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This double-disc, 19-song concert recording, which serves as a fittingly funky retrospective of McClinton's 30-year career, is as close to the definitive Delbert as can be imagined. And, oddly enough, his third and best live album was an inadvertent one--a Norwegian radio broadcast captured a festival set too hot to confine to the airwaves. Here, the Texas honky-tonk blues hero dynamically delivers the core of the live McClinton experience, including an energetic rendition of his 1980 breakout hit "Givin' It up for Your Love," a testifying take on Otis Redding's "I've Got Dreams to Remember," and a rambunctious (and extended) reading of his own "B Movie Boxcar Blues." But Live also fills in around the edges with surveys of McClinton's early influences: "Rebecca Rebecca," a slow-burning, stream-of-consciousness blues medley, features Kevin McKendree recycling some sparkling Otis Spann piano lines while the album closer, the vintage rockabilly romp "Fine and Healthy Thing," offers a great guitar getaway by Rob McNelley. --Michael Point ... Read more

Reviews (14)

A rocking good time
Texas legend (and one of our favorite customers at Gumbo Shop), Delbert McClinton, turns it all loose in this hot two disk live set. As good as his last few studio recordings have been, this new release gives an accurate picture of what a great live performer Delbert is and what a hot band he has put together. This one just stays in the truck all the time and if it's possible to wear a cd out, this one will need to be replaced by New Year's

HE'S THE BEST !!
Delbert McClinton has long been considered the definitive Texas Roadhouse Boogie/R&B artist extant by those in the know (critics and a sizeable cult following). With this 2-disc live CD offering (his first live since 1989) he definitely lives up to his legend and might even goose it a bit higher!! The sound quality is excellent and in-your-face and you're not likely to get any closer to Delbert live unless you see him in concert. The musicianship and arrangements are superb, and D McC's voice has still got that ol' smokey grit and soul in spades!! The man has never sounded better!! With a mix of old favorites and his newer stuff, this is THE Delbert McClinton package to have, bar none!! If this one don't make you tap your feet, check your pulse !!

he's great, as usual, but . . .
. . . but releasing a second live version of songs that have not undergone any reinterpretation doesn't make a lot of sense to me. It might if the recording represented an entire concert -- but this one does not. So as much as I like "Maybe Someday Baby," "Back to Louisiana" and "Giving It Up For Your Love," none of them differ markedly from their rendition on Live from Austin. The other repeaters -- "I've Got Dreams To Remember" and "B Movie Boxcar Blues" especially -- are reworked effectively, and it's always a pleasure to hear how an artist has kept his older material fresh.

And it's always a pleasure to hear Mr. McClinton. Other reviewers have mentioned his ability to fuse rock & roll with the blues, R&B and country, so I won't go there. I will add that he is unique in his ability to pull that fusion off without sounding contrived or insincere or calculated or formulaic in any fashion whatsoever. Pure country music fans can listen to "When Rita Leaves" and they know somewhere in their gut that they are listening to one of their own. And when an R&B aficionado hears his take on Otis' "Dreams" -- nothing artificial there. A fan of electric blues can latch onto "Leap of Faith" (the studio version of which featured none other than B.B. King on guitar) with the same conviction. And all of it rocks, all night long.

Other performers will throw in a Motown thing now and then, or a countrified number to show off their presumed versatility, but I've never known anyone who could do so with utter credibility, and make the song completely his own the way Delbert does every single night, and on every single record.

With the passing of Ray Charles, and a nod to the singer that Gregg Allman used to be, there is no performer who owns his material and puts it across with more authority than Delbert.

Live the blues...
The only other Delbert McClinton album is own is "Room to Breathe." A good CD, yes; this one, though, really got me hooked. This is the blues, with country, rock, and pop thrown in...a mixture of music that melts into one flawless sound, glued together by Kevin McKenree's keyboard, Rob McNelley's guitar licks, and McClinton's gravelling voice and harmonica.

From the opener "Old Weakness," you know you're in for a treat. Other classic bluesy rockers include "I'm With You," "Giving It Up For Your Love," and "Smooth Talk," while "I've Got Dreams to Remember" and "Don't Want to Love You" are moving ballads.

Delbert McClinton is a man who can sing. And "Live" showcases that singing--and his backup band--like nothing else can. If you do not own this album, I sincerely believe you should. I don't know if it's a good retrospective or not, but I DO know that as a two-disk album, it's damn good. It's the blues, baby...the blues and everything else.

Should buy, MUST see !
A couple of the reviewers made reference to the fact that this disc leaves something to be desired as far as sound quality on the recording. Okay, it isn't some cleaned up,over produced, studio concoction that 99.7% of todays albums are. That is exactly the point of the whole Delbert experience. It is the essence of his craft that makes him a "have to see at least once before you leave this world" type of showman. If you want a cold,antiseptic, feelingless Blues CD, buy Johnny Lang. If you want to hear someone that plays for the love of the game, buy this disc. Then go see him in person. As a matter of fact, come join me at the Col Ballroom in Davenport, Iowa on March 27th. Then, six months down the road when you have a serious Delbert "jones" working, pop this disc in and think about how close it sounds to being there! ... Read more

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Never mess with a good thing; Kenny Wayne Shepherd certainly hasn't. There's no appreciable stylistic difference between Live On and its predecessors, Trouble Is... and Ledbetter Heights, except that Shepherd's guitar work here sounds more assured. All of the other usual ingredients are present--a full, crunchy guitar sound, a tight rhythm section, mature-sounding vocals from Noah Hunt, and the usual assortment of uptempo rockers and slower, sweeter numbers. If Shepherd seems to be edging closer to the rock side of the blues-rock genre, it's hardly surprising given that's where he's had his greatest success. And if the result doesn't seem to quite transcend genre boundaries, it is, at least, a high-octane, energetic effort. --Genevieve Williams ... Read more

Reviews (68)

Holy shades of Hendrix, Batman!
Aaaaarrrrgggghhgh. I liked what I heard of Ledbetter Heights. I thought Trouble Is... was a worthy effort despite its being overly derivative. I still find Live On an enjoyable, high-energy slice of blues-tinged rock. However: I still hear Stevie Ray Vaughan, Eric Clapton and Jimi Hendrix all over this disc, and I don't mean just the cover of "Them Changes." For a first record or two, it's understandable that a new artist will have some influences on his sleeve. But since this is Kenny's third album and (to my ears) he's still doggedly following in the footsteps of others, never taking a step in his own direction, I have to notch down an extra star. This is an album full of hot licks and fiery riffs, and I can't shake the feeling that I've heard them all before.

Am I being too harsh? Maybe. If you like hard rock with a touch (or more) of the blues, this is some fine stuff. Kenny's put together a smoking band and Noah's vocals have just the right blend of power and grit. A few nice breathers are thrown in amidst the thunder; "Electric Lullaby" is nicely muted and dreamy. "Was" starts out muted and swampy before thumping into a killer groove. Peter Green's "Oh Well" is kicked into space with hyper rocking force. The overall musicianship is a notch above Kenny's previous work as well (and it doesn't hurt that a few top-notch guests pop up, including Les Claypool and Double Trouble). I still wonder what the KWS band will sound like when/if Kenny lets his own voice as a writer & performer grow beyond his predecessors. In the meantime we've got these flawed little gems to enjoy.. but I for one prefer the original over an imitation.

The sound of some Rock & Roll masters "Live On"
On the band's 3rd album, Kenny Wayne Shepherd continues to play some wicked electric guitar and prove he is a great songwriter too. Influenced by the styles of Stevie Ray Vaughn, Clapton, Hendrix, and the Allman Bros, this kid's rock & roll blues are raw, loud and generally highly charged. He even throws a few very well written ballads in the mix here. This is my type of rock & roll. Lead vocalist Noah Hunt, who has a voice beyond his years, adds to the jam, and together these guys rock throughout the entire CD. Although the CD is energetic, it doesn't even come close to the energy these boys generate in concert. (I'll reserve their five star rating for their release of a live album). Buy the CD first, THEN see them live.

