Reviews (8)

don't believe the hype
I've been hearing about Jason Moran for a while now and got a chance to hear this group live last night.I echo what someone else said--the guitarist is lame--but then so is the bassist--and Jason Moran is a noodler.He has nothing to say and he has no touch on the piano. If you like a lot of pointless noodling this is your record.

So talented it's disgusting
I can see why a lot of folks struggle with this one.It's loud (mostly).And irreverent, if not outright bizarre.And kinda THICK sounding, as if the mix isn't quite right.And even sorta scatterbrained, in an odd way.Plus, the vibe's a little difficult to lock into.Those were my first impressions.And I generally trust first impressions.

But since I have so much respect for Mr. Moran, I decided to set the disc aside for a while and see when I came back to it if I'd somehow in the meantime figured out what was going on.Well, I'm not sure I've completely done that, but I've got a few ideas.

First off, if this is a blues album, it's one of the strangest ones ever released.Containing at the most three authentic blues numbers, it rather scopes out lots of sentiments and sensibilities akin to but not really blues.Plus, there's a rather striking and firmly rooted classical thing going on.Second, no matter what anyone says to the contrary, Marvin Sewell, a longtime favorite of mine and a practically criminally neglected guitarist, plays his butt off.Third, the leader is in finest fettle both from a playing standpoint and compositionally.

The blues contained herein--"Jump Up" and "I'll Play the Blues for You"--are so good it's scary, especially the latter, which evokes huge waves of badness, fueled equally by Sewell's electrifying guitar statements and Moran's crazily apropos pianisms: Roadhouse blues on steroids.Several other numbers ("Fire Waltz" by that blues-drenched piano maestro, Mal Waldron; "Restin'," almost but not quite a down-and-dirty country blues, with as much nostalgia and jest plain trouble as Townes Van Zandt meets Mississippi John Hurt; and "The Field," dripping distress and age-old injury) flirt with the blues while operating substantially in related but ancillary sonic and emotive venues.

Special mention should be made of the "Gangsterism" numbers bookending the performance.I'm thinking they're largely responsible for many listeners' ambivalence toward this disc.Both feature disturbing low-end pianisms, gnarly raucousness, and that muddily annoying mix.And yet, as much as any of the other performances, they define this disc's vibe, for better or worse.I admit they were the most difficult pieces for me (and, probably, lots of other listeners) to track with.Thus, they represent artistic integrity of the first order.Surely, someone as savvy (despite his tender years) as Jason Moran knows full well the risk he's taking placing these sonic anomalies front-and-center.Yet, that he went ahead and did it anyway, not only displays outsize Conejos but chutzpah above and beyond the call of duty.

All in all, this is a MONSTER disc, vaulting the leader and his empathetic band into the very front ranks of modern jazz.

First impression a good impression
This is the first of Jason Moran I have heard. It is the best modern jazz I have heard. If it is the blues, etc.. the whole point is it comes from the same mother. Good stuff

Was there a Zero Stars option?
I actually enjoyed Jason's outing with Sam Rivers,
who brought some mastery into an otherwise suspect
conceptual situation. Jason admits that sometimes
he is playing non-sensical phrases in an attempt
to be modernistic. Then there's his jive stuff with
the tape machine, which I won't elaborate on.

But he really went the distance this time by hiring
truly one of the worst guitarists I've ever been
forced to listen to. This Sewell guy does nice things
in the background on Cassandra Wilson's various joints,
but leave the soloing to someone else. The resonator
bits are tasty enough, but that solo on "I'll Play
The Blues" is worse than a high school frequenter of
the local music store and his truly lame attempt to
play uptempo free improv is an embarrassment. Maybe
"JaMo"(which I agree, is corny) hired this poser to
make him sound better, which he does. Jason has some
stuff going on, and his rhythm section is on fire.

But he can, and should do better. Fire the guitar player,
or at least hire any one of the hundred or so players who
could contribute something of worth. Sewell is a real
stinker on this one. Just awful.

I tried to like this, but...
I love piano ensembles, and Jason is very talented, but I sure don't enjoy anything on this recording.I kept it in the CD player for five days straight, and for me anyway, there is too much pointless noodling around.I have no problem with the "new take on the blues", but what take?Some sparse twanging, some nervous bass lines that I simply am not moved by and can't connect with at all, and some pounding.Perhaps this is just not my kind of music.But in fairness to myself, I can handle adventure, dissonance, noise, looseness; this just doesn't amount to much.I sure love the playing on Black Stars and the live Badwagon recording (except I still get too distracted by the nervous bass that seems like somebody playing in a diferent band in the next room), but this CD leaves me flat.I'll watch Jason because he is certainly "the real deal", no doubt about that, but I'd pass on this one.
... Read more

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Other post-WWII Chicago bluesmen are better known, but the work of Elmore James holds up as well as any of theirs. If he never had the technical accomplishment of, say, Earl Hooker, he did have as much depth of emotional expression as Muddy Waters; just listen to the sweetness of "I Need You" or the pain of "It Hurts Me, Too." The Sky Is Crying: The History of Elmore James contains some of the most important work of a man who still reigns as the king of slide guitar; anyone who wears a bottleneck today owes a debt to James. Highlights include Robert Johnson's "Dust My Broom," which James made his signature tune, as well as the title track, which contains some of the sweetest licks in blues history. --Genevieve Williams ... Read more

Reviews (15)

The best choice for an introduction to Elmore's music
This CD is great because it draws together the major works Elmore performed for the various labels he graced in the 50s and 60s -- The Bihari Brother's Modern/Flair; Phil & Leonard Chess's Chess Records, Bobby London's tiny Chief label, and Bobby Robinson's Fire/Fury/Enjoy unit. Also included is Elmore's very first, and in some ways most characteristic, recording of "Dust My Broom" for the Trumpet label in Jackson, MS. This set beautifully traces Elmore's evolution from a countrified blues shouter with a bottleneck style to a Chicago bluesman with a sophisticated band (which stuck with him without major changes from 1952 until the early 1960s). His screaming slide guitar is already evident in some of the early Flairs -- like Hawaiian Boogie and I Can't Hold Out. The raw intensity of his vocal work is no better highlighted than on Look On Yonder Wall and Something Inside Me. My only complaint is that no example of his Chicago/Jump blues style is present, something like "Make My Dreams Come True" (which B.B.King copied note for note to get a #1 R&B hit in 1953). But, c'est la vie. There is noone else in the blues fields who combined the searing intensity of virtuoso guitar work and the scathing vocal style fused into that intense package of sound made only by Elmore James. This sound cannot help but be recognized in seconds by anyone with a passing acquaintanceship with classic electric blues. This is the REAL stuff. For my money, Elmore beats Muddy, Wolf, Sonny Boy and the rest because, with Elmore, you get higher quality guitar, and the sound of the music is guttier and closer to the bone. And, it helps that Elmore's musicians are arguably the best that Chicago had to offer (the only other aggregation that compares is the Muddy Waters band of the mid-50s.)Don't miss this if you like Blues.

King of the Slide Guitar
Elmore James, in my humble opinion, is the most underrated blues guitarist of all time. He took what he learned from listening to Robert Johnson, plugged it into an electric guitar, and blew the roof off the blues world! The opening to Johnson's "Dust my Broom" is probably the coolest blues guitar riff known to man. In short, Elmore rules!

Enough Elmore for all but the most serious collectors.
Elmore James was on at least a few labels, so it's not that too hard to dig up lots more if you want to, but for most of us, this is a whole lot of great blues from one of the most talented and important artists. For some strange reason , not nearly enough guys out there now are playing this slide style now. To check out a modern-day Elmore, still playing the joints, look for Lil' Ed and the Blues Imperials.

See also; Earl Hooker
Easily, the best Elmore James compilation!

A Great Collection of some of the Best Blues Ever
With the success of "Dust My Broom", Elmore James found himself recording numerous "varients" of this masterpiece due to its proven commercial appeal. Thus, many collections of Elmore James sound like the same song over and over again.

Such a collection of "Dust My Broom" variations would rate a 4-star rating. However, this collection shows that James was certainly no one-hit wonder, with a broad range of guitar playing and singing talent. For those keeping score, there are about 4-5 "Dust My Broom" variations in this collection.

Elmore James is becoming discovered as one of the great bluemen, and this collection makes it pretty clear why. ... Read more

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One would think that jumping into the pop-rock marketplace after being branded a blues player might confuse a 17-year-old guitar whiz. No way. Jonny Lang, with the lucid advice of ace producer David Z, understands the role of the blues as solid ground for someone who wants to take flight with intelligent, well-crafted music that has a wide audience. His second album's strengths lie with his gruffly appealing singing voice and his lean, razor-edged guitar phrases. The material is solid, with songs that range stylistically from the ingratiating funk number "I Am" (a hitherto unrecorded David Z and Prince composition), to the it-sure-sounds-like-a-rock-hit "Still Rainin'" (complete with thunderous chords and soulful female backup singers), to a griddle-hot take on the late Chicago blues guitarist Luther Allison's "Cherry Red Wine." All 12 songs are of a piece, tied together by Lang's unassailable musical integrity and his freshness of vision. And R&B master guitarist Steve Cropper is on hand in the Minneapolis recording studio to insure the soulful vibe. --Frank- John Hadley ... Read more

Reviews (157)

A BLUES LEGEND IN THE MAKING!!
After hearing Lie to Me, I was hooked. The song Still Rainin' was a good song to make a single, but I also like some others on the CD. I love Breakin' Me and Leaving to Stay mostly because they are different from his other hard-rock songs. I also bought the Kid Jonny Lang and the Big Bang CD, and I was surprised. I thought since the songs were made a long time ago he would sound like the lost Hanson brother, but I was wrong. Jonny is an amazing talent and I can't wait to hear some great new tunes. Keep up the great work, Jonny!! P.S.-If you ever get a chance to go see him in concert, definitely go because he sure puts on a great show!

Getting a lot better, but not quite there yet...
When I first heard "Still Rainin'" on the radio this summer I thought it was pretty good, seeing as how Lang himself doesn't write most of his own songs. I know a lot of people are really in love with this guy, and that's fine, but I personally don't think that Lang's music is THAT wonderful. I think he sounds like a lot of the current crop of blues musicians (i.e. Kenny Wayne Shepherd, Corey Stevens, etc.). He's a real good technician, and one thing that I liked about this new album is that he doesn't sound quite as coached, not quite as mass-produced. Frankly, if I were on the marketing staff at A&M, if I could turn back time, I would've released this album as Jonny's major-label debut and saved "Lie To Me" for an album of unreleased demos and b-sides to come out on the artists' 50th birthday. The songs sound a lot better this time around, but what I can't stand is the way the production team dresses up everything to sound like a pop record, just like they did the first time. I also think "Wander This World" could use some looser drumming. If you heard the cover "Good Morning, Little Schoolgirl" from "Lie To Me", you might get an idea of what I'm talking about. I think that in regards to Jonny Lang, everyone needs to chill out and let this little sprout grow some more before we go hacking the fruit off the vine. Overall, the picture's better, but I still think Lang's music could benefit greatly from a little more textural variety (beyond clavinets and echo pianos) and a little more stylistic variety as well.

