar Slim cover), Cold Shot and Stan's Swang are OK but not so special. Couldn't Stand the Weather is Stevie's rock song. Stevie's not an extraordinary composer but he performs that song well. Tin Pan Alley has a plenty of great blues picking. The first track is a great blues-rock instrumental. So album sure has its good moments.

However, Voodoo Child -cover is no good. Stevie's singing has not much passion and his way to handle electric guitar is not so magical as Jimi's (you can see this clearly also if you listen to their versions of Earl King's "Come On"). He tries to compensate that by adding more speed to his picking but that of course helps none. People who somehow try to compare Stevie and Jimi are nuts. Stevie was an extraordinary blues-rock guitarist and singer while Jimi was the creator of different guitar playing techniques, the creator of new sonic palettes and the creator of the new musical styles and the writer of amazing rock-songs. Both figures have their place in the history of pop-music but their places are very different. Just think comparing Electric Ladyland and Texas Flood and you realize immediately how different they were.

A must-buy for Stevie-fans, others should borrow this from library or friend.

Best guitar album to me
I`ve always loved this album. The guitar sounds so stunning that made my hair bristle from the first listening.
Everything on the right spot: the timbre, the anger and the passion.
To me, it`s Stevie BEST album. The sound is much stronger than his first album - it doesn't get any better.
He DID improve Vodoo Chile, even though the original was already a killing song. His version is longer and more polished, though the anger and sparks are still there (with new colours).
The bonus tracks are the best among the ones available on the new remastering series. Ther`re fun and HIDE AWAY and GIVE ME BACK MY WIG are "new" to people that(like me)already owned all of Stevie`s albums before buying this remastered one.
I'm listening to CSTW right now (Honey Bee). The man was THE BOSS of the guitar and, despite some previous reviews, I think he could also sing very well his blues.
HAVE FUN!

Thee Guitar Album....
No this isn't the best or my favorite album of all time (Pink Floyd's Dark Side of the Moon owns that position), this is my 3rd favorite. This is thee guitar album. Stevie Ray Vaughan is quite possibly the best guitar player of our time. The album is cholk-full of licks that are enough to make Steve Vai jealous. Scuttle Buttin's blues boogy, Couldn't Stand the Weather's blistering blues solo's, Cold Shots smooth, in-the-pocket feel, everything is great about this album. I honestly think Stevie could do no wrong. Because all of his albums are great. But I beleive this to be his best album. And, to state a radical opinion - I think Stevie's version of the legendary Jimi Hendrix's 'Voodoo Chile' is better than Jimi's original version. Stevie added so much more depth. But all in all, this is thee guitar album. Greatness in guitar is in abundance here, and there is no way you could stop Stevie. Rest In Peace Stevie Ray Vaughan.

Couldn't Stand the Weather {EXTRA TRACKS}
Stevie Ray Vaughan was a genius when he went into the studio he gave it his all 100%. If you have heard of Stevie Ray Vaughan and dont have this one then buy it because if you dont then your missing out. The new version of this CD is remastered with the best sound quality anyone could imagine. To me this was Stevie's turning point after TEXAS FLOOD. He had to give it more to prove his fame and he did with Couldn't Stand The Weather. My favorite songs on this CD are Couldn't Stand the Weather, Voodoo Chile(slight return), and Cold Shot. I also love the bonus tracks my favorite bonus track is Come On Pt3 it is rocking. Anyone will enjoy this CD rather you like Stevie or not you will love this CD 100%. Stevie gave it his all on this one know give it your all please buy this and Enjoy! ... Read more

Reviews (5)

Sexy, Romantic and Stirring!!!!
Thank You! Thank You! Thank You Mr. Earl for returning to our long awaiting hearts, mind and souls!!! It has been WAY TOO LONG, please don't wait so long next time! How can you describe a guitar virtuoso, it's simply not possible....so I'm telling you and everybody I know...JUST BUY THIS ONE NOW!!!!! Destined to be a top notch classic. Sexy, romantic and stirring, starting with Feel Like Goin On with soulful Greg Piccolo singing this one with his entire being!
Kim Wilson who is always incredible singing and on harmonica, joins Ronnie on most of the CD providing total compliment, "Abandoned" is as gutt wrenching as you're gonna hear anywhwere! This is a great blues CD, but let's not classify just in the blues genre, it's ROCKIN', sassy and jazzy, even Hallelujah Gospel.... because Ronnie knows no Bounds! So glad to finally add another of your CD's to my collection! And bring back reissues of "Test of Time" PLEASE!!