The released singles "In Too Deep" and "Last Goodbye" are good but I like the intensity of the lyrics and the jam on a song called "Was" which features Kenny on a steel guitar. I'm hoping this song is the next released single.

I consider the music these guys play a tribute to some of the great rock & roll masters and Kenny Wayne certainly has the creative energy to sustain this musical blend of rock & roll blues. More studio time, time on the road and years of experience will allow their own individual style to evolve, so they can take the music where some of their influences didn't live to take it.

HOLY MACKEREL!!!
This guy can jam!. Buy his CD's!! If you get the chance to see him and his band live GO!!! - a true talent. I am so thankful that he is making this music as there are not too many out there. I was devasted when we lost Stevie Ray Vaughn. Now look, so young Kenny Wayne Shepherd, so gifted and devoted to the guitar...just think of how awesome he could become. LIVE ON Kenny Wayne, you are totally fantastic!! I dance like a maniac to all of your CD's when no one is watching!!! ;)

Live On - Kenny Wayne Shepherd Band
This release, Kenny's third, finds him leaning towards the rock side of things. It seems as if Kenny is starting to become more mature on this record, playing more economically than on the first two cds, "Ledbetter Heights" and "Trouble Is...". Noah Hunt's vocals are very good on this record also. He makes the transition well from hard rockers like "In 2 Deep" to slower numbers like "Last Goodbye" to blues wailers like "Shotgun Blues". This whole record kicks from top to bottom; every song is great. People who say he still sounds like Stevie Ray Vaughan on this cd I don't agree with. Honestly, can anyone imagine Stevie doing a song like "In 2 Deep"? I think Kenny's songwriting and guitar playing drastically improved on this record. Maybe now he's finally ready to step out of Stevie Ray's shadow when his new album drops in the first week of September. Highlights are the hard rocking "In 2 Deep", the Skynyrd-meets-Robert Johnson "Was", the ballad "Last Goodbye" and the absolutely beautiful, Grammy-nominated "Electric Lullaby".

IDIOTS
ITS A RCOK ALBUM . PERIOD ! GOOD PRODUCTION , EVERYONE SOUNDS TIGHT VOCALS THRU THE DRUM TRACKS ! IF YOU INTELLECTUAL BISCUITS WANT TO ANALYZE GUITAR PLAYING LISTEN TO S HENDERSON , MIKE STERN ,TAL FARLOW , JOE PASS OR WES . THOSE GUYS PLAY ! ... Read more

Reviews (12)

One Man Band.....naw One Man Experience
I was walking down beale street when I came upon a smal crowd gathered in the street around where music was playing. As I aproached the crowd I could see that a man was sitting there on the sidewalk playign what looked like to be the harmonica, a guitar(cigar box with a pickup and broomsticks for a neck) and the bass drums barefoot. I thought no way is he really playing all that at once, and I tried to look behind him to see if there was just a cd playing in the background. Sure enough though I was wrong, totally wrong. I am a fan of rock music but I also enjoy my blues every once and a while. I went into the music store behind him and bought his cd. It was $20 but believe me it was well spent. I like that semi-blues artists such as jack johnson and the white stripes are begining to make it mainstream, but I think that Richard Johnston has more musical talent than either of them. I desperately want my local radio station to start playing some of his songs, just so others can enjoy his music. "Miss Maebelle" is a great jam song to listen to while driving, and the begining of "Work Me Baby" almost sounds like a stripped down AC/DC song. All In All Great CD,(+ you should see him live if possible).

For all people, not just blues fans
Richard is a strange bird indeed (that's a good thing). Here we have an artist who started playing out on the streets of Memphis (by way of Austin, TX and some years honing his craft in Japan!!) making it all the way into the pages rolling stone recently (not to mention winning the BB King guitar award and International Blues Artist of the year). Richard has helped to resurrect Mississippi Hill Country blues and presents it in its raw, powerfull and primal form. You can't help but tap your toes to most of the tunes included on this CD. As with other reviewers I was introduced to Richard via his live shows (which will mesmerize you) but I have had the CD for some time now to digest. Richard is the american dream, starting from humble beginnings to acclaim all through hard work, perserverance, and genuine love of the craft. This translates into his music. The CD was recorded in 48 hours but you would never know. There is energy and vibe captured here, not just notes strummed on a guitar. Richard's voice has a soulful edge but also an ease about it. The guitar sound is often "dirty" and gritty sounding, almost reminding you (in some way) of a washboard tone. This blends perfectly into the pace of most of the tunes. The stunners here are Miss Maebelle, Catfish Blues, Coal black Mattie and Work Me Baby. I dare anyone to listen to Coal black Mattie and NOT tap their foot... if you dont, better check for a pulse. I am aware of all the Junior Kimbrough references/history etc but as a somewhat 'non' blues fan it doesnt matter much to me. What matters is the feel and energy here, it isnt perfect throughout the whole album but this reaches far above anything you may have heard for some time. PS: Jessie May Hemphill adds some great flavor to this CD as well.

Wow. This guy rocks.
A friend who recently moved from my hometown of Boston to Rio Grand of Texas returned home on vacation with this CD is his discman. I played it in my car and within 24 hours bought it for myself. Fantastic blues! You can't help but want to tap your foot or nod your head to the raw power and pervasive energy that runs throughout the album. I know diddly about blues music or artists. But I know what I like and this album is now one of my favorites. Can't wait for more to be released.

Excellent Blues!
I first saw Richard Johnston at the 2002 Telluride Blues & Brews Festival. He was awesome! Unbelievably, the CD is just as good. Buy it.

Richard Johnston knows how blues should sound!!!
Somewhere around the beginning of September, I was walking down Beale Street, and on one end there was a large crowd gathered. I checked it out, and what I found was a guy playing guitar, harmonica, drums, and singing all at the same time. There were people dancing in the street, and immediately, you could tell that Richard Johnston not only knows how to feel the blues, but plays them better than most. If you have the chance, see him live, but if not, get this CD! I bought it from him on the street, and I still listen to it on a daily basis. I'm ready for the next CD to come out, hopefully it will include a song called "201 Poplar" that he played live, but is not on his first CD. If you like country blues with power behind them, then this CD should be a part of your collection! ... Read more

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Houston-born blues showman Guitar Shorty, who once taught his young brother-in-law Jimi Hendrix a few stage tricks, has been on the scene since 1957, blasting out rocking blues with over-the-top enthusiasm. His recording career, highlighted by a trio of fine Black Top releases in the '90s, has been unfortunately limited, but Watch Your Back might finally put him in the spotlight. Much of the material, except for muscular reworkings of Van Morrison's "I've Been Working" and the recently discofied Elvis hit "A Little Less Conversation," comes from his producer and pianist Jesse Harms, and it effectively showcases Shorty's aggressive approach: a big sound short on subtlety but permeated with passionate vocals and searing guitar work. He simply overpowers the songs with his energy, and you can either go with the flow or get swept aside by its immediacy. The music is uniformly loud and in your face, just as you would expect from such an extroverted entertainer, and, more often than not, its sheer intensity overcomes any musical shortcomings. --Michael Point ... Read more

Reviews (2)

Smokin' Blues!
Great stuff here. If you like your Blues on the rock side (without actually becoming rock) than you'll love this. A shame this guy is not huge.