Don't Put too Much faith in it
This is a classic example of follow-up disc. In this case, the album has gone too much to the producers. The songs themselves are good, but on most of the tracks, Jonny's voice is so mixed out that you can hardly here him. Which is a shame, because Jonny has an amazing voice. There are some good songs on there, and his guitar playing is good. But compared to Lie To Me, this just seem weak

Age ain't nuthin' but a number
Jonny Lang has it -- whatever it is -- call it musical integrity, roots, passion, feel or a simple and real sense of the song. His age is irrelevant. He had it as a kid and is only getting better and more refined. And his songwriting is just as inspired. I'm a huge fan of the blues and you cannot deny the wondrous blues foundation of Johnny's music. It's in the heart of his performance. No wonder it's so soulful, free-spirited and without any posturing or self-importance. I fell in love with this record on my first play. There's no need to keep Jonny in the traditional 16-bar blues format -- he's got a lot to say and he needs a mosaic of musical styles in which to create. Bravo Jonny! This endorsement comes from a 30-something-year-old singer/songwriter who takes her music very seriously. You have captured my attention and I look forward to all you have to offer now and in the future! You're a breath of much-needed fresh air in this "business" of music.

A CD that will make you a True Lang Fan
A friend gave this CD to me for a birthday present. Since listening to the songs the first time, I have been hooked on Jonny. This CD has everything from Rock/blues, ballads, to Louisana Blues! There is something for everyone. This CD also shows how much this young man is maturing in his talents. A MUST have for anyone that likes good music! It hooked me on this man...and I have no doubt that it will do the same for you!

Walkin' Away, Breakin' Me, Cherry Red Wine, I Am....my very favorites...but ALL are great tunes.

Enjoy your purchase, it's worth every penny! ... Read more

Amazon.com

The title's baloney. Sure, some of Buddy Guy's most blistering guitar playing has been captured on his '90s recordings for Silvertone, but with albums like Muddy Waters's 1964 Folk Singer and his own 1967 solo debut A Man & the Blues on his résumé, Guy's status as a Chicago blues giant was assured long before his 1991 comeback Damn Right, I've Got the Blues. Nonetheless, that tune, the instrumental tribute "Remembering Stevie" (for the late guitar-slinger Vaughan), "Five Long Years," and the previously unissued "Miss Ida B" testify that at age 65 Guy still possesses rare depth and fire. His singing is big and soulful, capable of cheerleading a party or hurtling down to the depths of Delta blues heartache. His six-stringing remains wildly inventive and unpredictable, even on slight numbers like "She's a Superstar." And the inclusion of blatant stabs at the pop charts such as his "Midnight Train" duet with Jonny Lang take nothing away from the passion he puts into true blues performances like "I Need Your Love So Bad" and "Innocent Man," leftovers from earlier sessions that surface here. Baddest or not, this CD spotlights one of our greatest bluesmen in fine form. --Ted Drozdowski ... Read more

Reviews (13)

Buddy is the baddest!!!
To the fan from Vienna, VA: Buddy is not in his 70's. Actually, as of the date I'm writing this, he is 63. Regardless, no one I've ever seen packs as much energy into a live performance as Mr. Guy. And I recommend to anyone who hasn't seen him live, do it before it's too late. He truly is the master!!

Anyway, about this CD. It is a compilation of some of best tracks off his Silvertone recordings of the 90's, plus 5 previously unreleased tracks. Definitely for the more casual fan, who doesn't own "Damn Right I've Got the Blues", "Feels Like Rain", "Slippin' In"(the best of the individual studio Silvertone recordings), and "Heavy Love". Also with the Silvertone label, Buddy released a live album w/the Saturday Live Band called "The Real Deal". The only track on "Buddy's Baddest" from "The Real Deal" is "Let Me Love You". "The Real Deal" is definitely worth buying separate because live is how Mr. Guy is meant to be heard.

Overall, I would say "Buddy's Baddest" is a good introduction to Buddy Guy. If you love it, then follow up with "The Real Deal", the individual Silvertone recordings, "Stone Crazy", and "DJ Play My Blues". Also, you can't go wrong with "Live at Montreaux" or "Drinking TNT and Smoking Dynamite"(better), both live recordings with harmonica legend Jr. Wells.....Enjoy!

The best of Buddy Guy? Not likely
This overview of Buddy Guy's Silvertone recordings ought to be titled "Some of the best of Buddy Guy's 90s tunes, and a few throwaways as well", or something along those lines.

The first ten songs are almost all good, but the four previously unreleased songs aren't among Guy's best work, and since almost all of the previously released material here is taken from just three albums, there is really no good reason to pick up this mediocre sampler. Go with "Damn Right I've Got The Blues" and "Slippin' In" instead, and perhaps the "Feels Like Rain" album, from which "She's Nineteen Years Old" and of course "Feels Like Rain" are taken.
Only one track comes from the forgettable "Heavy Love", which is actually a credit to the compilers, and the last one, the live "My Time After Awhile", is from "Live: The Real Deal".

If you want an overview of Buddy Guy's career prior to his 90s comeback, go for Rhino Records' excellent "The Very Best Of Buddy Guy", or check out the best of his classic Chess singles on MCA/Chess' "Buddy's Blues". This is a decent sampler, but considering that it only spans four studio albums, one of which is bland at best, it is not really that much of a necessity.

could have been more tracks
this cd is a great starter for anyone who is just getting into great blues music (i have been into blues for about 12years) and enjoy everything that buddy guy has recorded. this cd should have contained more tracks, alot of great songs missing on this cd. i give it 5 stars anyway.

Baddest? Best!!!
This album will show you a man that is blues, blues and nothing but blues! Blues comes out his feet, his fingers, from every vain the man has in his whole body! This album is a good way to start if you want to dive into Buddy Guys world of the blues and blues as a whole. Guy combines various blues styles to one, very much his own style. That makes him a true living legend, and I am sure that if you buy this album you're soon will buy the original ones as well!

good collection
of course with greatest hits there are always songs that you feel of great that are left off. the cd kicks off with" damn right ive got the blues" to five long years. good thing that there are three unreleased songs on the cd is why i brought it. good starter cd for any new fans ... Read more

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A veteran of long years on the Boston club scene and a stint as sideman to former J. Geils Band frontman Peter Wolf, guitarist Johnny A. originally self-released this masterful, tasteful solo record to much local acclaim, and then guitar ace Steve Vai added the musician to the roster of his label. Proving that the term "guitar god" has too often been misapplied in the post-Van Halen era of diddly-squeak school of soloing, Johnny A. draws on a more classic pantheon of American fret deity for inspiration, including Chet Atkins, Scotty Moore, James Burton, Nokie Edwards, and Wes Montgomery. And like the late Danny Gatton (whom the musician's fiery solos recall), Johnny's years as a sideman have taught him the importance of space and dynamics. The smoky, moody title track sets the tone. While his choice of covers (the Beatles' "Yes It Is," Jimmy Webb's "Wichita Lineman," and the Ventures' signature "Walk, Don't Run") underscore his restraint, the guitarist proves his overdrive can burn with the best of them on "Two Wheel Horse," "In the Wind," and the rockabilly kicker "Up in the Attic." --Jerry McCulley ... Read more

Reviews (40)

Johnny A. has done the impossible
Namely, delivered a CD with guitar playing that is so fresh, so technically adept, and so moving that I was left slack-jawed in awe and beaming in delight. If this were an LP, I would play it so much the grooves would be white from wear.

Johnny's playing is incredibly efficient -- he never fills or distorts to be showy -- each riff, modulation, or effect is used for a welcome musical communication. Don't think that is a product of an inability to smoke the strings, he can and will do that when the music calls for it. And, when he does, you are left shaking your head thinking 'Did I just hear him play that?'

The musical styles on this CD defy classification, but you will definitely find hints of blues, rock, funk, rockabilly, country and jazz. Rather than make one track follow one style, Johnny masterfully blends styles on a single track to form his own, unique form of guitar expression. The comparisons to Danny Gatton are inevitable, but, I think, off-base. Johnny chooses to play with far less gain, allowing you to experience the subtle tricks he plays with the strings. He has a way of making a truly impossible-to-play riff sound effortless (more like Freddie King in that regard). Bottom line is that any comparison will be fun to make for the sake of discussion, but will be off the mark. This guy is a unique talent.

As far as tone goes, guitar fans will love this disc. If you think that Les Paul himself doesn't have a copy of this CD, you'd probably be wrong. The sound of the humbuckers through that Marshall is pure, throaty and fluid.

I enjoy listening to every track on this CD, and have listened to it over and over again.

Cool, smooth and approachable!
Upon hearing this disc I knew two things immediately, a) I had to buy a copy, b) I had to see the act live. I have now enjoyed five performances by Johnny A's. Band. While I find the record to be very impressive and enjoyable (over and over again) you must see the act live to gain a total appreciation of this man's craft. I am also anxiously awaiting the follow up album; I know it will be worth the wait! He played a few tunes on the upcoming album during his last performance, simply stunning! He also covers Johnny Rivers: Memphis and it simply left me awe struck; he expanded that very nice ' Rivers' riff, wow! Johnny also does a killer Hendrix medley these aren't simply covers these are more like tributes. I don't know if either of these gems will be on the album, but I sure hope so. Lucky to have a club here in Vermont that Johnny frequents often!

I'm not a guitar player but I do love guitar music! I've feasted on this album for a few years and never tire of it. Keep em' coming Johnny and I'll see you in Natick, MA in May '03' !

Great Guitar Playing
I heard this album yesterday. I was so taken by the Music Artistry. Johnny A has it for certain.

I rate the Guitar Artistry of Johnny A along side the Guitar Mastery of Chet Atkins and Pat Matheny.

Robert Lee Johnson

A real smoothie
Writing a music/guitar album is very hard. It's very difficult not to make your songs soung like their all the same or just some kind of extended jam session. Not only does Johnny A gives the songs identity he gives them a great jazz/blues feel. I had the fortune of catching him live with B.B. King. It was the first time I heard him play and he was worth the price of addmission. This cd is a great repersentation of his music.

Refreshing - Just Guitar!
The only reason I didn't give this CD 5 stars is because there were a couple remakes of old songs I never liked to begin with - but, that's just me. With that exception, I'll say BUY IT. This CD is refreshing because it's just fabulous guitar music. No lyrics to spoil the pureness of exquisite picking. Johnny A. transitions from blues to jazz to country (even some slide in there) flawlessly. Here's a CD you'll listen to over and over and hum the tunes when you're not listening to it. ... Read more

Reviews (43)

Horn Charts! Mr. Acker Bilk! St. James Infirmary Blues!
Yeah, maybe I'd chop off a half star for Van's obsession with his career, but...I've been a fan forever, and this CD, building on his return to form with "Down The Road", is the first Van disc in a long time that I just can't stop playing. His voice, although inevitably pitched down from his youth, is strong and limber; he shouts, moans, blip-blops, swings, goes into under and around the melody, phrases like an ace jazz singer, and blows alto with verve.

The production is top-notch, the horn charts are sweet, gritty, and rousing, the bass lines echo doo-wop and funky R&B. The songs are Van to the hilt; how many other writers could work "existential dread" into a soul/blues piece and get away with it? And the two covers - "St. James Infirmary Blues", done as a drag/blues/moan, and the impossible-to-sit-still "Stop Drinking" - are great.