Scary good!
There is a shiver I get when good music hits me and really takes hold. Ronnie Earl's music has me shaking all over. The man gives you everything he has, heart and soul. Why he is not recognized as the greatest guitarist working today and among the best to ever picked up a guitar is beyond me. This is not as much of an instrumental album as last time. The great Kim Wilson and his smokin harp make numerous appearances on the album. The combination of the two men is dynamite! Show Ronnie Earl some love and pick this one up. You'll be glad you did.

On form
Reading the liner notes and listening to the heartfelt spoken message Ronnie places on this cd as a bonus track, one gets the feeling that Mr. Earl speaks as a man who knows his time is near. As a longtime fan, of course I hope this isn't the case, but Ronnie's playing on this album makes every note count, as if each were the last he'll ever play.

Now my Soul features Ronnie's trademark sound, but his playing reaches a higher level than before with fresh nuances on Blues for J and Double Trouble, among others. There's a new urgency to some of his phrasing; the kind made by a man pouring his entire soul into his music.

Kim Wilson's guest singing and playing are as good as ever. I wish these two would collaborate even more.

Inspiring music from an inspired man.

Mr. Earl Strike again!
Ronnie Earl is one of the best blues guitarists alive. This is a fact. With his new realise I believe he has gained a place in the short list of the greatest of all time. After many all-instrumental albums, on this one half of the tunes feature a singer. With the help of his all time friends Kim Wilson and Greg Piccolo, sharing vocals duty, and the former Broadcaster bass player Rod Carey, Ronnie delivers a very strong album that should definitively place him at the very top of the list of the greatest blues artists of our time. This is a straight blues album with just few concessions to other styles. His playing has never been so sharp and focused, so clean and crispy, he makes every single note counts and his playing throughout the album is just unbelievable. His version of the Otis Rush' classic Double Trouble worth by itself the price of admission. It is however the whole album that stands out from the crowd, not a bad tune to be found, no a weakness to be spotted. On the CD's notes Mr. Earl thanks and blesses lots of friends, I would just like to thank him with all my heart for all the fantastic sensations and the unbelievable feelings I always experience listening to his music. Thanks Ronnie, please carry on!

Everyone needs Ronnie Music in their life!
As a devotee of the man I regard as the finest living blues guitarist, his latest CD, "Now My Soul", doesn't disappoint, with the unique mix of jazz, blues and gospel that was christened "Ronnie Music" by the original Broadcasters still to my mind the most exciting music to be heard.

There are no weaknesses and therefore, relatively, no standouts but if pushed for a favourite I'd have to nominate "Double Trouble", an Otis Rush song covered by many (often badly - notably Eric Clapton's tepid rendering),is breathtaking.

If like me you know and love "Ronnie Music", you'll know in the nicest possible way what to expect, but if you're unlucky enough not to have come across Ronnie Earl before, welcome him warmly into your life and your CD player, you'll never regret it. He hasn't made a bad record in his career, everything he plays is not only technically phenomenal but is imbued with the soul of a man who has known the hardest of times but retains both his passion and compassion.

I first discovered Ronnie Music in 1997, having seen him play a devastating set at the Royal Festival Hall, London, in July that year - he even achieved the rare feast of making the headlining Robben Ford seem like an anticlimax. The above was shortly after I lost my my much-loved mother, and it's no exaggeration to say that the wonderful "Color of Love" album lifted my flagging spirits during the darkest period of my life, and also encouraged me to pick up my own guitar again having not played a note for fifteen years.

Enjoy!

Jonathan ... Read more

Reviews (14)

"So You See Why I Stuck With Blues."
This BB King quote, stated to David Ritz, was his conclusion to why he chose to play and sing blues over his other love, gospel music. "A gospel song would get me a pat on the head," he said. "But a blues would get me a dime." The blues earned King not only more than his share of dimes, but a spot among music's seminal performers and teachers. Despite Ritz properly mentioning that King's music was too blue for rock and roll or soul during his early career, he has become as much a caretaker of rock's traditions as of the blues themselves.