Shorty Rocks The Blues
"This is the record I always wanted to do...the songs and arrangements are what's been inside my head my whole life" says Guitar Shorty in the liner notes. THis is his Alligator debut and he sounds fired up on this one. The arrangements are heavy bottom-heavy blues rock with Shorty's shoutin' vocals and intense guitar chops are full of energy. The thumping "What She Don't Know" & "I've Been Working" are intoxicating in the same way Buddy Guy's SWEET TEA disc was. Muscular, macho and in the groove. This is most likely his best disc and should win him a new legion of blues/rock fans. ... Read more

Reviews (13)

Give this man his due...
I will never understand how this great Texas R & B master can languish in near obscurity while a certain balding mullet headed white "soul" singer of very modest abilities reaps the rewards of ripping off the blues. Oh well, Delbert sings about not worrying about things like that, so I guess I won't either. This CD is a booty beater right from lift off. The rockers here propelled by Bonnie Raitt's wicked slide guitar and Delberts superb singing and harp playing. Dig his version of Tyrone Davis' '60's soul hit "Can I Change My Mind?". Delbert's serving notice here on all the the imposters, "this is how to sing soul music, ya'll. Fans of Blues, Country, Soul, and rocknroll, this man can do it all with the grace and power available only to a few. Get as much Delbert as you can find because you havn't been rocked enough.

Have a little faith in Delbert...
I agree with an earlier user review - Delbert Mcclinton is a seriously overlooked and underappreciated talent.

I'd rate this CD very highly just for the great version of "Have a little faith in me," but the entire disc is just plain supurb.

Just the right mix of Blues, Rock and Country provides a disc that is worth every penny of the asking price.

"Everytime I roll the dice" is a rollicking blues tune, and starts this disc out right. "I used to worry" is a great tune, and just confirms that Delbert isn't worried 'about things like that.' "Miss you fever" is the typical 'sad you are gone (and I probably chased you away)' song, but from there you've got "Why Me" to pick up your spirits and start you rocking.

My personal favorite is "Have a little faith in me," a song that I think of when I hear "If I should fall behind" (performed very well by Springsteen and the E Street-ers and by the exquisite Faith Hill).

"Never been rocked enough" follows that and continues this great disc toward several more great tunes.

Well worth the asking price, and an excellent addition to any CD collection.

Not Enough Straight-Up Blues
This CD is a good CD, but, depending on the cut, a little (or a lot) too R&B, reggae, cross-over pop, or rock sounding for my taste. I was looking for a good, solid blues album by McClinton. After a couple of listens, I don't consider this to be it, despite other customer reviews by blues afficionados who apparently do (and whose reviews influenced my decision to give it a whirl). Of the 11 tracks, I count 3, or maybe 4, tops, that have a true blues sound, and, even then, 2 of them are really "blues light." Of the 3 or 4, "Blues as Blues Can Get" is really enjoyable -- with Paul Shaffer playing Wurlitzer. Again, it's a good CD, and McClinton's lyrics are often clever and playful, but if you're looking for what I was looking for, I'd skip this one.

Delbert McClinton Scores Another Winner
Delbert McClinton is a Texas singer-songwriter and harmonica player who has been making great music since the late 1950's. He made his first big public splash playing harmonica on Bruce Chanel's "Hey baby" and legend has it that he taught John Lennon some of the rudiments of Blues harmonica playing. His songs have been covered by dozens of other recording srtists and has had a career that has spanned decades and shows absolutely no signs of slowing down.

"Never Been Rocked Enough" is an absolutely solid album by an absolutely solid performer. Delbert's back-up musicians are as tight as you can expect. The songwriting is a s strong as always and Delbert's singing is absolutely a joy to listen to. As always, his harmonica playing shows the years he's spent perfecting his craft.

This is a very nice effort by a great artist. I definitely recommend it.

Rockin' Bluesman
Delbert McClinton's NEVER BEEN ROCKED ENOUGH was a 1992 release, but the album is one that keeps on giving. If the listener wants a quick pick-me-up jumping beat, the CD delivers that. And if the listener wants a soul-stirring wonder-of-life-and-love moment, Delbert delivers that as well. NEVER BEEN ROCKED ENOUGH is a great introduction to Delbert's music for a first time listener. Delbert is a bluesman with a foot in the past and an eye on the future. As a result, his brand of music is timeless.

Born in Lubbock, Texas, Delbert never has tried to stray far from his blues and Western swing roots. He cut his teeth working roadhouses in Texas along the Jacksboro Highway, quietly lining up work as a sideman on other artists' albums. His first CD, VICTIM OF LIFE'S CIRCUMSTANCES, set the tone for much of his music. Several CDs have followed, including ONE OF THE FORTUNATE FEW, LET THE GOOD TIMES ROLL, HONKY TONK 'N BLUES, THE JEALOUS KIND, and 2001's Grammy Award-winning NOTHING PERSONAL.

In NEVER BEEN ROCKED ENOUGH, Delbert kicks off the CD with "Everytime I Roll The Dice", a slow grooving toe-tapper that became a Top Ten hit. "I Used To Worry" is a blues testimonial to the inevitability of the world delivered with a sarcastic wink. In "Miss You Fever", Delbert reaches into his vocals bag to hand out a tune in a hoarse and hurting voice echoing with the haunting feeling of sitting on a barstool far too long hurting the way everyone who has loved and lost hurts. Delbert wrote "Why Me?" and the background vocals are by Tom Petty, and the song kicks up the CD's overall tempo, hooking the listener solidly and reeling him or her in. "Have A Little Faith In Me" brings the listener back to earth, chaining him or her to the softer emotions, and Delbert's harmonica work underscores the hope the words offer. Then Delbert kicks the doors open and delivers "Never Been Rocked Enough", a tune that he wrote and that drives directly to the fun-loving rocker that co-exists with this bluesman extraordinaire. "Blues As Blues Can Get" is a soft and easy blues talker that speaks of pain and loneliness. Moving back into an up-tempo beat, Delbert delivers "Can I Change My Mind" but stays with the insecurity and pain of relationships. Sounding a bit like a gospel song, written by Delbert, "Cease and Desist" is a sexy and fun romp. "Stir It Up" is a cover of a Bob Marley song, and Delbert dishes a soulful sound that warms the heart and inspires hope. Singing with blues sensation Bonnie Raitt, Delbert blasts out "Good Man, Good Woman", which earned both singers a Grammy Award, and ends the CD with a solid blues feel and Delbert's haunting harmonica work.

NEVER BEEN ROCKED ENOUGH is a great addition to any Delbert McClinton sound library lacking this CD. For the blues enthusiast, the CD is also a definite keeper. Fans of Bonnie Raitt's work will definitely want to check out Delbert McClinton because they've both got the same long past deeply enmeshed in the blues scene and constant flirtation with the crossover pop crowd. ... Read more

Amazon.com essential recording

The series of Stevie Ray Vaughan concert albums that began with Live Alive (1986) and continued after the guitarist's 1990 death is far from the catalog-bloating cash-in you'd expect from the record company of a platinum seller cut down at a career peak. Instead, each disc gives a distinctly different view of the Texas blues-rocker's stage strengths. Where Live Alive captured Vaughan and his band Double Trouble in full arena roar and In the Beginning recorded a looser early club gig, Live at Carnegie Hall finds the outfit broadening its range with guest shots from Dr. John and the Roomful of Blues horn section. Rather than overpowering Vaughan's signature tautness, the bigger band makes for an entertaining switch--in effect allowing a fresh look at his R&B roots. --Rickey Wright ... Read more

Reviews (25)

Good If Not Overwhelming
Stevie Ray Vaughan is undoubtedly a legendary guitarist. On this live recording as on other recordings, Stevie adds so much color to his magnificent solos. Its a true joy to listen to the many ellaborate bends, use of feedback, and fast picking on the many blues numbers on this release. Some people may criticize Stevie's growl of a voice but truthfully I enjoy his stylings in that department.