If you're a fan, you'll love this one. If you're not, pick up this and "Down The Road" to hear Van at his contemporary best, then go back to "Astral Weeks" and "Moondance", and work your way forward.

I can only hope that this first Blue Note disc is a sign of music to come.

Baby, That's Not Rock and Roll
If Al Green is our #1 favorite singer of all time, Van Morrison is #1a. Or vice-versa. To have both release superb new albums at virtually the same time is a double-decker treat. Like Al, Van has never sounded better. Between the 2, just about every sound that man can produce with his voice, every grunt, growl, groan, harrumph, wail, moan, sigh, you name it, is on these records. And it is a blast to listen. As usual, Van surrounds himself with top of the line musicians and gives them more than ample room to stretch. Van himself gets to jam on alto sax and seems to enjoy himself as much playing as singing. Morrison continues to pare down and refine his musical scope. No pipers piping. No ships sailing to or from Caledonia. As he declares in his bluesy and curmudgeonly rant 'Goldfish Bowl', "I'm singin Jazz Blues & Funk, Baby that's not Rock & Roll, Folk with a beat, And a little bit of Soul". As long as he keeps singing with passion like that displayed here, that's enough for us.

Going through the motions
This isn't as bad as the garbage tracks Morrison did to get out of his Bang recording contract (nothing like "Ringworm" in this collection), but this is not even a mediocre Van release. I like most of his releases, even COMMON ONE, INARTICULATE SPEECH, and BEAUTIFUL VISION. Here, Van just seems commited to getting the "product" out on time. DOWN THE ROAD was much stronger, and DAYS LIKE THIS.

I wasn't a fan til now
I went to his concert in Minneapolis 2004 not much of a fan, and purchased this CD prior, to hear some of his latest work, to get aquainted with the performer he is today. The CD was okay. But after seeing him live at an incredible show,this CD is now my new favorite!....He rocks, and in a good way. DRINKING is a particular favourite song. He is not for everyone, but if you aren't familiar with his music, this is the CD to buy...

PERFECTIONIST
I KEEP THINKING HE CAN'T GET ANY BETTER AND HE BLOWS ME AWAY!BEAUTIFUL MIND THAT MAN ... Read more

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Texas guitar-slinger Johnny Winter bares some of his deepest roots on his first album of new recordings since 1998. In a rare turn on acoustic slide six-string, he performs fellow Lone Star State legend Hop Wilson's "That Wouldn't Satisfy" with the sweet, lovely simplicity of a street corner singer. Then Winter plugs in for Lazy Lester's stomping primal rocker "Sugar Coated Love." But after years of health issues, Winter, who's 60, has lost the roaring vocal authority of his earlier albums and no longer takes dizzying solos at jet speed. Instead, he makes all the notes of a tune like "Lone Wolf" count, whether he's crafting a slide melody or literally howling. "The Monkey Song," a playfully sleazy double-entendre number, proves his sense of humor is intact. And harmonica ace James Montgomery, who recently joined Winter's band, provides perfect accompaniment to Winter's vocal and guitar lines. Ex-Stevie Ray Vaughan keyboardist Reese Wynans also contributes to this overdue addition to Winter's dynamic blues-rock legacy. --Ted Drozdowski ... Read more

Reviews (16)

My Style of Blues
Muddy Waters once said that Johnny Winter was the only white man he ever met who understood the blues. There is something about JW's style that I like. It's the rural and southern type of blues I have always preferred. Unfortunately, his voice is not as strong as it was. As a result, he is slightly flat sometimes. But the arrangements are great and his guitar playing is still solid, albeit slower. Johnny Winter uses a thumbpick and finger pick rather than a flatpick to get a fuller country picking effect. My favorite songs are "I'm A Blues Man", "The Monkey Song", and "Let's Start All Over Again." I know he's getting old but let's not forget that Johnny played for Muddy Waters when he couldn't play as well anymore and Debbie Davies played lead for Albert Collins in his later years. The man still has great taste in music and I'm glad he's around.

The most disappointing JW release to date
Every time I see a new Johnny Winter CD, I'm excited to hear what the most amazing guitar player has laid down. Covers or originals, I've never been let down yet. At least until I put this CD in.

While I realize Johnny has been thru a lot over the past few years, my original take on this album is "why did he bother?" The guitar licks lack the trademark intensity, and his tone even sounds compromised. Add to that the mediocre vocals, a far cry from the yellin' style he branded throughout his Muddy and solo days, and this recording does little to satisfy a real Johnny fan.

While I can appreciate the fact that Johnny is still putting out an effort to make more music, I'm disappointed that he hasn't put something more cohesive together for this CD. While his band isn't lacking, he certainly leaves more to be desired.

I certainly wish the best to Johnny and hope that his trademark slide playing comes back someday. Who knows, maybe this CD will grow on me. HOwever, my suggestion is to stick with his earlier work. You won't be disappointed.

Not the true Johnny
Sad to say, but we all get old. The thing is, JW is only 60, but he looks and sounds like 80. I hope he is well, since Johnny Winter is possibly the finest blues guitarist (and vocalist) there ever was, black, white or very white, as the case may be.

While Mr Winter shows himself every now and then, the performances are feeble and weak. If you get this, do so only out of respect for the master.

Glad I bought it
I bought this and the re-issue of his first album at roughly the same time. There can be no doubt that he's lost a step or two. As it's already been said, age and illness will do that to anyone. That doesn't mean that this lion in winter still can't muster a roar. A diminished Johnny Winter is still better than seventy five percent of what passes for blues. The guitar playing is now more precise rather than screaming by you at mach two. The vocals don't growl at you like they used to but are very smooth and acceptable. The song selection is generally strong if you leave off "The Monkey Song". Particular favorites of mine include "Lone Wolf", the lone acoustic number "That Wouldn't Satisfy" and "Sugar Coated Love". Don't obsess over the fact Johnny isn't the same as he was thirty years ago, buy the album and be thankful that we still have him around.

Come you so called Winter fans - listen to it again
I'd like to address other reviewers complaints.
Daniel Anderson - You mention one song where it fades out during the vocals. You're taking about "The Monkey Song." Being a doctor you must know what he's talking about when he says "Monkey." The song times out at 6:12. It's the 2nd weakest cut on the CD and the longest. It fades with him giving Monkey inuendo one liners. How many more p---y remakes do you need? As far the CD being to short and being the old mindset of LP days I say you're wrong. I ideal release would be all meat & no filler. 80 minutes would be too much.
James Savage - He is 60 friggin years old! His health has been on a rollercoaster ride for the past decade. His tone has been the same tone he's been playing at his live shows since the early 90's. While his vocals are the same or as strong as they were decades ago - but neither are mine or your's. But his voice (& guitar tone)is the same that I heard on the last live album (as a "real" fan I'm sure you have that) and bootlegs. One guys says the best songs are "the acoustic one's" Well, he's part right. The ONE acoustic cut is great. The Cd is not his greatest but its not his worst. Live In NYC was nothing to write home about and a few cuts on I'm A Bluesman are much better than some of the songs on Raisin Cain and my least favorite JDW III. "Lets Start All Over Again", "That Wouldn't Satisfy" and "I Smell Smoke" are the best cuts. "The Monkey Song" is just a mess as is "Shake Down." The rest are all decent songs and all have some pretty good playing considering everything he's been through over the last 5 years. This CD is not for those of you who shout "Jumping Jack Flash" and "Rock n Roll Hoochie Koo" at his live shows. Stick with your CD copies of And Live and leave Johnny to those who are real fans. ... Read more

Amazon.com

This second album in Dancing Cat Records' Hawaiian Slack Key Guitar Masters Series produced by George Winston follows its successful Hawaiian Slack Key Guitar Masters. Again the masters of the genre are featured in several well-known tunes such as Lili'uokalani's "Aloha 'Oe" (played here by George Kahumoku) and "'Ulili E" (Dennis and David Kamakahi), as well as modern originals and two tracks that had not been available on CD before: "Ulu Niu Ke'eke'e" (George Kahumoku and Kekuhi Kanahele) and "Slack Key Serenade" (Leonard Kwan and Ozzie Kotani). The liner notes provide complete information on each song's original album.

A balance of instrumental and vocal tracks, the compilation is a terrific starting point for exploring the artistic and stylistic diversity in modern slack key. Instruments on this album include everything from traditional mouth bow, 'ukulele, and percussion stones to 12-string slack key and modern acoustic guitars. Elder statesman Ray Kane lullabies us with his simple instrumental "Popoki Slack Key" (popoki means "little cat"); renowned improviser Cyril Pahinui and Sol Hoopii-influenced Bob Brozman combine 12-string slack key and acoustic steel guitar interpreting "Hilo E" and "Lili'u E" in a style evocative of the 1920s. Showing off how slack key works solo, in duets, or with mixed accompaniment, this is one of the most beautiful slack key compilations out there. --Erik Macki ... Read more

Reviews (5)

A continuation, but with vocals this time.
This isn't truly a sequel to the first collection, but rather is a continuation adding, to the instrumentals, a few vocals to balance out the representation of music here. I personally could wish for more female vocals in addition to the "Bonus Track". I'm sure Hawaii has more than one notable lady singer.

That's not enough to take away a star though. This again is a most rewarding collection. However, I always associated the ukulele with hawaiian music and there's only one cut, "Pu'u Anahula" which includes one. There is more traditional music here than with the first collection, including the familiar and beautiful "Aloha Oe", a classic love song written by Queen Lili'uokalani in 1877. Also notable and familiar is the "Radio Hula" as played by Led Kaapana.

This record and its predecesser are great CDs to help create a romantic, tropical atmosphere. Hey, they'd be great background for a luau!

Great CD to read or write to
This is a great CD to read or write to. Flowing, relaxing. A couple of tracks have a little too much non-musical guitar noise. Contrary to what another review said, I found the slide and vocal selections well integrated into the whole album. Haven't played Volume 1 yet -- I'm enjoying replaying Volume 2!

The sequel's never as good
There was a copy of Vol. 1 lying around the office that I always passed over because I've never been a fan of Hawaiian music. But one day I put it on and it's been a favorite ever since. The guitar picking is beautiful and it has no distracting vocals or slide guitar. Vol. 2 has some of the same kinds of tracks, but the vocals and slide guitar on about half the songs inevitably conjure up tacky images of tourists getting some cruise ship docked in Hawaii.