This one-disc collection, even at 16 songs, seems too little space for BB King's prolific, quality output, especially after 1992's expansive "King Of The Blues" box. But "Greatest Hits" timed to King's most recent rock-oriented successes: his "How Blue Can You Get?" sampled on a pop hit, his U2 collaboration, his Robert Cray duet on "Playing With My Friends" (from "Blues Summit," among the 90s best blues releases), even "Paying The Cost To Be The Boss" covered by Pat Benatar! With remarkable liner notes and references to original ABC/MCA LPs (nearly all in print), "Greatest Hits" is a sampler tour through BB King's immense, classic blues catalogue.

It's also another chance to hear King with much better sound, courtesy of compiler Andy McKaie (who handled MCA's exceptional Chess blues compilations) and Erick Labson's remastering. It freshly paints Johnny Pate's production on 1964's seminal "Live At The Regal" tracks, King's 1969-70 string of of rockin' blues hits ("Why I Sing The Blues," the original "Thrill Is Gone"), even overlooked gems like Doc Pomus/Dr. John's tailor-made "There Must Be A Better World Somewhere."

What "Greatest Hits" shows most is King's guitar playing and vocal economy; no melismatic vocal trills or guitar hyperspace, even live where crowds needed pleasing. Instead, King's solos in "I Like To Live The Love" and "Don't Answer The Door" press the melody forward, and his underrated vocals show occassional collaborator Bobby Bland's strong "Sinatra Of The Blues" influence. King shared (or at least impressed) these traits on his most recent collaborator, Eric Clapton, and here does with just-enough help from friends like Joe Walsh and Leon Russell (on Russell's "Hummingbird") and Stevie Wonder (on "To Know You Is To Love You..")

"Greatest Hits" is THE King album for casual fans or those who enjoy his rare spins on classic rock or oldies radio. Blues fans wanting to dig deeper should pick up any of the original LPs, including "Live At The Regal," "There Must Be A Better World Somewhere," "Indianola Mississippi Seeds, " or the Bobby Bland collaborations. "Greatest Hits" covers quality ground quickly, and thus remains an essential one-stop blues shop.

Too focused on mediocre latter-day material
This certainly isn't everything you could ever want from the Beale Street Blues Boy, but it does give the first-time listener a pretty accurate idea about what to expect from B.B. King. For better or worse.

His excellent and highly influential 50s singles are missing, which is a shame, especially since some of those were actually sizable hits and this compilation has the audacity to call itself "Greatest Hits".
Still, there are lot of great moments here anyway...the swinging "Paying The Cost To Be The Boss", the epic "Why I Sing The Blues", and the slow burner "How Blue Can You Get" among them, and they sit next to two cuts from King's highly succesful "Live At The Regal" album, an excellent "Sweet Little Angel" and a hideous "Every Day I Have The Blues" which falls miles short of Memphis Slim's potent original ("Nobody Loves Me").

But there are too many mediocrities on this album...King experimented with some sort of pop-blues fusion in the 70s and 80s, and the compilers have included "To Know You Is to Love You", "I Like To Live The Love" and "Hummingbird" from that unfortunate era. The duets with Robert Cray on "Playin' With My Friends" and rock group U2 on "When Love Comes To Town" are not much more uplifting, and too much of this material was recorded well after King's prime.

If you like B.B. King at his most pop-friendly, you will probably enjoy this compilation. If you like him at his grittiest, you will certainly be disappointed. May I suggest the double-disc "Anthology" instead, along with "Do The Boogie: B.B. King's Early '50s Classics" instead.

Ohhh, man, ain't nuttin' like the blues by way'a the King...
I like to think that my musical tastes run very deep an' very broad; I also like 'ta think that I can jus' pick up any album by any artist of any genre an' feel it at any given time. But, there are those days, yep, there ARE those days when I need me some blues music. Some straight-forward, no apologies, no variations, an' no deeper meaning to any of it, than jus' bein' the BLUES. I've got a few different selections by B.B. King (not enough to call myself a die-hard or anything), but I think I get the MOST outta this hits collection. Is' got ALL the classics that e'ybody knows; so much so that there's no need for me to liste 'em. Every song on here is equally good; in other words, THERE IS NOT ONE BAD SONG ON THIS DISC! You better believe it, too. An' I really can't get enough of it.