Unfortunately, most if not all of the songs here are three chord blues. This can be a bit monotonous after a while. The use of the Room Full of Blues Horns on some of the tracks do help a little as a foil most especially on the slow blues tune Dirty Pool. Somehow I wish the horns and Dr John's organ were given a little more time in the spotlight on other tracks.

Overall, the effort is good but not quite over the top.

Vaughn & company at their best
Whether you're a hardcore Stevie fan, or just wanted to get a taste of his record you will be glad you bought it. Most blues musicians have respected Stevie Ray Vaughn as probably the best guitarist that ever lived. I think this live album captures Stevie's energy on stage, which I think makes it more interesting than some of his studio albums. This is the best live album I own. The mix between the instruments and the crowd are just perfect. The CD gives you the sense that you're at Carnagie Hall. It starts off with the most amazing blues song ever written...Scuttle Buttin'. It really shows his playing ability and how fast he could move his fingers over the frets. It certainly would have been a heavenly concert to attend. Among Stevie was his brother, Dr. John, Angela Strehler.(or something) With envigorating tunes like Cold Shot, Pride and Joy, Testifyn', and others make this CD one of SRV's best. A perfect gift for any Stevie fan. Although it probably won't appeal to your 15 year old daughter, who would probably prefer another copy of "No Strings Attatched." If you're really into the mainstream blues guitar scene, you'll enjoy this CD.

Live At Carnegie Hall, Oct. 4, 1984
I always wanted this CD live at the carnegie hall. I just bought it today for a great deal. This CD features many other musicians like Jimmie Vaughan, Dr.John, Roomful Of Blues Horns, and Angela Strehli. The crowd is very loud its almost like being at the concert. This includes most of all his hits like Love Struck Baby, Cold Shot, and Pride And Joy. This CD has everything a music fan could want great music, and great musicians. 5 stars know go add this to your CD collection!

A rare treat
Once in a while a live album really adds to an artist's legacy, producing something different and exciting, rather than just reproducing his studio sound with added crowd noise.

"Live At Carnegie Hall" is such an album. Stevie Ray Vaughan and Double Trouble, recorded the day after Vaughan's 30th birthday with the on-stage assistance of Stevie's brother Jimmie Lee Vaughan on second guitar, Dr John on his customary piano, and the Roomful of Blues horn section popping up on several tracks.

The sound is not quite as crystal clear as on the magnificent recording of Stevie Ray Vaughan's 1982 Montreux appearence, but it is more than good enough, and the band tears through some of their best songs, including the irresitable "Pride And Joy", a horn-augumented version of the slow blues "Dirty Pool", a superb, tough rendition of "Honey Bee" with some truly muscular guitar playing from the Vaughan brothers, and an equally great "Cold Shot".

Vaughan relies quite a lot on instrumentals (they make up five of the thirteen numbers), and it would perhaps have been nice to have a couple more vocal performances, especially since Stevie Ray was actually a really fine rock n' roll singer.
But that's a matter of taste, of course, and his instrumentals are catchy and a real showcase for his sublime talents on the guitar.

"Live At Carnegie Hall" also includes a few rare performances, particularly Eddie "Guitar Slim" Jones' "Letter To My Girlfriend", the instrumental "Iced Over" and Leo Gooden's "C.O.D." (originally recorded by Albert King) which Vaughan never recorded anywhere else.
On "C.O.D." Vaughan is joined by Texas blues singer Angela Strehli (check out her album "Soul Shake").

All in all, "Live At Carnegie Hall" is a very welcome addition to Stevie Ray Vaughan's too short catalogue. And to those who are weary of Vaughan working with a horn section - don't worry, he remains front and center, and his playing and singing is nowhere near overwhelmed by the presence of additional musicians.

Excellent!

Simply excellent!!!
Simply magic, you get the feeling you are in the concert!!!! ... Read more

Reviews (3)

Classic melodic, poppy blues
They say timing is everything, and in Freddie King's case, that certainly was true. His early hits, especially the classic instrumentals, "Hide Away" and "San-Ho-Zay," came out in 1960 and '61, at precisely the right moment for his career to intersect with the SoCal surf scene (which also centered on instrumental numbers) and the nascent British blues revival, which was ever eager to find American bluesmen to latch onto and laud. Here, white kids on both sides of the Atlantic had a guy who bridged the gap between raw authenticity and pop polish, setting the standard for the zilllion-and-one future Fendermen who sought to sharpen their guitar chops. Fittingly, King cracked into the US Top 40 while also picking up flocks of converts (such as Eric Clapton) who worshipped his fluid, pop-tinged electric guitar leads. King's style was a perfect distillation of the smooth yet soulful postwar blues style, rootsy yet accessible and perfectly pitched for the ears of adoring white blues fans. His career had its ups and downs, but by the time he passed away in 1976, he had packed them in on the pop and blues circuits... This disc covers the breadth of his career, matching the ace oldies up with a good selection of his often overly-bombastic later material.

Freddie King is a blues master
I don't have this actual CD, but I have most of the songs that are on it from other collections and they are all great. This is a great collection of Freddie King's work from his earliest recordings (1960's "Have You Ever Loved A Woman") to his later Shelter records material (1969's "Palace of the King" and "Going Down"). If you like blues guitar, then at least one Freddie King CD should be in your collection. He influenced countless guitarists, particularly Eric Clapton. This is a good place to start if you're new to this blues guitar master.

"if you like rock mixed with blues then this is the place"
Freddie King is a one-of-kind-artist ~ his talent is tremendous ~ check out the style you've come to love from this down-home-finger-picking icon.

Of course there are stand outs ~ "HAVE YOU EVER LOVED A WOMAN", "HIDE AWAY" and "AIN'T NOBODY'S BUSINESS" are just but a few that grab you, but then the whole album pulls you in ~ hook, line and sinker.

The influence of this great artist can still be heard through recordings of the musicians of today ~ the short time this legend was here on this planet will be missed, but they'll never be another to pass this way again ~ FREDDIE KING!

Total Time: 59:43 on 18 Tracks ~ Hip-O Records 314 520 909 2 ~ (2001) ... Read more

Reviews (2)

Great collection offers the real history!
Typically, we're asked to believe that rock and roll started with Elvis. Or that rock and roll was, more than anything else, an evolutionary variation on country music. Or that rock and roll represented (and continues to represent) a white-black fusion.

Certainly, this collection lays waste to the first two notions. In his informative liner notes, Pete Grendysa tells us that rock and roll existed long before the main (i.e. middle-class white) record-buying public knew about it. And the country examples are relatively few. I'd have been happy if they were none, but I can live with the well-chosen examples here.

In particular, Hank William's "Move It On Over," while not exactly rock and roll (a two-beat pulse doesn't qualify as such, to my ears), does feature a verse identical to the first four bars of "Rock Around the Clock." And, like Hank Snow's "I'm Movin' On" (Disc 2, track 4), it is a hillbilly boogie in standard twelve-bar blues form. It's not far from the mark.

And The Delmore Brother's "Freight Train Boogie," from 1946, turns into pure Carl Perkins near the end, easily out-rocking anything Elvis recorded at Sun. Having heard other Delmore Brothers sides that aren't anything like rock and roll, I was surprised and delighted by this number.

But the black recordings are the real, and whole, point of this collection. Such sides have far too often been disgracefully dismissed by too many rock historians as primitive, artistically-incomplete efforts by African-American musicians struggling toward something higher--"something higher" meaning, of course, Elvis. But listen for yourself. Most of these African-American numbers rock with the force of a thousand Elvises. And these are not performances striving to become whole; they are more than whole. The musicianship, for the most part, is assured and aggressive and infinitely more competent than some of what was to come after rock and roll had conquered the pop charts.