Warm Summer Nights
An Excellent collection of true Hawaiian Music. This is the CD most hotels use when your wondering around their properties Excellent :) Aloha -

A must have for slack key guitar and Hawaiian music lovers.
Dancing Cat has done it again, this is like a Best of Dancing Cat CD featuring songs by the top guitarists in Hawaii. You will love this low fare trip to Hawaii.... ALOHA! ... Read more

Amazon.com

Harmonica giant Charlie Musselwhite has evolved from stone traditionalist to blues experimentalist in recent years, with excursions into Tejano, country, and jazz. Now, with the help of Blind Boys of Alabama producer John Chelew, the 60-year-old has made a masterpiece that balances his music's Delta soul with sonic innovation. Musselwhite's world-weary singing is perfect for the haunting textures that the scraped and bell-toned guitar strings bring to "Train toNowhere" and Randy Newman's "Burn Down the Cornfield," songs where the fog of danger hangs in the air like ectoplasm. Slide-guitar guests Sonny Landreth and Ben Harper bring rippling energy to the bad-luck story "Shootin' for the Moon" and the Harper-penned spiritual "Homeless Child." And the Blind Boys' zesty old-time harmonies turn Musselwhite's biographical "I Had Trouble" into a gospel-tent confession. But, if the voice of God appears anywhere, it's in Musselwhite's always lush and mesmerizing harmonica. --Ted Drozdowski ... Read more

Reviews (6)

Plenty of Mussel
On the Internet you'll find Charlie Musselwhite's Alligator Records bio, his VH1 bio. And his Blind Pig Records bio and many others, so well-traveled is this blues icon

And it seems as if this master of the blues harp has been around as long as harmonicas. He adds to his legend with each album and guest appearance and here's his latest - Sanctuary (Real World)

I locked into it on the 2nd listen and it's a special recording. The songs are from great writers. Randy Newman's "Burn Down the Cornfield", Townes Van Zandt's "Snake Song" and Sonny Landreth's "Shootin' For the Moon are here. There are also songs written by Musselwhite, Ben Harper (the album's best cut, "Homeless Child"), a song by the album's guitarist Charlie Sexton and an interesting version of the old Savoy Brown song "Train to Nowhere" was what initially got my attention.

It's tempting to automatically accept any effort from Charlie Musselwhite as exceptional. But his Sanctuary is quite an album, and his vocals and harp playing are strong and clear.

Wow! Amazing!
This is an amazing cd. I have been a Musselwhite fan for several years, but this one surpasses them all. I can't stop playing it! If you are a blues fan, get this one right now, you won't be sorry!

like a movie without a screen
I have to say that I experienced "Sanctuary" rather than just listened to it. I am a huge fan of Charlie and I read reviews of the CD before I purchased it. The excellent reviews gave me high hopes and could have set me up for disappointment, but the following attests to how much I enjoy the experience of "Sanctuary."

The CD has 12 tunes that work together like 12 scenes in a drama. While each tune tells its own story, after listening to the CD in its entirety, you don't feel much different than you do at the end of a movie that tells a story about a person or a family and the ups and downs of their lives. So, yes, "Sanctuary" is a CD that you can play from start to finish without skipping a tune.

To blues fans and musicians, Charlie is an icon. On this CD he beautifully demonstrates the power and flexibility of the harmonica. On some tunes, the harp sounds like a traditional harmonica and on others, Charlie makes it sound like a violin or cello. When you add in Charlie's singing, you really connect with the feelings of "Sanctuary."

The most interesting thing to me about this CD is that experiencing it is a perfect example of the meaning of the second definition of the word sanctuary as found in Merriam Webster's online dictionary: a place of refuge and protection.

CAN'T STOP HUMMING!
I'm just discovering the Blues, so I'm no expert. I heard several of the songs from this album performed on World Cafe and had to buy it. I love it - especially the first six tracks.

"Sanctuary" Available April 6th!
"Sanctuary" - Charlie Musselwhite
Real World Records - April 6, 2004

CD Review by Celeste - April 11, 2004
(Reprint of review for blues society.)

Sanctuary - holy place; shrine; the chancel, church or other place of protection for fugitives
Sanctuary Synonyms - refuge, home, haven, harbor, port, asylum, retreat, fortress, castle, shelter
Shelter - a place or structure giving protection; that which covers or defends; a place of refuge or asylum

Holy Week was an appropriate time for Charlie Musselwhite's new CD "Sanctuary" to be released. These are dark times that we live in and everyone needs sanctuary, in multiple forms, on various levels. Thank God for music! I'll tell you what I think about this CD, but don't wait, buy it today and listen to it for yourself (...) There are a number of interesting subtleties surrounding this CD. I don't know if it was a coincidence or not, but the day of the release, April 6th, happens to be the anniversary of Big Walter Horton's birthday. Something else I'll ask Charlie about in our upcoming interview, are the five symbols above the letters, the notation seems familiar to me somehow. Also, I wonder why his eyes appear on the publicity photos but not the CD jacket covers... what does this mean, does this mean anything? I can't be the only curious one. ;^}

The Sanctuary Band formed by Charlie Musselwhite ~ vocals and harmonica, Charlie Sexton ~ guitar and vocals, Jared Michael Nickerson ~ bass, and Michael Jerome ~ drums, definitely have a good groove going. They each played with great emotion on this recording. I particularly like the instrumental that the four wrote together, "Shadow People", I find it surreal, elastic, spooky and soothing simultaneously. The images invoked are vivid, looking over your shoulder, envisioning people in the shadows... the bass and drums intertwine as the harp and guitar float around, through and back again. Several others also have this "surreal feel" to them, "Snake Song" (by Thomas Van Zandt) and "The Neighborhood"(by Charlie Sexton). The rhythms are wonderful throughout this CD. I took an exceptional liking to the drums on Snake Song just as I did the harp on the second instrumental (song 9). "Alicia", (written by jazz saxophonist Eddie Harris), was certainly done justice by the band. And Charlie's harp interpretation of this song was simply beautiful... it is inspiring indeed to listen to the inspired. :^}

Back to the beginning, it's starts off with CM singing 'Nowhere here to call my home, nobody near to call my own' in Ben Harper's "Homeless Child". Very nice slide guitar and vocals, backup singing and clapping, and yes, harp! (That's the first question that others seem to ask about the CD, is there much harp on it?) Why yes, yes, there is and Charlie is in fine form. ;^} In addition to his guest appearance on the first song, Ben Harper is also sitting in with the band on "Sanctuary", (written by Lee Breuer and Bob Telson). Although the title track is peaceful overall, it made me sad to hear Charlie singing of his final resting-place. (I lost four uncles and a good friend the Year of the Blues; though I am comforted that they are in a better place, it saddens me nonetheless.) They picked the beat right back up in the next song, "I Had Trouble" (by CM) It's difficult to articulate how blues can cheer you up but this song can explain what I cannot; it's one of my favorites as is Charlie's moving harp solo that follows it, "Route 19". Several special guests, The Blind Boys of Alabama, added their special touch to I Had Trouble and they also appeared on "Train To Nowhere" (by Chris Youlden and Kim Simmonds) 'Yeaheaaaa, You better not ride'. (Watch your volume if you listen with headphones, you'll be humming and tapping louder than you think.)

One song that I've had fun jamming to at the end of a long, stressful day is Charlie's "My Road Lies In Darkness" ~ There's a long, long road, don't seem like it has an end... we can all relate to that. :^} I wasn't sure though what to make of the words in "Burn Down The Cornfield" (by Randy Newman), it's sultry, but slightly strange. "Shootin' For The Moon" (by Sonny Landreth) is faster with interesting lines too ~ 'Crash landing in the Crescent City!'

There's a little bit of everything in these songs, many are blended, from blues to funk to alternative to jazz to rock. (It's a shame that music has to be 'classified' as anything, as a friend says though, there is a purpose of labeling a genre, it's so the kid stocking the shelves will know where to put them.) I think that many people with various backgrounds and different tastes will enjoy this CD. I bought extra copies for family and friends, they arrived quickly, and seven received theirs at Easter dinner! :^} I highly recommend Sanctuary to everyone! I love this CD! ... Read more

Amazon.com

Many believe this 1967 landmark, Sam Maghett's first full-length studio recording, is the greatest blues album ever made. While that assertion is awfully difficult to substantiate, these 11 gems (plus one alternate) certainly deserve hyperbolic praise. These cuts have a dramatically direct emotional appeal, a blunt, unfiltered artlessness that's rarely been achieved in an electric setting. Sam's spirited vocals come from his heart and his belly, not his brain. His guitar work is smoothly melodic, à la B. B. King with a bit more bite, frenetic and energetic like Buddy Guy, but with more taste. Since this Mississippi native died at age 32, this album sits in a mystical place in blues history: In many ways, it is to Chicago blues what Robert Johnson's meager output is to Delta blues. --Marc Greilsamer ... Read more

Reviews (15)

A must have for any Chicago Blues fan
While maybe not quite as well known as his brethren of the West Side Sound - Freddie King (Freddie moved to Chicago as a teenager) and Buddy Guy, Magic Sam deserves a place in the Pantheon of Blues. His sense of ryhtym and timing are second to none and his soulful vocal delivery will send shivers down your spine. On this disc he shows his mastery of a variety of styles from old standards like Sweet Home Chicago to boogie tunes like I Wanna Boogie to minor blues tunes like All of Your Love with its searing vocals and guitar runs.

Soulful blues. (Or bluesy soul...)
This album is Magic Sam Maghett's finest hour, and one of the finest electric blues albums of the 60s.

He plays blues with a strong soul influence, particularly on the magnificent "That's All I Need" and "I Don't Want No Woman". Classic slow blues ("All Of Your Love", "I Found A New Love"). And superb versions of Jimmy McCracklin's "Every Night And Every Day", Robert Johnson's "Sweet Home Chicago" and J.B. Lenoir's "Mama Talk To Your Daughter".

Not everything is equally memorable, of course, and the arrangements may feel a little bit unvaried towards the end, but the overall impression of "West Side Soul" is that of a truly great, electrifying blues record, one which belongs in any serious blues collection.
4 1/2 stars - highly recommended.

MY FATHER
I HAVE NOT LISTEN TO ALL MY FATHER'S MUSIC YET. BUT THE MUSIC THAT I HAVE HEARD ALL READY I LOVE. SO FAR MY FAVORITE SONG IS, ALL YO LOVE AND BACK DOOR FRIEND. I AM THE YOUNGEST DAUGHTER OF MAGIC SAM. I WOULD LIKE TO GET KNOW MY OTHER BROTHERS AND SISTER'S. BUT I DO APPRECIATE EVERYONE THAT LISTEN AND BUY'S MY FATHER MUSIC. I HOPE TO GO VISIT THE BLUES CLUB DOWN TOWN CHICAGO
ON MY BIRTHDAY THIS YEAR. I WAS TOLD THAT HIS NAME WAS ON THE WALL.I WOLD NOT MIND TO LET THEM KNOW THAT I AM HIS DAUGHTER.
THANK YOU, MS.NINA MAGHETT

Soaring
Magic Sam's gorgeous voice is reminiscent of Sam Cooke. With each phrase he conveys a sense of joy. The guitarwork is something of a bonus--but quite a bonus. His combination of rhythm and single -note picking is great to hear. In (both versions of) "I Don't Want No Woman" The melodic runs hit high and low,jumping above and below the implied chord. "Sweet Home Chicago" is propelled by simple chord runs punctuated by exclamatory single note picking. Sometimes there are simply too many notes, but this is a quibble in the face of such an exciting and joyous album.

Man, what an album
I can't really disagree with anyone else. This is a great album, maybe not the greatest, but it's certainly on par with B.B.'s Live at the Regal which I also love. Magic Sam really expresses the melancholy that I like about the blues (on That's All I Need especially). This feeling became less important (but was still there) as the blues morphed into rock and roll. That's why I prefer the Stones to the Beatles. In their best songs, the Stones still have it, the Beatles really don't.

No matter what my mood is, the best blues just seems to fit. If I'm feeling good, then I can slip into the groove and relax. If I'm feeling low, then the blues lifts me up. It doesn't make me "forget my troubles" (a phrase I've always hated) but just helps me feel the mood without wallowing in it.