Here's a situation: This morning I said my prayers, I watched a lil' tube, I smoked my first cigarette in two weeks an' decided that my attempt to quit jus' isn't gonna take jus' yet, I hadda argument with my ex (we were doin' so good the past week too), so what that all amounts to is that tonight I'm'a sit back, drink a few beers, smoke some cigarettes, an' listen to this CD, blues at it's best. Then I'm'a say my nighttime prayers, lay my head down, an' hope that tomorrow will be a better day. Thas' what it all means to me.

I'll definitely explore some more'a the King's work in the near-future, but for now, I'm good with this. It keeps me toned down enough to not get lost in my pain, but it allows me to not give in to the "look on the bright side" bullcrap an' jus' wallow for the time being. I love me some blues music. 'Specially when is' done right. An' the King ALWAYS did it right.

His Bluesy Best
A nice compilation of this blues legend. Some catchy lyrics and strong guitar solos exist throughout this collection. The first seven songs are strictly three chord blues progressions which can be a bit tiresome for some audiences. However, the catchy lyrics make you pay attention to such gems as Paying The Cost To Be The Boss, How Blue Can You Get?, and The Thrill Is Gone.

The next few tracks have a more varied arrangement and get away from the standard three chord progression. BB King gets funky in spots and the use of strings and horns in the background add a nice touch. The duets with Bono and Robert Cray are quite good. A nice intro to this legend, indeed.

Teriffic Blues music
BB King: Greatest Hits is a tremendously wonderful Blues CD. It has all the music you could expect. It's too bad my family has only one BB King CD. But now knowing how good BB King is, I'm going to collect more. So if you like BB King, you'll LOVE, LOVE, LOVE this. ... Read more

Amazon.com

Marion "Little Walter" Jacobs is perhaps the most influential harmonica player on contemporary blues, and his collection is a great place to start. He was trained by Muddy Waters, but brought a more swinging feel to blues. Muddy and his band accompany Little Walter on many hits, as do Robert "Jr." Lockwood, the Aces, and other Chicago greats. In the 1950s, Little Walter's popularity eclipsed even Waters', his style a little more relaxed and pop-oriented. Walter's versions of many songs are the standards: "Blues with a Feeling," "You're So Fine," "Juke." Great stuff. --Robert Gordon ... Read more

Reviews (17)

****½. Almost perfect
This is the best available single-disc overview of Little Walter Jacobs' career.

The highly renowned blues harmonica player was not a singer of the caliber of Muddy Waters, or a songwriter to rival Sonny Boy Williamson (II), but his recording career spanned some 20 years, and there are more than enough gems in his catalogue to fill this disc to the point of overflowing.

"His Best" has the best sound currently available, and excellent liner notes, and while the double-disc "The Essential Little Walter" is more thorough, this is all that most listeners will need. A couple of great songs are missing, most notably Walter's gritty rendition of Willie Dixon's "Dead Presidents", but that's a minor quibble...almost all of Walter's best is here.

1997's "His Best" takes the place of MCA/Chess' original 12-track LP "The Best Of Little Walter", a landmark blues album which had remained in print for over three decades. Here is his first hit single, the instrumental hit "Juke", as well as Walter's versions of Big Bill Broonzy's "Key To The Highway", Dixon's "My Babe", and T-Bone Walker's "Mean Old World" (shamelessly credited to Jacobs himself). And virtually all of Walter's best self-penned songs are here..."Blues With A Feeling", "Boom Boom, Out Goes The Light", "Tell Me Mama", and numerous often masterful instrumentals.

This is certainly the place to start, the finest single-disc Little Walter-compilation on the market.

Little Walter: His Best
Beginning his career performing his masterful harmonica playing in Muddy Waters' band, Little Walter broke out on his own with his 1952 hit "Juke." From there Walter's amplified sound (which he originated) became a common entity of Chicago blues. This best-of collection selects the cream of the crop from mostly Walters 1950's sessions recorded for the Chess label; revealing him not only as a divine harmonica player, but as a skilled songwriter as well.

Included on the album are classic numbers such as the bouncing rhythm of the aforementioned "Juke", the wailing harmonica of "Blues With A Feeling", and the hopping "My Babe", a song penned by the great Willie Dixon, becoming the biggest hit of Walter's career in early 1955.