Many thanks to the genius who thought to include Lionel Hampton's 1946 if-it-ain't-rock-and-roll-what-the-heck-is-it masterpiece "Hey! Ba-Ba-Re-Bop" (with its wonderful, be-boppy jazz piano chords in eight-note triplets at the start). Many more thanks for Jimmy Preston's 1949 recorded-in-an-insane-asylum "Rock the Joint" (however did Bill Haley manage to tame this tune down so drastically?). More thanks, even, for Hal Singer's proto-surf "Cornbread" (1948), Percy Mayfield's masterful "Please Send Me Someone to Love" (1950), and Ruth Brown's superbly soulful "Teardrops from My Eyes" (1950, again--a great year for Soul).

The best compilation of its kind. If you want to know the real Story of Rock and Roll, you've got to hear the records. And they're here.

"big backbeat and some simple chords"
This rare glimpse into the early beginnings and became today's music, could be called "The Roots of Rock 'N' Roll 1946-1954", just when we thought we knew everything about this genre ~ nothing can be any further from the truth ~ what you will hear in the next sixty tracks is the very heart and soul of the early days ~ music that changed America and the rest of the world followed suit.

Featuring an astounding group of musicians ~ Johnny Ace, Faye Adams, Hank Ballard & The Midnighters, Tiny Bradshaw, Jackie Brenston & His Delta Cats, Roy Brown, Ruth Brown, Roy Byrd & His Blues Jumpers, The Chords, The Clovers, Pee Wee Crayton & His Guitar, Arthur "Big Boy" Crudup, Five Keys, Delmore Brothers, Fats Domino, The Drifters, Five Royales, Tennessee Ernie Ford, Jimmy Forrest, Rosco Gordon, Guitar Slim, Bill Haley & His Comets, Lionel Hampton, Peppermint Harris, Wynonie Harris, Ivory Joe Hunter, Louis Jordan & His Tympany Five, B.B. King, The Larks, Joe Liggins, Little Junior's Blue Flames, Little Richard (w/Johnny Otis Orch), Little Willie Littlefield, Willie Mabon, Percy Mayfield, Steve McGhee & His Buddies, Amos Milburn, Wild Bill Moore, The Orioles, Johnny Otis Orchestra (w/Mel Walker & Little Esther), Jimmy Preston & His Prestonians, Lloyd Price, The Ravens, Johnnie Ray (w/Four Lads), The Robins, Hal Singer, Hank Snow, Sister Rosetta Tharpe & Marie Knight, Big Mama Thornton, Merle Travis, Big Joe Turner, T-Bone Walker, Billy Ward & The Dominoes, Muddy Waters, Hank Williams, Paul Williams, Chuck Willies, Howlin' Wolf ~ each track strongly rooted into the classic genre that will last forever ~ showcasing various sub-genres like country, blues, soul and even big band, yes this new music from the undercurrent of what was going to be bigger than anyone had expected ~ the youth loved and craved every tune that came out during the mid '40s and '50s ~ it came out of nowhere and was gaining steam and coming up fast!

Each selection has been re-mastered with that original sound, works so well with todays collectors of lost music ~ entire 3-CD set is uniquely, so personal and chuck full of wonderful memories ~ regardless of the time or place, this compilation is the ultimate of talent weaving a timeless tapestry that we've come to love and appreciate ~ and you know we gotta love it!

Total Time: 3-CD-Set ~ Hip-O Records 62006 ~ (4/13/2004) ... Read more

Reviews (8)

John Mayall's 70th Mott Breakers
On the occasion of John Mayall's 70th Birthday, the father of the British blues boom held a special concert at Liverpool docks on July 19th, 2003. Thankfully the concert was recorded for posterity, as it is - without doubt - the finest British blues album in decades.

The music kicks off with a couple of numbers from the Bluesbreakers minus their illustrious leader. Although this sets the standards for the rest of the night already very high, things really start to cook when the great man arrives and whips out his harmonica for their third song. After a few more numbers the festivities truly begin with the introduction of Mick Taylor on lead guitar. Now remember, Mick Taylor originally made his name with the Bluesbreakers before he was poached away by the glimmer twins for a five year stint as a Rolling Stone. Mick Taylor has certainly lost none of his chops and leads the ensemble through a riotous collection of blues and boogie.

Then Mick Taylor leaves the stage to give space to John Mayall's most famous protégé, a certain Mr. Eric 'Slowhand' Clapton. The selection of songs from the seminal John Mayall and the Bluesbreakers album featuring Eric Clapton, let's one step back and wonder with awe.

Next up is the inspired inclusion of Chris Barber on trombone, who sets up some wonderful duels with Clapton. In the late fifties Chris Barber was responsible for bringing over to the British shores such artists as 'Big Bill Broonzy', Sister Rossetta Tharpe, Sonny Terry, and the great Muddy Waters. So, who knows what state the British music would be in without the introduction of these American greats to further inspire the likes of 'The Beatles', 'The Kinks', and 'The Pretty Things'?

Although all these great musicians are on stage, the actual Bluesbreakers are never overawed. In the contrary, they leave the featured artist space to excel, none more than to the man himself - John Mayall. Mayall, entering his eighth decade, shows no sign of slowing down or losing his amazing abilities.

The concert is brought to a climax with twenty-five minutes of encores with the entire cast on stage. Everybody fights for space to solo, but usually politely await their turns. The whole thing really rocks.

At just over two and a half hours there is not a moment on this two disc set that is not covered in magic. The concert was recorded for DVD, which is also available.

It is quite fun to have a look at all the artists who could of been invited to this show, who have at one time or another passed through the ranks of John Mayall's Bluesbreakers. There's Jack Bruce, Eric Clapton's old running buddy in Cream. The third part of that particular trio, Ginger Baker, also played with the Bluesbreakers once, but only sitting in for a jam on the drums. Peter Green; John McVie; Mick Fleetwood, who left Mayall to form Fleetwood Mac; Aynsley Dunbar; a fifteen year old Andy Fraser of Free fame, and Micky Waller. John Hiseman, Tony Reeves, and Dick Heckstall-Smith who all sneaked off together to form Colosseum. Keef Hartley; Hughie Flint.... Oh! the list is endless, but it does go to show how important John Mayall and his Bluesbreakers are to British blues.

After a particularly brilliant interchange between Clapton and Barber, which brings 'Have You Heard' to a dramatic finish, John Mayall shouts from the stage "The blues does not get better than that". The man is correct.

Bluesed by Mott the Dog
Slid past by Ella Crew

The Mottbreakers
On the occasion of John Mayall's 70th Birthday, the father of the British blues boom held a special concert at Liverpool docks on July 19th, 2003. Thankfully the concert was recorded for posterity, as it is - without doubt - the finest British blues album in decades.

The music kicks off with a couple of numbers from the Bluesbreakers minus their illustrious leader. Although this sets the standards for the rest of the night already very high, things really start to cook when the great man arrives and whips out his harmonica for their third song. After a few more numbers the festivities truly begin with the introduction of Mick Taylor on lead guitar. Now remember, Mick Taylor originally made his name with the Bluesbreakers before he was poached away by the glimmer twins for a five year stint as a Rolling Stone. Mick Taylor has certainly lost none of his chops and leads the ensemble through a riotous collection of blues and boogie.

Then Mick Taylor leaves the stage to give space to John Mayall's most famous protégé, a certain Mr. Eric 'Slowhand' Clapton. The selection of songs from the seminal John Mayall and the Bluesbreakers album featuring Eric Clapton, let's one step back and wonder with awe.

Next up is the inspired inclusion of Chris Barber on trombone, who sets up some wonderful duels with Clapton. In the late fifties Chris Barber was responsible for bringing over to the British shores such artists as 'Big Bill Broonzy', Sister Rossetta Tharpe, Sonny Terry, and the great Muddy Waters. So, who knows what state the British music would be in without the introduction of these American greats to further inspire the likes of 'The Beatles', 'The Kinks', and 'The Pretty Things'?