If you like this album, I'd also recommend Otis Spann, he doesn't have the swagger of his one-time boss Muddy Waters but is more relaxed and reflective like Magic Sam. ... Read more

Reviews (55)

Fine primer on SRV, but there's a better offering available.
Stevie Ray Vaughan might have been the only man alive to approach the cosmic heights reached by the legendary Jimi Hendrix. He had the soulful voice, the second-to-none (but tasteful) chops, and the uncanny talent of taking blues standards and making them his own in a way that a second-tier blues guitarist like Eric Clapton can only attempt to emulate. Stevie was the real deal. His unfortunately short career began in 1980 and ended in 1990 with the sad helicopter accident that took his life. Throughout that career, Vaughan reinvented the world of blues guitar and bridged the gap between 12-bar blues and rock 'n' roll. While he wasn't the first to perform this feat, few did it as well.

The two single-disc Greatest Hits compilations available today do a pretty good job of rounding up his best material (both live and studio)--that is, if you don't mind buying them both. However, if you want all of this material without having to buy both discs separately, there's a better way to go. Look for a collection titled "The Essential Stevie Ray Vaughan And Double Trouble" locally. This is a 2-disc compilation not offered on Amazon that basically bundles together the two Greatest Hits discs. It has almost all the same songs (chronologically ordered too). Of course, you miss out on the rarity Pipeline featuring Dick Dale, but that isn't a huge loss to the casual fan.

Now that I've let you in on that little secret, go forth and add some SRV to your collection. If you're really hooked, seek out the individual studio albums (Texas Flood, Couldn't Stand The Weather, Soul To Soul, In Step) and also check out the several live albums available. Actually, go for the live albums first. Stevie was amazing live, as this compilation's versions of Shake For Me, Willie The Wimp, and Superstition (way better than the Stevie Wonder original!) prove. Also marvel at the phenomenal cover of Hendrix's Voodoo Child (Slight Return). Let's see any living guitarist try topping THAT.

So, in summary, your collection isn't complete without at least one Stevie album. Next to B.B. King, Buddy Guy, and (yes) Jimi, he was the greatest blues guitarist ever. They just don't make 'em like they used to.

"Excellent Follow-Up to 1995's Hits collection"
This 16-track compilation of SRV hits recorded from 1980 to 1990, is an excellent follow-up to the critically acclaimed 1995 collection "Greatest Hits." All of his 4 studio albums are equally represented here, as well as some of his live releases, and compilations that were released after his death. As for the rarities, the tracks "Leave My Girl Alone (from the "Live in Austin Texas" DVD)" & "Pipeline (1987, out of print)" were previously released as part of film soundtracks and DVD releases, but are presented here as audio tracks. This is a strange marketing strategy, but the tracks are still excellent. "Love Struck Baby" serves as the opening track, followed by the slow blues of "Ain't Gone 'n' Give Up on Love", the instrumental "Scuttle Buttin'", and "Wall of Denial", an obscure track from the award winning album, "In Step." My personal favorite is track 15, "Voodoo Chile (slight return)",
a remake of the 1968 hit by Hendrix. This 8 minute version features awesome soloing, vocals, and precision by Double Trouble. Get this CD, and enjoy a selection of hits by this late great guitarist, Stevie Ray Vaughan. Don't forget to check out "Voodoo Chile" & "Leave My Girl Alone (live)."

A good but imperfect companion volume to "Greatest Hits"
Stevie Ray Vaughan's original Greatest Hits album was far too short at just 11 not particularly well chosen tracks, but this 1999 addition goes a long way towards making up for that. It is not a hits package per se, since most of these songs were never released as singles, but it features lots of excellent songs like "Willie The Wimp", "Ain't Gone 'N' Give Up On Love", "Empty Arms", and Vaughan's magnificent rendition of Doyle Bramhall's acoustic survivor story "Life By The Drop".

That still doesn't make it a definitive career retrospective, though, even when coupled with "Greatest Hits" vol. I, and the inclusion of tunes like "Pipeline" and "Superstition" is suspect considering what has been left out.
At 27 songs, these two albums are trmped by the superb double-disc collection "The Essential Stevie Ray Vaughan and Double Trouble", which is cheaper than "Greatest Hits" vol. I and II together, yet features a stronger selection of songs, and six more of them as well.

Go get that one. Go, go!

Stevie Ray Vaughan & Double Trouble - The Real Deal: hits 2
I love working out to this CD--it makes me think Austin . ..Rockabilly . . good times . . .Great CD and great work out alternative

Great Intro to SRV
This is the first Stevie Ray Vaughan CD I picked up, and while it may be considered a lesser album by some die-hard fans, I keep finding this thing in my CD player. It's got some great songs, and pretty good diversity, considering Vaughan's tragicallly abbreviated career.

Several live tracks, including the classic "Willie the Wimp" and the rocking update of Stevie Wonder's "Superstition," give you a sense of what a blast it must have been to watch Vaughan roar through a set -- almost as good as watching a rerun of "Austin City Limits." The combination of rocking fury and melancholy blues is just astounding.

Instrumentals ("Pipeline," "Scuttle Buttin'") also allow the listener to just kick back and marvel at Vaughan's virtuoso playing ability. Vaughan's voice, apparently criticized by some, is fine, but it pales in comparison to his ability to a guitar.

My two favorite tracks are the thumping "Shake For Me" and the bittersweet "Life by the Drop." It's tough to pick favorites on this loaded album, though, and I've never met two people who have the same two top picks on this album.

It's tough to pick up a Stevie Ray Vaughan CD these days . . . there are so many that have slightly different combos of the same limited catalog of songs. This album is a good start. ... Read more

Reviews (7)

Hard-luck band gets kicked in the can!
One of the best American blues bands from the late '60's, Canned Heat could have even been greater and more successful, except for one thing: they were the original hard-luck boys. On the verge of breaking out after their first album, the Heat was busted in Denver and had to sell the rights to their songs to get out. (To this day, drummer and current bandleader Fito de la Parra relies on live work, not royalties, to help him make ends meet.) Plus, even though most of their songs were sung by the fabulous growl of Bob "the Bear" Hite, their two most famous numbers featured the vocals of Alan "Blind Owl" Wilson. Now, "Blind Owl" was a musical genius, the best harpist in the world according to John Lee Hooker, but some fans feel his falsetto vocals are an acquired taste. Their most famous song, "Going Up the Country," with the equally famous flute solo, might give the casual listener the expectation of a completely different style of music; say, the Grateful Dead at their most tribal, rather than a hard-core blues-boogie band. Wisely, "Blind Owl" is limited to three numbers on this disc (all are excellent). Luckily, "the Bear" is at his most playful and fun-living on his numbers, with "Same All Over," "Let's Work Together" (his only hit as singer), and the morality tale "Amphetimine Annie" the standouts of his seven songs. The album closes with the wonderful jam "Fried Hockey Boogie," featuring a segment from each instrumentalist. Here, Henry Vestine's guitar work will blow your mind, sending it out to orbit the solar system before bringing it back gently to earth. The band would never sound better than this. Sadly, the final reason Canned Heat never achieved the success they deserved is that both Alan Wilson and Bob Hite (and, much later, Henry Vestine) would die too young from their self-destructive lifestyle. Thankfully, they left a pretty good legacy for a band that was kicked in the can by life once too often.

Killer blues from the Woodstock era
Best of Canned Heat is a great collection of the best of this great blues band which formed in the late 60's. Many music fans know the band today from their inclusions on several '60s compliations that have been released like Revolution Rock and their participation at Woodstock in 1969. While Woodstock was certainly their high point, Canned Heat were different from many bands from that era, concentrating on their blues roots rather than singing of free love, psychedelia, or protesting the changing times.

While Canned Heat were a blues band, they also knew of the importance of having a memorable hook in their tracks. This shows prominently on this collection, whether it's the harmonica solos on "On The Road Again", the flute (!) on their biggest hit "Going Up The Country", the horn section on "Boogie Music", or the piano on "Same All Over". But there is also some great raw blues here such as "Amphetamine Annie", and their smokin' versions of "Let's Work Together" and Muddy Waters' oft-covered classic "Rollin' And Tumblin". Having two lead vocalists in the band also worked to their advantage as well as Alan Wilson's falsetto vocals on "Going Up The Country" and "Time Was" complimented Bob "The Bear" Hite's rougher vocals on "Let's Work Together" and "Bullfrog Blues" very well. The album closes with the 11-minute "Fried Hockey Boogie" which gives all the band members their chance to shine. There's also a longer and better version of this track on the soundtrack album Woodstock Two. An excellent compilation, highly recommended to fans of the blues, and to fans who loved the music from the Woodstock era.

It could've been a contender!
This is the 'Cookbook' album from the late 60's.That would have been really great(4 stars at least)if it hadn't have been for one notable exception.Where is the cut'Sic 'em Pigs'?Surely we have all got past any sense of outrage or offense about what would now be a humorous taste of the times,a funny,dated little piece of satire.How funny it would be on this collection.But alas,with this exclusion,whenever I listen to this CD I'll always note this flaw in what could otherwise be an enduring gem.

They might have been wasted, but they sure could play
This was a great rockin' blues band, and it's amazing to realize that they actually had hit singles. Today's music audience doesn't even understand why musical ability makes a damn bit of difference. But here is a band that had 3 or 4 hit singles in an ancient musical style, just because they played so convincingly. I'll admit it, I sought this record out because I heard the wonderful "Lets Work Together" on a TV ad. All I can say is, there are many paths to enlightenment.

Great, great stuff
Canned Heat is a great band, but I can't find any of their music except for this and the double-CD, Uncanned. Does anyone know where I can purchase the original Canned Heat albums (with Al Wilson and Bob Hite) on CD? I've been looking but they're nowhere to be found.

The music is great, but one teeny little greatest hits CD is not enough. If I can't find their albums any time soon, I will just buy Uncanned. ... Read more

Amazon.com

A Boston native now living in Atlanta, Sue Tedeschi gets wildly overpraised by some purported blues pundits and gratuitously slammed by others. The truth lies somewhere in between. She's an earnest but undistinguished singer and a functional songwriter-guitarist whose music provides mild entertainment. On an album that veers between blues-slanted material (try "Friar's Point") and bluesy pop-rock (take your pick), she carries on with élan but none of the finesse or emotional clarity of a big-league singer like Joan Osborne or Bonnie Raitt. Tedeschi's cover of John Prine's "Angel from Montgomery," alas, is her blatant imitation of the famous redhead but it is light years away from Raitt's persuasive capacity for interpreting lyrics. The most alluring track is "Can't Leave You Alone," written by Tedeschi band member Adrienne Hayes, who unleashes a stirring little guitar solo therein. --Frank-John Hadley ... Read more

Reviews (215)

one of the best blues singers in a long time!
You guys must be kidding, and you've clearly never seen Susan live. (By the way you've also left out Blues Revue's review of her work which is more to the point). I have been a blues fan for about 25 years and I have to say she is one of the best blues singers in a long time! Her voice is both powerful and evocative. She reminds me of the best of Bonnie Raitt mixed with the best of Janis Joplin (I've seen both live) I have seen her twice. Once her set overpowered Buddy Guy and Jonny Lang and other more well known blues stalwarts. The other time she just blew the crowd away with the songs on Just Won't Burn and her bands version of Got My Mojo Working. I can't wait to hear her now that she's teaming with Double Trouble. The only thing I might say is that her album doesn't do her justice - although I find that is true about almost every blues artist I have seen from BB King to Eric Clapton. My advice - get the album, see her live and follow her career.