In addition, three photographs and six pages of insightful,well written notes by Billy Altman are included. Although a few noteworthy numbers are absent, this collection remains a fine testament of one of the founding fathers of Chicago Blues.

sure, he's the king of the harp players, but...
...don't forget the singing - little walter is one of the greatest singers ever. and also the unique, immediately recognizable band concept, with a two-guitar sound that is a world unto itself, clearly distinct from the muddy/jimmy and wolf/hubert two-guitar deals. but really; come for the singing too - it is otherworldly sweet.

Blues harp at it's best!
If you're into blues harp there's no better.

Unsurpassed
Marion Walter Jacobs (b. May 1, 1930 in Alexandria, Louisiana), and influenced by the likes of Sonny Boy Williamson (No. 1) and Louis Jordan and his jump saxophone arrangements, quite simply revolutionized the blues harmonica technique when he showed up at Chicago's famed Maxwell Street market in 1947.

Among the hundreds of artists plying their trade in that environment he stood out to the point where he attracted the interest of the small Chicago labels Ora Nelle and Regal where he cut several sides. His big break came in 1951 when the Chess brothers, Leonard and Phil, hired him to back Muddy Waters and Jimmy Rogers, and it was as much his amplified harmonica that made hits out of Mannish Boy, I'm Ready, and Standing Around Crying [by Waters), and That's All Right and The World Is In A Tangle (Rogers).

By 1952 he was assigned to the Checker subsidiary, and by that September he literally burst into prominence when the instrumental Juke streaked to # 1 R&B and remained there for eight solid weeks [the flip was Can't Hold On Much Longer and is erroneously listed in this compilation as "Can't Hold Out ..."). This single was billed to Little Walter and His Night Cats.

The follow-up Sad Hours (instrumental) didn't quite repeat that success, settling for # 2 early in 1953, while the vocal flipside, Mean Old World, reached # 6 as by Little Walter and His Night Caps. Fittingly, Muddy Waters played guitar on each of these first three hits.

When his next hit reached the charts later that spring (Off The Wall, # 8 as an instrumental, and Tell Me Mama, # 10 as a vocal, he was billed as Little Walter and His Jukes in order to capitalize on his debut smash hit. The Jukes consisted of Chess sessionmen Louis and David Myers on guitar and Fred Belows on drums.

From there to 1959 he would add 10 more hit singles to his credit, his last coming in 1959 when Everything Gonna Be Alright (erroneously listed as "Everything's") reached # 25 (his lowest charter) as simply by Little Walter. These included the seminal My Babe, written by Willie Dixon and based upon the old spiritual This Train, which became his only other # 1 hit, staying at that position for five weeks early in 1955.

It would have been nice if, in putting this tribute together, producer Andy McKaie had found room for the three hits omitted - Oh Baby which made it to # 8 in May 1954 b/w Rocker, You'd Better Watch Yourself which reached the same position that September b/w Blue Light, and Who, which reached # 7 in April 1956 b/w It Ain't Right. You can find You'd Better Watch Yourself on The Best Of Little Walter from MCA/Chess, also listed by Amazon.

Adding to this CD's worth are the six pages of liner notes written by Billy Altman, which includes a wonderful story behind Juke, several nice photographs, and a complete discography of the contents. To quote from Mr. Altman "By 1968 he was gone, leaving behind a legacy that harmonica players everywhere regard as, quite simply, the holy grail."

Just a superb collection. ... Read more

Amazon.com essential recording

Heralded as one of the greatest live blues albums ever recorded, this set catches the singer-guitarist as his star was in ascent: in 1964 playing Chicago's answer to Harlem's Apollo Theater--the Regal. King's performance is visceral. He sings so hard that gravel flies even in his clearest high notes. And his trademark single-note guitar lines are sharp and steely, matching his voice with trembling vigor. He offers early hits like "How Blue Can You Get," "Worry, Worry," and "You Upset Me Baby" to what's essentially his adopted hometown crowd (by his own account, King had already played the theater hundreds of times). They give him a hero's welcome. In fact, the audience's screaming enthusiasm is distracting. But rarely has a love-fest of this magnitude between a performer and fans been documented. --Ted Drozdowski ... Read more

Reviews (28)

blues workout
B.B. King with his dearest, Lucille in action at the club The Regal. It is an absolutely incredible album in which you get drawn into further and further after each track. B.B.'s playing is top shelf and his audience surely lets him know. It is the raucous crowd that is audible during the whole show that seems to rub its excitement onto the listener. Anyway, this is a fantastic album that truly exemplifies how good a live blues album can really be. It is an album that is essential listening for any blues fan of any genre.

the definitive
From the opening introduction to the last note, this CD is simply amazing. Kings voice resonates clearly and moves your soul. An economical guitar players every note he hits floods your body with emotion. With the live crowd in a frenzy you feel like you are at the Regal that night. This is the King of the Blues at the height of his powers and this is the best live record ever.