Although all these great musicians are on stage, the actual Bluesbreakers are never overawed. In the contrary, they leave the featured artist space to excel, none more than to the man himself - John Mayall. Mayall, entering his eighth decade, shows no sign of slowing down or losing his amazing abilities.

The concert is brought to a climax with twenty-five minutes of encores with the entire cast on stage. Everybody fights for space to solo, but usually politely await their turns. The whole thing really rocks.

At just over two and a half hours there is not a moment on this two disc set that is not covered in magic. The concert was recorded for DVD, which is also available.

It is quite fun to have a look at all the artists who could of been invited to this show, who have at one time or another passed through the ranks of John Mayall's Bluesbreakers. There's Jack Bruce, Eric Clapton's old running buddy in Cream. The third part of that particular trio, Ginger Baker, also played with the Bluesbreakers once, but only sitting in for a jam on the drums. Peter Green; John McVie; Mick Fleetwood, who left Mayall to form Fleetwood Mac; Aynsley Dunbar; a fifteen year old Andy Fraser of Free fame, and Micky Waller. John Hiseman, Tony Reeves, and Dick Heckstall-Smith who all sneaked off together to form Colosseum. Keef Hartley; Hughie Flint.... Oh! the list is endless, but it does go to show how important John Mayall and his Bluesbreakers are to British blues.

After a particularly brilliant interchange between Clapton and Barber, which brings 'Have You Heard' to a dramatic finish, John Mayall shouts from the stage "The blues does not get better than that". The man is correct.

Bluesed by Mott the Dog
Slid past by Ella Crew

70th Birthday Concert Brings Back the Mayall Magic
John Mayall was already the elder statesman of the British blues revival when Eric Clapton, a refugee from the Yardbirds, joined Mayall's Bluesbreakers in 1965. Mayall celebrated his 70th birthday in 2003 and this two disc, 19 song compliation is a persuasive reminder that Mayall still can righfully claim his royalty as leader of the most enduring British blues band and a singular performer in his own right.

Mayall performs a set of music with his current line-up, a short set with Mick Taylor, and final set with Eric Clapton and Chris Barber. Tribute concerts, like this, look good on paper but frequently are mediocre because the guest musicians usually play on autopilot and sleep walk their way through a set-list of songs they hoped to never play again, or, worse, had just plain forgotten the chops. This is not the case with Mayall and this Bluesbreaker 70th Birthday Tribute. These highly esteemed musicians pull out all the stops for the man who, in most cases, mentored them, offered his guidance and showcased each of these great musicians at the threshold of their lifelong devotion to playing American blues.

When Clapton launches into his early blues signature song,"Hideaway", a Freddy King instumental, it's elementary observation that Clapton is nearly incapable of playing anything without using his searing slow-handed tension/release style he prefected as a Bluesbreaker. I always thought Mick Taylor should have never played second guitar to Keith Richards in the Rolling Stones. Taylor was just too good a guitarist to play second fiddle to anyone. Mick has stayed under the radar since leaving the Stones in 1975. It's great to reappreciate Mick Taylor's enternally lingering single note sustains and expressive tonality of his Fender slide guitar, as he plays with as much conviction as he did at 19 years old in his debut on John Mayall's Bluesbreaker Crusade album. You will not hear any better sixties British blues revival music than the 19 live-wired perfomances on "70th Birthday Concert".

The band plays so many encores that a gaggle of cops show up to cite the band for breaking curfew law. The Bluesbreaker crew plays on in defiance of the constabulary, and Mayall wryly remarks to the crowd, "It's okay we'll pay all the fines latter." That's what the blues is all about, folks. It's John Mayall's best album in thirty years and is highly recommended as one of the best live music performance CDs of the new millenium.

Pinnacle Of British Blues!!
Anyone who is a fan of Mayall's music or the 60's & 70's British Blues Scene (Yardbirds, Ten Years After, Fleetwood Mac, Savoy Brown etc...) will find this two disc set to be "white boy blues" nirvana (for the uninitiated, before you get on my case about the previous term "white boy blues", enter it in the music search box and see what comes up, okay?). Having Clapton & Taylor on the same stage is pure magic. Eric must feel the need to show he's still got the "slowhand", because his playing here is 10 times better than any of his recent, more commercial albums. The guitar playing on this album also reminds me of the "guitar battle" scene from the movie "Crossroads". The players just don't sit back and go through the motions (even Eric), they rip away with abandon and a sense of real competition. Not necessarily trying to upstage one another, but to show each other they mean business and have killer chops too. My favorite moment is during the solos of "Blues For The Lost Days".
Buddy Whittingham rips off a solo with playing that would make Stevie Ray look down and smile. Mick Taylor's solo follows; and it's as if Mick is talking thru his Les Paul to Buddy saying "is that all you got big boy?". Taylor follows with a solo for the blues history books that ends with a "fuzz-wah" pedal flurry that left me stunned. Mayall's singing is also really good, better than most of his studio releases.
So I get a little carried away! You almost have to with this set. Two discs of music at a reasonable price. My only regret is the absence of Peter Green; his contribution to Mayall's legacy is as great as any.
Regardless this is a must, add to cart!

Best I have heard in long time
With out a doubt, some of the best British Blues I have heard, Mick Taylor, and Eric Clapton just add to the wonder of it all. This cd is worth being in anyone's collection if you love the Blues. ... Read more

Reviews (2)

****½ - one of Winter's best
Inexplicably listed by Amazon as a Muddy Waters-album (Winter's association with Muddy Waters didn't start until the mid-70s), this 1969 album is one of the Texan's best and bluesiest.

Here he is at 25, backed by Tommy Shannon (Stevie Ray Vaughan's bass player in the 80s), drummer John Turner, and occationally his brother Edgar (Winter's brother, not Turner's!) on piano and saxophone. Chess stalwart Willie Dixon even pays a visit, as does harmonica ace Walter Horton who blows the harp on a great "Mean Mistreater".
And while most every other white blues singer in the late 60s was trying to make the blues more palatable to the mainstream pop audience by toning it down a little, Winter makes no concessions to pop sensibility at all. His guitar playing is pure and savage, yet he never resorts to meaningless shredding, and his prowess on the acoustic slide guitar is impressive...just listen to his self-penned "Dallas", a perfectly authentic slice of Delta blues.

This exquisitely remastered 2004 reissue adds three bonus tracks, including a slightly longer version of the aforementioned "Dallas" which finds Winter backed by bass and harmonica (the version originally issued is a solo performance). "Country Girl" is a gritty mid-tempo boogie, and "Two Steps From The Blues" is a surprisingly sleek, soul-flavoured rendition of the Bobby "Blue" Bland number. It clashes a bit with the rest of the album, but it also gives Johnny Winter a chance to show off his non inconsiderable abilities as an R&B-crooner.

There is barely a weak track on this fine record. Contained here is some of the best and certainly most authentic blues ever recorded by a white bluesman, and "Johnny Winter" is the perfect introduction to the albino bluesman, as well as being one of his two or three best albums. And this expanded edition features a newly written essay in addition to the original liner notes, as well as the best sound ever.
4½ stars - highly recommended.

Where it all began
This is the record that started the Johnny Winter storm and this beautifully expanded edition is what this cd deserve. Amazing sound and great enhaced booklet, what else could you ask for?! I hope they reissue all Johnny's album this way!!!!!!!! I don't waste time talkin' about Johnny cause if you're reading this you already know the guy and if you don't you'd better start from here. See you all!! ... Read more

Reviews (18)

Great Blues playing and historical value
Croassroads the soundtrack is an invaluable source for early blues afficianados.Ry Cooder has surpassed himself with this soundtrack for the equaly engrossing movie.
Pity though that the duel between Macchio and Vai is also not on the soundtrack, as this would have made it even better and more popular.
The soundtrack is rather short clocking in at around 37 min.
Maybe one day some bright spark may reissue it with the missing tracks added.