Nothing like Janis, but great nonetheless
I thought this album was great, although the guitar solos sounded sloppy in some places. But they give the album a raw edge that is notably absent in most recordings. It doesn't sound slick, overproduced, or commercial. Keep in mind, this is only her second album, and if this is any indication of Susan's potential as a great blues singer, her fans have found a winner.

Personal side gripe: I was given this album by a friend, who knows I'm a Janis Joplin fan, and he said, "Listen to this--she sounds just like Janis!" Well, Susan has a powerful voice, but she doesn't sound anything like Janis (IMHO). Reading reviews of the album, it seems many are comparing her to Janis or Bonnie Raitt. Why are their talents the standards by which most female blues singers are measured? Certainly the influence is there, but the sound is fresh and unique. Susan Tedeschi should stand on her own, and listeners should not be expecting to hear somebody else's music.

But aside from that--her voice is haunting and she can play a mean guitar...can't wait for the next album!

Susan rocks!
The way Susan sings and plays guitar makes you want to get up and move! Isn't that what it's all about? Her voice is amazing, and it's been said before that she sounds a bit like a mix of Janis Joplin and Bonnie Raitt, but she's also her own. Get this album and listen to it, you won't be disappointed.

Little person,Big Sound!!
Saw Susan at blues fest in upstate New York.She wowed the place.Bought Just Wont Burn the same day.Turned alot of people on to it.They loved it as much as I do.Take it for what it is,Blues that wont dissapoint.

She's mean
She sings 'mean' take-charge blues on the rock.
Excellent! ... Read more

Amazon.com

Few traditional bluesmen have the swinging elegance and vocal grace of ex-Roomful of Blues frontman Sugar Ray Norcia. And this is his finest solo album, full of warm performances and well-written original tunes. Even when Sugar Ray's grinding out a Chicago shuffle like "I Done Got Wise," both his warm singing and his harp solos create luxurious melodies full of richly sustained notes that carefully underscore the deep emotions that put life in his lyrics. The title cut and "The Last Blues Song" are among his best numbers. The former explores the pain of possible infidelity and the latter is a secular prayer for a better world, set to a spare piano arrangement that gives Sugar Ray room to weave colorful filigrees and wide dynamics into his vocal phrases. He's also got a skillful journeyman Bluetones lineup here, with fellow Roomful alums Doug James and Carl Querfurth on sax and trombone; veteran Handy-nominated Michael "Mudcat" Ward on bass; Neal Gouvin on drums; and on guitar, Paul Size, whocomfortably fills the seat formerly held by Ronnie Earl and Mike Welch. They play together with transparent mastery, giving the boss plenty of license to exercise his considerable talents. --Ted Drozdowski ... Read more

Reviews (1)

Smoking Sugar
Sugar Ray's latest is a return to form, for the veteran singer and harmonica player. For years, Ray Norcia, honed his skills with Ronnie Earl, Roomful of Blues and the crop of the breed within blues. This effort brings back the Bluetones and newest guitar wiz Paul Size, once a member of the legendary outfit Red Devils. As can be expected, fantastic singing and creative harp-blowing, and definitely well chosen covers and originals. The mix is eclectic, no doubt, but it gels and cooks! Sugar was always a wonderful singer and his phrasing is nothing short of top notch. The songs cover old style R&B, rock, a few jazzy numbers and blues shuffles. Compared to his previous CD, this is clearly an improvement, this is easily this years best blues CD this far. ... Read more

Amazon.com essential recording

In Step embraces blues and rock without compromising the primal joys of either. This is Stevie Ray Vaughan's best studio album and the first he recorded sober. "Travis Walk" offers a heady rush of flat-picking, "The House is Rockin'" is full-tilt roots-boogie, "Let Me Love You Baby" and "Leave My Girl Alone" are sweet blues epiphanies, and the nine-minute instrumental "Riviera Paradise" is a truly soulful mix of blues and jazz. By now, just a year before his untimely death, Vaughan had also tamed his bawling voice into a rich instrument. In short, this 1989 session is Vaughan at his artistic peak. And the four compelling live performances added to this reissue--"The House Is Rockin'," "Let Me Love You Baby," "Texas Flood," and "Life Without You," all from the In Step tour--prove there was no studio trickery involved. It's raw blues-rock perfection. --Ted Drozdowski ... Read more

Reviews (48)

His best album and one of my top 5
I knew of Crossfire and Walkin' the Tightrope from the radio, and The House is Rockin' from sports stadiums. But it's the blues and Wall of Denial that blew me away. Buddy Guy's Leave My Girl Alone and Howlin Wolf's Love Me Darlin' (Or is that the real May I Have a Talk With You?) are emotion-tinged rock blues at its best. My only disappointment about these songs was their length. (I envisioned both songs as 9 minute jam sessions, but that would've tired the other bandmates out.) Whereas I liked the original Leave My Girl Alone for Buddy's screaming, Stevie's guitar solo did the trick for me here. As for Wall of Denial, this song transcends substance abuse. Sometimes I get angry at women for not wanting to date me for whatever reason, and I build up my own wall instead of buiilding up a new relationship. While I still struggle in tearing down my wall the way Stevie tore down his in late '86 and early '87, I know that it's going to "tumble down to the ground" eventually. As for the extra tracks, they speak for themselves. I don't have Soul to Soul yet (don't ask me why), so before I bought the remastered In Step, my only way of hearing Life Without You was in the snippet on VH1 Legends where he talked about his troubles. After hearing this version of Life Without You, I stood still for 10 minutes because I was so mesmerized by his rap and the two blistering solos where he hit some incredible high notes that I didn't think he was capable of hitting. The first time I played it at home, I sang the opening lyric differently: "Well hello Stevie, tell me how have you been, we all have missed you and the way you grin..." If any artist dares think about covering Life Without You, I wouuld strongly suggest using this lyric at the start. Rave On Stevie, and I'll see you someday at the real Great Gig in the Sky.

Good, although not his best
"In Step" is often cited by critics as Stevie Ray Vaughan's best studio album. And his playing on this album is actually a bit more economical, maybe even a bit more mannered, than on his earlier releases...whether or not that's a good thing is a matter of taste, I suppose.

The production is a bit more slick than usual as well, the tone of Vaughan's guitar is cleaner, and a keyboard player and occational horns have been added to the mix, but that's not to say that Stevie Ray Vaughan had gotten soft on his final solo album before his tragic death in 1990 - he just turned a little bit more towards rock rather than blues.

"In Step" opens with a blistering rocker, "The House Is Rockin'", followed by the bluesy "Crossfire", which features a superb solo by Vaughan.
"Tightrope" ventures into hard rock territory, but Stevie Ray's cover of Willie Dixon's "Let Me Love You Baby" is genuine blues-rock, and it is followed by a good reading of Buddy Guy's slow, tortured blues "Leave My Girl Alone". Vaughan didn't quite have the pipes to match the intensity of Guy's original, but he does a fine job with what he has, and the guitar playing is superb as usual.

"Travis Walk" is a funky, up-tempo instrumental with some great drumming by Chris Layton (who, incedentally, used to play drums for Buddy Guy and Lightnin' Hopkins). "Wall Of Denial" is pretty well known, but it is perhaps one of the lesser tracks on this album, with some fine guitar playing but not much in the way of either hooks or a real "groove" to grab a hold of the listener.

"Scratch n' Sniff", however, is a fine up-tempo rock song with some excellent boogie piano fills by keyboardist Reese Wynans, and a great solo by Vaughan.

Stevie Ray Vaughan can't quite pull off Howlin' Wolf's "Love Me Darlin' (May I Have A Talk With You)", but if you aren't familiar with the original, this version will actually sound pretty great, I guess. And finally, the original "In Step" album winds down with the excellent nine-minute instrumental "Rivera Paradise", a slow, moody piece.

The five extra tracks begin with a short interview snippet. The remaining four songs are all live performances: "The House Is Rockin'" and "Let Me Love You Baby" from "In Step", "Texas Flood" from Vaughan's 1983 debut album of the same name, and "Life Without You" from "Soul To Soul".
Stevie Ray Vaughan was a terrific live performer, and it's pure joy to listen to the raw, fiery live versions of the two songs from this album, which to me work better than the originals.

Highly recommended, as are all Vaughan's studio albums (although I don't agree with those who call it his best).
You should also check out the excellent "Live Alive" and "Live At Montreux 1982 And 1985", by the way.

The first three were great, but "In Step" made him a legend
"In Step" was released in the summer of 1989, and it was his first album sober. Stevie's singing and songwriting improved by leaps and bounds from "Texas Flood", and Double Trouble had gotten more involved in the songwriting process, writing Stevie's only number one hit, "Crossfire." It's a band-oriented album, instead of just showing off Stevie's extraordinary talents, which it does do quite frequently. It is such a powerful record, and so intriguing to listen to Stevie confess so openly about his use of drugs through songs like the funky "Tightrope" and "Wall Of Denial". These songs also produce two of the best solos he has the album. He also has fun as well, with rockers like "The House Is Rockin'" and "Scratch-N-Sniff". However, it the closer, "Riviera Paradise", that takes the cake. This quiet instrumental sounds like, as Stevie has described it, "praying through the guitar." For the expanded edition, there is a small interview about how he quit the last job he ever had, and four live songs, "The House Is Rockin'", "Let Me Love You Baby", "Texas Flood", and "Life Without You", which all absolutely smoke. If only Stevie could have lived on, then we would have all been in for a treat. R.I.P. SRV.

If God played blues guitar, he wouldn't be this good
SRV was the man. The greatest electric blues guitarist ever. Every cell of his being was permeated with musical genius, every pore oozed the blues. One of the greatest gifts Texas ever gave to the world.

One Of Stevie Ray's Best!
In Step is one of Stevie Ray Vaughan's best studio albums. I do like Texas Flood much better,his guitar was alot rawer and it sounded more soulful and real. In Step sounds way to good,rumor has it Stevie Ray was using dozens of amps on this studio album to get the perfect sound. I do love In Step for what it is I actually have the orginal CD without the bonus tracks. I think the orginal sounded wonderful I have not heard the CD with the bonus tracks. I think In Step was a turning point for Stevie to expand his sound and make it beautiful. In Step became one of the biggest radio hits. Thats where I first heard The House Is A Rocking one of my favorite songs. I also heard Crossfire, and Tightrope over and over on the radio.