Superlative live performance
It must have been a truly amazing night at the Regal Theater. I saw BB King perform at a stadium show a couple years ago, and he was still a fine performer even then, but this recording is the man in his prime in an intimate venue. The audience response complements the music rather than distracting from it. King clearly had these people in the palm of his hand. Judging from the clarity and power of his guitar playing and nuanced singing, it is not hard to understand why.

Simply put, marvelous.
This cd is one of the all time great vlues albums, and I am thankful that it has been restored onto cd, for further generations of bleus fans. This is classic BB in fine voice, and playing jazz riffs on his guitar.

Blues People & Riley King
As has been noted, this is one of the essential albums, one of the records that everyone is supposed to have like John Coltrane and Johnny Hartman, like Robert Johnson, like the music Billie Holiday made with Lester Young for Columbia, like Louis's Hot 5s and Hot 7s, like Elvis's Sun Sessions.

Beyond that, this is something that has become increasingly rare, a live blues recording where the music is played for blues people, African American working class and middle class blues people in an urban center. This all about singing and swinging and jiving and talking to the audience and the audience talking back.

When I was in Mississippi in the mid 1960s doing civil rights work, I met Blues People who loved BB King who didn't know that he played the guitar. The expression always was and still is 'BLUES SINGER," not blues guitarist. He sang the blues the way they needed to listen to and in a Blues People venue the folks will talk back to him too.

My favorite, classic moment of the blues dialog here is in "It's my own fault baby" where Riley sings "I gave you seven children, and now you want to give 'em back." All the sistas in the audience scream. Gruffer sounds came from the men.

What is essential to blues performance for BLUES PEOPLE is the constant dialog between the singer and the audience that is the heart of the native blues experience. The dialog isn't about the impeccable guitar playing on this record, or the totally righteous playing of the band, or even the fine voice of Riley B. King here, but it is about what the words the lyrics speak to the lives of the audience, and what the audience responds to the singer. That's the center of blues, not heavy guitar licks that the post-folk-post rock blues fan thinks is the essence of heavy blues.

It's a shame the audience for the blues has almost disappeared, that blues stars no longer play in big "Chitlin' Circuit" theaters like the Regal, the Apollo, the Howard, the old non hippie Fillmore, or that you can't see Riley or Bobby Blue Bland in smoky little night clubs in the ghetto.

Perhaps, I am showing my age here, because time has to roll on. I am sure that night at the Regal there was someone who could remember when the sistas and their men would be shouting back at things Bessie Smith, or Big Maceo and Tampa Read, Lonnie Johnson, or Memphis Minnie had sung to them from that same stage without the electric instruments.

The real Black blues when it was based among us, was about singing, about commentary. For even the greatest guitarists like Riley, Lonnie Johnson, T-Bone Walker, Johnny Lee Hooker, Guitar Slim, the guitar playing and the band were just ways to emphasize how the to talk to audience. This brings to mind that great Betty Carter Album, "The Audience and Betty Carter." This is the Blues People and Riley King talking to each other. That's priceless, get it, and listen to it. ... Read more

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With his chocolaty cool, soulful Memphis croon and sure sense of melody, Robert Cray has never been considered a straightahead bluesman. His often interchangeable albums have instead stayed closer to R&B, adding compact, stinging lead guitar to songs about matters of the heart. That formula remains, with minor variations, on Cray's 14th release, rather confusingly named Twenty. The title track, a gripping, emotional anti-war ballad of the experience of a GI in Iraq (that, incidentally, doesn't contain the word "twenty") shows the singer/songwriter shifting his emotionally charged storytelling lyrics to the political arena. It's a brief but confident detour from his usual M.O. of relationships on the brink of collapse or in general disrepair, typically related in the first person. Subtle yet effective forays into loungey jazz on "My Last Regret" and even reggae on the opening "Poor Johnny" indicate a healthy tendency to push his established envelope, if only gently, into other genres.