What the f**K
One of the previous reviewers was going on about real blues and all that but im just guessing people weren't buying a film soundtrack for real blues they were buying it for what you expect to get - music from the film. The complaints arent about the type of music but that fact that a piece music that plays a big part towards the end of the film was missing. If people wanted real blues theyed have ended up buying albums by BB King etc (if they didnt already own a few).

Ah, the wonders of marketing!
Just wait until August, and buy the DVD. The 'soundtrack' only has just over 30 minutes of music on it, and omits some of the good stuff! If you simply MUST HAVE it, by all means, go ahead. As for me, I'm using my copy for a coaster right this minute.

The missing "Cuttin' Heads" Guitar Duel
This soundtrack is an excellent display of Ry Cooders considerable talents. But to own the final guitar showdown between Cooder and Steve Vai, purchase Vai's Elusive Light and Sound Volume 1 to hear one of the greatest examples of blues and rock guitar.

Disappointment
The soundtrack was a total disappointment since I purchhased it entirely for the last track featuring some awesome guitar. I will be returning it tomorrow. ... Read more

Album Description

This Album includes All versions of Stand Up In It which hit #1 on Billboard for several weeks and as of 2004 April is still #1.All includes Stand Up In It Part 2. ... Read more

Reviews (1)

Theodis Finally Gets His Due
The single "Stand Up In It" has been Number 1 for months on Southern Soul charts + charting Number 1 in Billboard's R & B sales charts and number 68 on the Billboard R & B Hot 100 chart. It joins Clarence Carter's "Strokin", Marvin Sease's "Candy Licker", Mel Waiter's "Hole iN The Wall" & others as one of the biggest songs on the "chitlin circuit". Finally Theodis' label got around to releasing a full album containing "Stand Up In It" (in three verions, clean, explicit & "Stand Up In It Pt. 2"). First the good news: This album is excellent througout- Grade A soul & blues songs like "Bluesman Lover", "Lil Brown Eyes", "All My Baby Left Me Was A Note, My Guitar & A Cookie Jar", plus new songs like the dancers "Move With The Motion", "If You Keep Rockin'", "Don't You Wanna Party". There's also duets with Francene Reed ("Baby You Got What It Takes") and Chick Willis ("You've Got To Hurt Before you Heal"). The only (semi-) bad news is that if you bought his 2002 cd IT'S A REAL GOOD THANG you already have half the songs on STAND UP IN IT. Nevertheless, the remaining songs make it a necessary purchase. ... Read more

Reviews (28)

Johnny rocks the blues
If you like hot electric blues and great rock and roll by a dual lead guitar band, it doesn't get any better than this classic live album. Johnny and Rick compliment each other better than any other two lead guitarists that I've heard. They really play together, and you can just about feel the electricity between them. The album kicks off with Good Morning Little Schoolgirl. It's a blues standard, and Johnny cranks up the heat on this rockin' version. Next up is a lengthy (but worth every minute) version of the slow blues number It's My Own Fault. Johnny does a fiery solo, followed by a subdued solo by Rick. (I think he did it that way for a contrast.) The Stones' Jumpin' Jack Flash is given the Johnny treatment, and rocks hard. Number 4 is the Rock & Roll Medley, which is Rick's showcase. He covers Great Balls of Fire, Long Tall Sally, and Whole Lotta Shakin' Goin' On all within one tune, with split-second tempo changes. I'm sure the place really was shakin'! Johnny's Mean Town Blues is next, done at hyperspeed when compared to the studio version. In this one he features his slide guitar expertise. The album closer is Johnny B. Goode, which is the perfect song for Johnny Winter. When he belts out "Rock and Rolllll" you know what's coming! I was fortunate enough to see this band live in Chicago in 1970, and it was one of the best concerts that I can recall. Johnny and the band were much better than Goode, as this CD shows.

Great Balls of Fire on fire
Due to a simmering feud between Derringer and Winter, Johnny only appreciates the energy on this album. Fact is,even when he released another live album of similar material with Edgar just a few years later, this whiplash energy wasn't there. Johnny's gone on to make a lot of great music and the three times I've seen him play have been great. But not this great. Age and drugs have slowed him down but when these performances were recorded - nothing and nobody was slowing Johnny Winter down. This is rock and roll and blues played like there would be no tomorrow. This is the greatest guitar album of all time!

Decent but predictable live album
At just under forty minutes, this is one pretty short CD, but it does include an 11-minute B.B. King cover, and a 9-minute "Mean Town Blues", and it is from the LP-age, so I suppose that part can be excused ;o)

If you prefer Johnny Winter's most "Old-time-rock-n-roll" styled albums, you'll probably love this, but if you are looking for samples of his bluesier and more musically diverse material, there isn't that much here to get excited about.
The up-tempo "Good Morning Little School Girl" is quite good, and Winter's renditions of "Jumpin' Jack Flash" and "It's My Own Fault" are excellent, but the rest is predictable, generic and sometimes slightly hysterical rock n' roll ("Long Tall Sally", "Whole Lotta Shakin' Goin' On" etc.), and a mediocre "Mean Town Blues" which belies its title.

Some really good stuff, including a lot of fine guitar playing, but too many mediocrities for "Johnny Winter And" to deserve a better than average rating.

An Overlooked Gem
Until I bought this CD a week or two ago, I had not heard this album in ages. I had forgotten how much energy and passion Johnny once put into his live sets. While there is only one original song here ("Mean Town Blues" - and it comes off sounding like a blues classic), the choice of covers is exceptional - from Chuck Berry and Jerry Lee Lewis to the Rolling Stones.

I had also forgotten how important Rick Derringer was to this band. He is the perfect foil for Johnny - matching J.W. lick for lick on guitar, playing flawless rhythm, and even singing lead on some of the Rock & Roll Medley. This is an excellent band - probably the best Winter ever toured with. Randy Jo Hobbs (bass)and a young Bobby Caldwell(!)on "percussion" make a terriffic rhythm section.

All in all, this is a solid set. I too am in favor of this title joining the "re-mastered and expanded" club. Since two shows were taped for this album there's got to be lots of stuff they didn't use the first time around. Come on, Columbia! Dig in those vaults and give us a beefed up version. This album deserves it!

A Whole Lotta Shaking Indeed
This is the fourth copy of this recording I've owned. I had the Album, the 8 track, the casset, and now the CD.....My only complaint is that no one re-mixed it to digital. None the less this is some of the finest blues guitar out of Texas prior to Stevie Ray Vaughn, and Chris Duarte.

The high energy level Johnny Winter brings to such gems as Good Morning Little School Girl, and Whole Lotta Shakin really puts you in front and center of the stage as if you're right there live. Most of the songs in "Live" are on his other recordings, but no matter how well you like them elsewhere you'll soon discover he vamped them up here. A ride well worth the small admission.... ... Read more

Amazon.com

Few blues artists have achieved as much crossover success as Robert Cray. Though it's not infrequent for blues purists to proclaim a dislike for his work, his skillful blend of blues, R&B, and soul has undeniable appeal. Heavy Picks is the first retrospective of Cray's recording career, tracing the route from his early, semi-independent recordings through his final dates for Mercury Records. The collection includes some of Cray's best material, including "Smoking Gun," "Playin' in the Dirt," and "Bad Influence," which testify to his strengths as a songwriter. One of the few blues musicians to have videos on MTV, Cray's style has a consistency that's helped ensure his longevity in the pop and blues arenas. At 14 tracks, Heavy Picks is also a nonintimidating introduction for newer fans. --Genevieve Williams ... Read more

Reviews (13)

Robert Cray: Blues for the masses
I was 14 when Strong Persuader hit the stores, and after seeing the video for 'Smoking Gun,' I ran out to the store and got my very first blues album. Since then I've expanded my taste in Blues (and music) considerably, but I still really enjoy the plucky stacatto riffs that poor, unlucky Bob treats his listeners to.