Thats where I got started with In Step I loved all the songs on the radio so I bought it. For having a fake sound Steive never lost the blues. He still had the blues on Leave My Girl Alone with a more softer tone. I always loved Stevie Ray's studio albums but no one could compare to him when he was LIVE. I think for most In Step is a great way to get started with Vaughans music. Their still is his classics like Couldn't Stand The Weather, and Texas Flood. I always have stated In Step as One Of Stevie Ray's Best. This is a must have for anybody ready to listen to Stevie Ray Vaughan. Highly Recomened! ... Read more

Amazon.com

Now, here's what you call a break from tradition. After bridging the gap between punk and blues on his collaboration with the Jon Spencer Blues Explosion, A Ass Pocket of Whiskey, Mississippi bluesman R.L. Burnside ventures into the world of beats and grooves with Come On In, a series of remix projects with producer Tom Rothrock (Beck, Foo Fighters). The cynics among you may smell opportunism, but Rothrock is sensitive and respectful enough to Burnside's originals to do them proper justice. Even the 4/4 high hat and filtered sound effects of "Rollin' Tumblin'" sound appropriate to the music at hand. Though these treatments--largely instrumental--erase the most of the presence of Burnside's searing vocals, Burnside and Rothrock's adventurousness will win over most to their progressive-thinkin' boogie chillun'. --Justin Hampton ... Read more

Reviews (31)

Rock On Old Timer!
This CD blew my socks off the first time I heard it. Especially the third track Let My Baby Ride. We can only wish that more people will get the chance to hear the rocking blues of R.L. Burnside. Just think he is probably old enough to be your Grandfather and he just might take credit for it too! You must buy this CD!

Burnside had the guts to shake up the blues: awesome.
Mr. Burnside decided to shake some of the cobwebs out of the blues genre, and probably p.o.'ed some purists in the process. If you can get through the loss of some of the purity of blues, this is one tremendous disc.

There are a few non-altered pieces on the disc, and the live version of the title song will stick in your head like flypaper, as will the next track, ``Let My Baby Ride'' with the man himself sampling his last name. The other outstanding track is the remixed version of ``Rollin' Tumblin' ''.

What confuses most people who like the blues is that the music isn't supposed to be so upbeat. But that's what makes this disc breathe - the fact that it goes against the grain. Burnside had the guts to take on not only his music, but an entire genre and twist and shape it into something foreign - and the results are wonderful.

Come on in!!
I just got done listening to this Cd and man oh man it's cool. I really didn't think that I would like it all that much, boy was I wrong. It is every bit as cool if not more than Wish I Was in Heaven Sittin' Down and evern harder edged> This is the kind of album you need to play really loud.

Probably not for the blues purists, but...
...but for those of us who's eclectic tastes *include* the blues, there's a lot to like in this album. There are some sections of briliancy ("Let My Baby Ride" and "It's Bad You Know" both just rock), and some sections that were a little repetitious for me.
The North Mississippi All-Stars album Shake Hands with Shorty sounds like what you'd get if you gave an old R.L. record to a garage rock band. This album sounds like what you get when you give that same record to a techno DJ. There's a lot of sampled cuts looped together and layered under electric guitar and drums. Some vocals are re-mixed in as well.
Definitely worth checking out if you're looking for something different.

Blues with a twist
Labels, labels. What do we label this album? Blues? Techno? Techno-blues? Labels like these are too narrow for me. This is good music. I love blues and I also love techno; but I wouldn't call this techno just because it makes good use of loops. It's blues with a twist. It's a great musician and his producer exploring their talents.

I have many friends who aren't big blues fans, but they're always asking me to play this album. The beats are very fun and make you want to just get up and dance. I think the best blues shows are the ones that really move your body, and this album does just that. If you're a blues fan with an open mind, or just a music fan with an open mind, you'll find this album in your CD player more often than not. ... Read more

Amazon.com

The title of this album tells you most of what you need to know about San Francisco blues rocker Tommy Castro. His first disc of original material in four years finds him back with the Blind Pig label and expanding his crackling R&B-drenched blues into a more rock-oriented sound. On Soul Shaker, Castro downplays the sizzling guitar that dominated his previous releases and focuses instead on songs and arrangements. The horns that pepper--and often power--tracks such as the frisky "What You Gonna Do Now?" push the soul element even further to the forefront. But it's Castro's gutsy, gritty vocals--something like a mix of Delbert McClinton and John Mellencamp--and his energetic approach that ignite these tunes.

Castro borrows Little Feat's New Orleans stomp for the swampy, slide-driven title track, shifts into Bob Seger territory on the thumping rocker "The Holdin' On," and even delivers a flute-powered song, "The Crossanova"--a lively instrumental cowritten by reed player Keith Crossan that wouldn't be out of place on an old Herbie Mann disc. "Take Me Off the Road" burns with ZZ Top hip-shakin' boogie. This may not be what established Castro fans expected, but by widening his scope and beefing up his sound the soul shaker has delivered his most satisfying and eclectic set in a decade-long career. --Hal Horowitz ... Read more

Reviews (8)

Not His Best!
Whether you like this or not will largely depend upon what your expectations are from TC. For me, I like TC's blues music with a touch of soul, bordering on James Brown. My expectations were met with the Grammy award winning Right as Rain. But this is not it and for me the CD is merely all right. On this disc Castro leans towards the sixty's R&B music and the songs bring to mind the Temptations and the Supremes rather than Muddy Waters or John Lee Hooker. Like Jonny Lang on his latest release, Castro tries to spread out to a broader group and, in my opinion, falls a little short. Castro is best seen live and maybe in that setting can do these songs some justice. Some times it is best just to stick to the formula and fan base that got you there. Castro is a little off the path.

Could Have Been Really Hot
Tommy Castro has always sort of been Stevie Ray Vaughan in Robert Cray's clothing. I'm not sure that I agree with the idea of downplaying the sort of string bending ability that Tommy has. I'm not saying that Tommy should "shred" but the occasional hot solo would pushed this one to a five. Instead, we get a hot rock and soul record with TC acting like a hired gun instead of the deadly killer that he is. "Let's Give Love a Try", "Just Like Me" and "The Holdin' On" give this a likeable Delbert McClinton feel that pushes this record past 3 stars and on to 4.

Should be Soul-less and Shake-less
This CD reminds me of the Robert Cray CD "Don't Be Afraid of the Dark" where a good blues singer does an mediocre soul CD.But in this case a great blues guitarist and singer does an awful sell-out CD that mixes light rock with psuedo soul and strips out the searing electric blues guitar and roaring, crisp vocals that got them there.

It is great if you are on top of the world and can put out any music you like, but it is hard to believe anyone would like this watered down tripe...save your money for when Tommy comes to his senses and puts out a decent Blues CD, which he hasn't done since Gratitude, and that was not as good as his previous works...

The flute song is the only redeeming song on here, and while interesting it is not enough to make you want this CD.

Keith S. :{)>

Pretty good but not the best
I did enjoy the cd but it is not his best. I found this cd a bit to over produced and sounded a bit "canned"

I am sure he is still the best live and I will just love all these songs after I see him in concert.

Right as Rain and Exception to the Rule still ROCK and are must haves.

Come on Blind Pig throw the whole band in the studio push record and let the magic happen.

SOUL SHAKIN' down the house in NYC
Call me spoiled, sittin' here in Gotham with 18,000+ restaurants and most the world's great venues...we expect a lot.

The other night Tommy Castro hit town and brought down the house at B. B. King's in Times Square.Music's a funny thing. Sometimes, like Chinese food, it's not as much the product as it is the quality of delivery.Castro set about assuming command of Times Square with a stirring delivery of a GREAT product!

By the time he's in "Wake Up Call" it's obvious this is not just any night at B. B. Kings.I figured that having seen Eric Clapton raise the live performance bar at MSG that I'd seen it all, I was wrong.

No sooner does Castro have total control of the crowd that he throws a change up with Anytime Soon and follows up by a foot tapping The Crossanova.Get there tunes in your head and your "Catro-ized".

I'm back to Kings tonight for another dose and perfectly cognizant that I'm gonna tough to impress again for a bit.

Bonus points to Castro for taking time, as the King's staff tried to root folks out for the next show, for taking lots of time to visit with a throng of fans following the show.Seeing a "walk on glass to get to" performance in NYC and hearing the words "thank you" afterward speaks volumes.

Great music, nice guy, knocks your socks off delivery...the bar's been raised again.

Courtney Canfield
New York City
... Read more

Amazon.com

Muddy Waters should need no introduction. Not only did he provide a name for the world's greatest rock & roll band, but he also created the Chicago electric blues sound that's dominated the genre since he first hit the windy city in the late 1940s. His bands also featured what would become a who's who of electric blues: Little Walter, Jimmy Rogers, Otis Spann, James Cotton, Junior Wells, Buddy Guy, and the list goes on. The Anthology covers Waters's most important period: his first years at Chess through the late 1960s. All his best-known songs are featured in their definitive versions, providing the perfect introduction to a blues master who doesn't need one. --Mike Johnson ... Read more

Reviews (7)

Essential and Influential
This is a new 2 cd anthology which covers Muddy Waters aka McKinley Morganfield's Aristocrat and Chess material from 1947-72. There have been a number of Muddy Waters compilations in the past few years. This set is better buy than the "His Best Vols 1 & 2" compilations. This set contains 50 songs as opposed to 40 on the "His Best" compilations. This anthology contains less material than the Muddy Waters 3 cd box set but the tapes have been remastered for better sound since the box set was released. However, this anthologys fails to include 2 songs from the "His Best" compilations which are among my favorites "She's Into Something" and "You Need Love". The latter song provided the inspiration for Led Zeppelin's "Whole Lotta Love". A drawback to this set is there are a few "rarities" which I would have deleted in favor of the aformentioned songs and other favorites like "Blow Wind Blow" (covered by Eric Clapton), "Tell Me Baby" (covered by the Rolling Stones), "I Got A Brand On You" (covered by Johnny Winter), and "Tiger In Your Tank". In addition the second disk clocks in at around 71 minutes, so space was available for more songs. However, this is still an essential compilation.

The music is electric Chicago Blues at its finest. Among the sidemen who appear are Little Walter, Walter Horton, Junior Wells, James Cotton, Paul Butterfield, Jimmy Rogers, Mike Bloomfield, Donald "Duck" Dunn, Willie Dixon, Buddy Guy and many others. This music has influenced the previously mentioned artists as well as such people as Stevie Ray Vaughn, Canned Heat, Rory Gallagher, The Allman Brothers Band, Savoy Brown, Jimi Hendrix, and many others. Blues classics such as "Mannish Boy" "I'm Your Hoochie Coochie Man", "Got My Mojo Working", "Trouble No More" and others have become staples of both blues and blues/rock performers. Other well known cuts include "Honey Bee" (covered by Stevie Ray Vaughn), "I'm Ready" (covered by Humble Pie), "You Shook Me" (covered by Led Zeppelin), "I Just Want To Make Love To You" (covered by Foghat), "The Same Thing" (covered by the Allman Brothers Band), and "Still A Fool", "I Want To Be Loved" and "Look What You've Done" (all covered by the Rolling Stones. The Rolling Stones even named themselves after one of Muddy Water's songs "Rollin' Stone" included here. This just scratches the surface of the influence Muddy Waters and his music had on musicians and blues fans alike. If you want a good overview of the Chess years this is an essential compilation.

Muddy's best
This is a comprehensive two disc set of the man who defined Chicago blues. Muddy Waters started out in the Delta working as a guitar playing farm hand but moved to Chicago in the 40's, where he took his delta styled playing and plugged in to make a new music that was loud, raucous, and yet retained the subtleties of the Delta. His powerful voice and his slippery slide-guitar influenced the rock and roll generation of Jimi Hendrix and the Rolling Stones, who took both their name and their hit "Satisfaction" from Muddy.