But Cray sticks to his established bread and butter for the majority of this sturdy album, effortlessly churning out shoulder-swaying, foot-tapping R&B accompanied by a clean, clear tenor voice and a road-hardened band that finesses these songs with the perfect combination of fire and ice. Old fans won't be disappointed, and newcomers can start here and work backwards. --Hal Horowitz ... Read more

Reviews (4)

His Best CD Yet!!!!!!!!!!!!!!
Robert Cray gets better with each new CD.His writing is top notch, check out Poor Johnny, Fading Away and That Ain't Love. His guitar work is unbelievable, I'm Walking, Two Songs from the End, I Know you Will. Check out the tastiest guitar playing on the cover song I Forgot to be Your Lover. All in all not a bad song on the CD. Blues, Rock, Jazz, Soul it's all here. Great listening, especially thru headphones.If you love good, well played music pick up Twenty. Make sure you see this band live, when they come to your town. As good as their albums are, the band is even better live. Don't miss them.

Smooth Riding Robert Cray
Robert Cray hails from the BB King school of guitar playing.. and I have every single release from RC ..and they are restrained glory in every sense of the word.Then, suddenly in a song, he busts out with some very good guitar playing that catches you off guard.

This particular recording is very complete, and very gospel sounding, in a lot of places.. but yet RC's voice is very gospel sounding in itself.. so I really think that is where a lot of the gospel comparisons come into the mix... and lets face it... a lot of guitar players play guitar and will sing as well.. but in RC's case.. his singing is as every bit of (dare I say even better) than his fantastic guitar ability.This can make for a very pleasureable experience.

This cd does cut fray into the political arena, but robert sings like someone who means what he has to say and is not really trying to paint an overtly political statements... very heartfelt song.

The guitar playing on this CD... there is as much guitar playing on this CD as one would like to hear.RC uses the guitar so much in phrases, and catches so much melody.. and when he does break out in solos, they mean something.

I must admit, this RC cd is a lot better than his past couple... and they were good too, but this one is better.

Enjoy, Have fun.

Twenty
I just listened to Robert Cray Band, album, "Twenty," for the first time.I quite by accident stumbled over it.I have not even heard any of the other songs but this particular one, so real and contemplative- a song/story about a US soldier in IRAQ and his emotional journal about his frustrations there. The lyrics are so appropriate for this day and circumstances of all veteran soldiers, present and past, andso hauntingly wonderful, that I will buy the CD just for this one song.If any of the other songs are as near as good, it will be a bonus! I just can't stop playing it from my computer. It really made me think of this war and what it is doing to the world and the men & women fighting and dying for all of us.I highly recommend it.Highly.Robert Cray is a ture storyteller.And to think that I never heard of him until tonight!

Yes
It is wonderful to a musician taking a political voice as they did in the Vietnam era. Powerful in a subtle way. ... Read more

Reviews (55)

wonderful
I am a long time Jars of Clay fan, and their last CD of new music, "The Eleventh Hour," is probably my favorite album to come out in the last two years. So my expectations were high when I put "Who We Are Instead" into my CD player the first time.

After one listening, I wasn't sure; it is pretty different after all. After two, I was starting to get excited. And by halfway through the third, I was grooving to the music and having a blast. The songs unfold so easily from one another that the whole album slips by and it's hard to believe you've been listening for 50 minutes. The music has a distinct Jars sound but with a large dose of country and gospel rhythms thrown in.

Right now, my favorite tracks are those where the country-gospel sound is strongest: Trouble Is, Amazing Grace, Only Alive (and this is coming from someone who doesn't own a single country or gospel album). But the songs really belong together. Aside from the first few weeks with a new CD, I usually listen to two or three CD's at once, with the player randomly picking songs from each. But I have a feeling that I'm going to be playing "Who We Are Instead" on its own, straight through for a long time to come. I love the mood it puts me in.

So, if I enjoy it so much, why does it only get four out of five stars? Because it is brand new, but that is the only reason. You can only know so much about an album after a couple days. To get five stars from me, I have to have enjoyed an album over a longer period of time, more like a year.