Lots of purists dismiss Cray. They shouldn't. Cray's guitar work - especially on his earlier tracks - is fantastic. The arrangements worked out betweeen the four piece band and the Memphis Horns are balanced and attentively performed. And best of all, Cray makes the blues accessible and enjoyable to all of his listeners. Not everyone can listen to Muddy Waters, or Howlin' Wolf, or even Buddy Guy without getting an introduction to the genre first. Cray provided that introduction for me, and these days I hear those three artists (and others) lurking in the background of Cray's work.

So, if you're new to the blues, or want to turn a friend on to the blues, this would be a great choice for you. And if you're not new to the blues, this would be a great choice for you, too; as long as you could give poor lonesome Bob a chance.

Good Compilation
This fine compilation covers Cray's career from 1980 to 1997. "Blues-Oriented R&B" is how Cray labels his music in the excellent liner notes, and that's what you'll get. Add Cray's superb guitar playing and you have a prime sample of the above musical phrase. At 14 songs this hits all but one of his albums up to 1997's Sweet Potato Pie. Oddly, one album is missing representation: 1995's fine Some Rainy Morning. Surely, Mercury could have included a track like "Never Mattered Much" as this CD clocks in at just under 60 minutes. Still, if you think you're interested in Cray and aren't sure where to start, this is the one. Then go and buy other CD's like Strong Persuader, I Was Warned, False Accusations and Don't Be Afraid of the Dark.

Too slick for my taste
"It's not infrequent for blues purists to proclaim a dislike for [Cray's] work", the editorial review says.

Well, that's probably because Robert Cray's bland and watered-down take on the blues is so far removed from the sweaty, swaggering power of Muddy Waters and the intensity of Howlin' Wolf and Elmore James that it barely qualifies as blues.

I must admit I never made it all the way through this album. Sure, there is a good moment or two, like Cray's take on Willie Dixon's "Too Many Cooks", but most of these songs sound so slick and so similar, more like the kind of MTV pop that some people have the audacity to call "soul" than actual blues.

I'm probably being unfair (no, I'm not). But I just have to warn people who associate the word "blues" with men like Robert Johnson and Son House that this ain't it.

Deep Pockets
Heavy Picks is a 14-track retrospective that spans Robert Cray's brilliant recording career. Early independent label cuts like Phone Booth, Too Many Cooks, Bad Influence, and Playin' in the Dirt provide wonderful insight into the amazing song writing potential of "Young Bob" and demonstrate why the Robert Cray band was a college radio favorite. The 1986 release of Strong Persuader on the Mercury label marked an important milestone in Robert's recording career; more importantly, it helped spark a major blues revival. Cray's blend of blues and Memphis soul, combined with the Fabulous Thunderbirds straight ahead, Gulf Coast style and Stevie Ray Vaughan's merciless intensity, brought blues to the MTV generation. While hair bands like Quiet Riot, Motley Crüe, and Poison were prancing around stage in women's clothing, singing about the clichés of adolescence, Robert Cray released overtly adult themed songs like Smoking Gun, Strong Persuader, and I Guess I Showed Her. With the Grammy Award winning Strong Persuader, Robert's ability as a guitarist became the talk of every guitar-geek magazine on the newsstand - and rightly so. His percussive attack, amazing timing, and hip phrasing landed him a deal with Fender guitars that resulted in the production of the "Robert Cray" model Stratocaster. With both critical and commercial success under his belt, Cray was free to developed as an artist. With each recording subsequent to Strong Persuader, Robert has made the story the most important aspect of the song; consequently, the guitar has often been cast in a supporting role. Robert Cray is brilliant as a songwriter and often genius as an instrumentalist but what makes him special is his ability to deliver lyrics. Tracks like I Shiver, the Dream and Forecast (Calls for Pain) are testaments to Cray's awe-inspiring talent as a vocalist. Robert's dynamic voice effortlessly produces the hollers, moans, and melismatic leaps characteristic of the great gospel singers in the Southern tradition. As a result, Cray is able to confidently approach songs like the Otis Redding classic, Trick or Treat and deliver it with an earnest authority. I was Warned, the final track of the album, is perhaps the best, most defining tune on Heavy Picks. This dark and brooding minor rumba is Robert Cray at his very best. Layers of guitars frame the poignant melody as Cray recalls the warnings of his friends regarding the love of his life. In a classic moment of irony, Cray sings, 'whether they're right or wrong, at least the mystery is gone.' Throughout his career, Cray has suffered from categorization. His music is found under the category of blues in most record stores but purists more often than not scoff at this classification. They insist that his music is not the blues in a traditional sense but, while they may have a point, it is a shame to overlook the casual brilliance of Robert Cray as a singer, songwriter, and instrumentalist. Cray may not be the torchbearer of the blues as many had hoped following his work with Albert Collins and Johnny Copeland on the Alligator release, Showdown, but he certainly represents a continuation of the legacy created by soul singers like O.V. Wright, Ottis Redding, and Marvin Gaye. Heavy Picks is not the shining jewel of the Robert Cray collection but it does provide listeners with a nicely packaged summation of the man's career.

A CONVERT'S review: The soul, the blues and the passion...
To me, 'Heavy Picks' is something very, very special: it's the best blues album in my quite extensive collection, both on vinyl and on CD.Robert has selected these outstanding tracks from a wealth of material to choose from. It contains the best of his songs - among them the superb 'I shiver' and 'I was warned'. The sound quality -the tracks have been remixed- and the overall production are excellent. One example: the drum sounds are perfect on all selections. Through the years, Robert has transformed the classical structures of the blues into something very much his own: an inimitable mixture of blues and soul. Can you name to me a better blues singer than Robert Cray? I love the -very 'un-Claptonesque'- punchiness of his guitar playing, too. To me, buying 'Heavy Picks' was coming back to Robert Cray after quite a long time. When I listened to his very first album quite a few years ago I was disappointed because I listened from a purist's point of view - I wanted blues, blues and nothing else. Robert didn't seem a faithful enough scholar of the blues. Of course, I was wrong - if you want the essence, the passion and the soul of the blues - go for Robert Cray! This compilation is an excellent introduction to Robert Cray's music, and a disc to cherish for anyone who loves good blues and soul music. I made an interesting discovery: this is a record that also sounds excellent if you play it at a very low volume, as background music, because the rhythmic patterns keep shifting and the punchy guitar solos come like flashes of lighting. ... Read more

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When Junior Kimbrough died in January 1998, part of the spirit of Mississippi hill-country blues went with him. He was a proud musician, aware of his African roots and his artistic singularity--perhaps the last unique voice in the genre. The sound of his bawling singing and unpredictable, serpentine guitar were as eerie as a warm wind humming through a field of tombstones, as hypnotic as the ancient village drum music it was based on, thanks to his complete command of his rhythm sections. This collection serves full notice ofKimbrough's authenticity, from his first recording, an impromptu-sounding "Release Me" played with rockabilly cult figure Charlie Feathers, through his last '90s albums for Fat Possum. It's in the latter cases that Kimbrough paints a colorful portrait of his hardscrabble life just above the Delta. Rape is wrongly equated with love (in the brutal-but-fascinating title track), and sexual prowess ("All Night Long") is the only true coin of manhood. Finally, "Done Got Old" serves as the best epitaph fo