Whooooeeeee! I finally got this great CD compilation!
I've been dropping hints for about two months to my wife that I wanted this 2 CD set for Christmas. I'll drop the cash for a silly PlayStation 2 game for my son, but I won't spend even half of that to buy this CD for me. Well, my wife was listening because I got it for Christmas and I've been playing it non-stop for two days! The two CDs do a great job of following Muddy's ascent from acoustic guitar backed by bass in the late '40s and early '50s to his electrification that helped shape what we now know as Chicago Blues. All of the tracks are taken from the Chess/MCA recordings, and anything he recorded from '72 until his death 11 years later is missing. But that's OK, I've got most of those CDs anyway... This compilation is put together chronologically and, for once, it's put together with some intelligence. There's not an ounce of filler on either CD, and they use up the available time a CD provides -- CD 1 has 26 tracks and CD 2 boasts 24. CD 1 is great layin' in bed and drifting off to sleep music. CD 2 is great slip-in-my-truck-CD-player material and got me to work in a GREAT mood this morning! I highly recommend this for anyone who doesn't know Muddy's music, or who wants some quality audio -- no muffled sound, peaks and dips, just consistent, high-quality folk/blues and down dirty boogie blues that made McKinley Morganfield the definitive King of the Blues (sorry, B.B., I love ya, but Muddy is the Man!).

A superb collection
The handsomely packaged three-disc Chess Box remains the ultimate Muddy Waters-collection, but this amazingly low-priced double-disc anthology is not far behind.

It manages to collect almost all of Waters' best songs, from his early acoustic sides with just bassist Ernest 'Big' Crawford for company, to his hard-rocking 50s and 60s cuts, including literally all the must-have classics:
"Got My Mojo Working" and "Hoochie Coochie Man" are here, as well as "You Can't Lose What You Ain't Never Had", "I Love The Life I Live", "I Just Want To Make Love To You", "I Want To Be Loved", "Honey Bee", "I'm Ready" and "I Can't Be Satisfied".

You can't go wrong with this sublime, well annotated collection of Waters' tough, swaggering blues. Highly recommended.

A must-have for any blues lover
This 2-disk compilation is, very likely, the best blues that you will ever hear. I've been collecting blues CD's for many years, and am kicking myself for waiting this long to get something from Muddy Waters.

The other reviews here are excellent, and I am grateful to Steve and Jef for steering me in the right direction, by suggesting that I get this particular compilation. There are many Muddy compilations out there, and I have to say that this one is excellent. Every song is a gem, and I've been listening to it over and over since I got it. I was surprised at the number of songs that I recognized... most of us are Muddy Waters fans, and don't even know it.

If you love the blues, and particularly guitar blues, then you must get this CD. Believe what the other reviewers have said, this compilation is THAT good. ... Read more

Reviews (14)

Not as fresh, but more polished
Sounds like Johnny A. likes his new guitar. When his first effort on Favored Nations Records met with unexpected success, he not only got an offer to do a second one, but Gibson built and named a snazzy new guitar in his honor. The result? The CD cover looks like a Gibson ad, but the music does not disappoint.
A.'s first album, "Sometime Tuesday Morning," seduced guitar geeks and music lovers alike with its thick, smoky textures, sexy rhythms, and a couple of very tasteful chord melody covers of classic pop songs. It was a collection that served well for careful listening or for filling the air.
This new album, "Get Inside," is another good listen with many of the same qualities to recommend it. Here's my take after one listen.
Some of the new tunes sound like embellished evocations of themes from the first set with, again, a couple of really well-done instrumental covers (Johnny Rivers' "Poor Side of Town" and Jimi Henrix's "The Wind Cries Mary"). This album sounds a little more ensemble focused than the first, which was basically solo guitar with a rhythm section. There's more interaction between the instruments here, with sax and trumpet even appearing occasionally, as well as a lot of rhythmic handclapping and other percussion. A. mixes up his rhythms and textures for maximum interest, transitioning between clean, thick, humbucker sound and overdriven wah wah. The last two tracks feature some reverse loopy type of stuff ala Bill Frisell to add a slightly new flavor to the mix. All in all, the arrangements seem a little more complex this time around.
Where the first album really hooked me right from the top with the catchy title tune, this album keeps my attention, but doesn't quite grab me as irresistably. Maybe that means it will grow on me as I listen to it more, which I certainly will.
A. is a seasoned guitar veteran with finely honed chops and a soulful approach to his instrument (did I mention he has a new one?). No sophomore slump here, but I begin to wonder if he can keep his sound and style fresh.
Overall, this is a great album that once again should draw fans from the pop and smooth jazz crowd as well as the fret climbers. If you liked the first one, you'll like this. If you missed the first one, buy 'em both. You won't regret it.

Superb Instrumentals from a Gifted Musician
Johnny A is a guitarist's guitarist with speed, chops, and tone to die for, but you don't have to be a slack-jawed, green-with-envy guitar geek to find "Get Inside" rewarding and enjoyable. Johnny's musicality, versatility, and taste set him apart from the run of guitar gods. Like "Sometime Tuesday Morning," Johnny's first solo CD, "Get Inside" consists mostly of original compositions -- real songs that have a beginning, middle, and end -- along with a couple of well chosen covers. Most tracks are three to four minutes long, and their brevity reflects the intelligence and restraint that went into the performances. Johnny's stylistic influences run the gamut from Hendrix and Santana to Wes Montgomery and Chet Atkins, but he's got a distinctive sound of his own that brings cohesiveness to the varied material here. There's a lot to appreciate on this disk; it's instantly accessible but rewards repeated listening. Truly terrific.

NOT for Shredheads
First off, this is not a shredfest. Johnny A. is more about monster tone than monster chops, although he definitely has both of these qualities in his playing. Exquisite phrasing and rystal clear articulation are words that come to mind when describing his style. The music covers a broad range of styles and infuences, blues, jazz, rockabilly and more. The supporting musicians are all excellent, drummer Ron Stewart's contribution is standout. Add top-notch recorded sound to the package for an outstanding disc.

Superb ......
90% of my purchases are guitar instrumental albums, the rest are guitar albums which include singing, such as Sonny Landreth. In most cases, after reading, and buying on the strength of reviews, I have high expectations which are only rarely met.

In this case, those expectations are massively surpassed ( as they were with Joe Bonamassa, Andy Timmons and Greg Koch ). Johnny A really knows how to 'swing', and that is a feel that is so sorely lacking in most guitar music today.

After listening to "get inside" for the first time, there were only a couple of tracks that did not instantly bring a smile to my face. This is not GUITAR music ... it is MUSIC which happens to be played on the guitar - brilliantly

His tone is, or should I say, tones are simply fantastic. Johnny A has a unique ability of mixing several tones within phrases which add a huge amount of interest to whatever he is playing.

STM took some time to grow on me, whereas GI is instant. I think this is because of the groove he sets up right from the start, and even in "the wind cries Mary" he maintains his own inimitable sense of rhythm and turns a brilliant song into a completely different, brilliant song.

What a wonderful album ... and a lesson to a whole host of admittedly fantastic guitar players turning out, what is basically, the same CD over and over again.

Smokin'
Simply put the best instrumental guitar album in years! Johnny A covers all genres with feel, precision and expertise. NOT, I repeat NOT just for guitarists, this CD is listenable from beginning to end. Each composition is totally melodic and memorable. There is something for everyone's taste in music. A beautiful follow-up to a near perfect debut CD. Buy it, buy it, BUY IT!!!!!!!! ... Read more

Album Description

They joined the Alligator Records family with THAT'S RIGHT! in 2003. The CD received massive amounts of praise and received yet another Grammy© nomination. Now they’re back with STANDING ROOM ONLY an utterly hip-shaking set of songs highlighting the vocal and instrumental power of the band.

Remaining together for so long is not simply a matter of survival, but rather a testament to Roomful of Blues' commitment to its originality and its ability to evolve. Over the years, Roomful's lineup has changed but the band has always been one of the tightest, most joyful blues ensembles in the world. Currently an eight-piece unit led by guitarist Chris Vachon, the band has never sounded fresher or stronger. With vocalist/harpist Mark DuFresne, bassist Brad Hallen, drummer Jason Corbiere, keyboardist (and newest member of the group) Travis Colby, baritone and tenor saxophonist Mark Earley along with long-time members tenor and alto saxophonist Rich Lataille (the longest-standing member of the group) and trumpeter Bob Enos, STANDING ROOM ONLY swings with ferocity and rocks with urgency and purpose. Moving effortlessly from eight originals to six carefully chosen covers, the expertly executed songs sizzle from start to finish.

STANDING ROOM ONLY is a knockout punch from a group of blues heavyweights, full of big band swing, razor-sharp blues and sweaty R&B workouts. ... Read more

Reviews (2)

Just keeps on rockin'
The first thing I noticed was that these guys are having fun on this record. The band is tight as a guitar string.The horns wail, the vocals are whiskey smooth, not a mis-step in the song selection. I saw Marcia Ball recently, and it was a PAR-TAY, so maybe it is "sumfin'in da watah down der", but this was as much fun as blues record gets.All songs are good, most are way above average.The novelty of "Flip Flop Jack" and whistling sing-song intro on "Nobody Knows" made it a blast to listen to listen right down to the last chord...With nods to 1940's jump-swing, 50's style steet corner crooning (Sufferin with the Blues), plus a modern production, made for a throughly solid listen.Next road trip or pary I throw, I'll know where to start, and just keep on rockin'.

Roomful Still Delivers the Goods
How many times have you been disappointed when a blues band shows up to a gig as a three piece when all of its discs feature horns and keyboards on nearly every track? Roomful of Blues fans never experience a let down since the band includes as members the two saxophones, trumpet, keyboards, guitar, bass, drums and harmonica heard on its discs. What you hear on disc is what you get live and, in this case, fans should be salivating in anticipation of the band's next appearance. Simply put, the band has rarely sounded better. Starting things off with the fast paced, horn laden "She Put A Spell On Me", the band works its way through 14 cuts that allow the band to flex its instrumental muscles in a variety of settings."I Can't Stand You No More" has a slinky, guitar driven mambo groove that is unlike anything the band has recorded before. "Boomerang" is a rockin,' dance floor filling number for the rock and roll dancers while "Just Keep Rockin'" , "Jona Lee", "Flip Flap Jack" and "Up Jumped the Devil" will give the swing dancers a work out. While the band has proved over and over that it is the gold standard for upbeat numbers it makes a strong case here for its ability to play the kind of slow, emotional blues that areBobby "Blue" Bland's stock in trade. On "Sufferin' With The Blues" lead vocalist Mark DuFresne conveys a deep, desperate pain that conjures up images of someone ending the night alone crying in bad scotch wondering if it is worth it to make it to tomorrow. The band's instrumental prowess is showcased on"Straight Jaquette"which features the dueling saxophones of Mark Earley and Rich Latille and allows trumpeter Bob Enos to take a couple of flights into the stratosphere. A pleasant curve ball is thrown into the mix on the easy loping groove of Nobody Knows which features guitarist Chris Vachon serving up croaking vocals reminiscent of Tom Waits. As with past discs, theband features covers by jump blues kings like Roy Brown but this time extends into soul blues penned by Little Milton and Lowell Fulson and a number of self-penned tunes (Vachon logs in with four while Latille, Earley, DuFresne and keyboard ace Travis Colby contribute one each) that fit seamlessly with those of the masters that they have covered. After more than three decades in the business, Roomful of Blues continues to deliver the goods both live and on disc. ... Read more