Cheers to the boys from Jars!
The moment I heard the funky electric and catchy drum beat opening up the album, I knew that I was hooked....again. I'll admit that I am slightly biased because I am a Jars of Clay fanatic.
This album continues the streak of excellence that began with the release of Jars' self-titled debut in 1995. It is really eye-opening to listen to how they have matured both musically and lyrically since that first album. Each album explores a different lyrical theme to go along with a slightly different musical theme.
Who We Are Instead might be the biggest musical leap that Jars has taken yet. This album explores several new musical styles. And they make it all sound very good. These guys are some seriously talented musicians and songwriters. This album comes across as being straight from the heart.
All of the songs on this album are solid if not great. My personal favs are:
1. Sunny Days (really catchy, great way to start the album)
2. Amazing Grace (The chorus to this song is awesome)

3. Lonely People (Gotta love this remake of a great America song)
4. Faith Enough (Awesome lyrics, well crafted musically, I love the way it builds on itself and just gets better as it goes)
5. Show You Love (Just a darn good song)
6. My Heavenly (Beautiful words, beautiful music to end the album)

Back to the Best
Who we are instead is a great album with the Jars usual variety of songs ranging from melancholy to cheerful. "Sunny Days" starts things off with their familiar upbeat happy tone. The Jars venture into a southern blues sound with "Trouble Is" which is a wonderful venture into a different sound. There is a usual more serious tone with songs such as "Faith Enough" and "Lesser Things". But even when serious the Jars always have a ray of hope in their music. For longtime Jars fans this album will carry them back to their first album. At least for me, this seems the most like their extraordinary debut album. For new Jars fans get ready for a wonderful ride with a great band that is a cut above.

The light shines from this BRILLIANT perfromance
Most fans would agree, Jars of Clay offers an alternative sound and darker side to most happy sounding christian artists (Newsboys, Rebecca St.James). From "Liquid", "Crazy Times", to even the most worship-sounding "I Need You" you can feel the urgency and lyrical touch that other groups can't quite deliver. It's this difference that gives fans their fix for music that doesn't ask, "What can I do for the world?" but begs the question "Why haven't I been bettering this world and when am I going to get off my 'explotative deleted' and start." Enter Who We Are Instead, which is a more mature and grace filled as any album can get. From "Sunny Days" to "Show My Love" you can feel the light shining through after the flood. With heavy blues influence in "Jesus Blood...", "Trouble Is (the somewhat Title track song)" and "My Heavenly" you will be amazed with the artistry and Jars ability to step away from their all-to-comfortable sound with their newer style. Foot tapping, rock n' rollin' is every present on this albumn with Eleventh Hour sounding tunes such as "I'm in the way" and "Sing". If you want an albumn that will give you a sense of relaxation from the tension of our sin torn world, Who We Are Instead is a great release. Just remember to wear warm clothing while listening to "Amazing Grace" for the first time. The shivers down your spin will chill you for weeks. Jesus Lives.

It's a well done album!
Jars of clay has always had a way with varying styles of music. Whereas their self-titled freshmen release was a fast pace acoustic pop and their sophomore album, Much Afraid, was a slower bluesy rock; which they maintained throughout their third release, If I Left the Zoo, while adding an anything goes feel to it. With their fourth album, The Eleventh Hour, Jars of Clay took on a more modern pop-rock feel. With their lasted release, Who We Are Instead, Jars of Clay takes a more mellow approach. With a heavy acoustic sound, they venture more into the country, bluegrass, and gospel styles of music. Lyrically, this is perhaps one of their deepest yet, as they state the continuing need for faith, "It's just enough to be strong in the broken places / it's just enough to be strong should the world rely on faith tonight..." Throughout the entire album is a realization of our need for faith, our need for God's loving devotion, and our need for surrender. "I walk through flame, I touch the fire you know that I still burn for you / flood, water, rain crash down soak the ground still I thirst for you..." and, "Ash to ash and dust to dust / steel on steel or rain to rust / what mortal breath blood money brings / forth from the altar of the lesser things / is there grace for the wayward heart..." In their song, Jealous Kind, Jars of Clay states, "I built another temple to a stranger / I gave away my heart to the rushing wind / I set my course to run right into danger / I sought the company of fools instead of friends / You know I've been unfaithful / with lovers in lines / while You're turning over tables with the rage of a jealous kind..." Overall, this is one of their best album to date, however, the music style for the album may turn some away, but hardcore fans of Jars of Clay should be able appreciate the fun and honest feel. I give Who We Are Instead a solid 4 our of 5. ... Read more