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This is the infamous "somebody-put-something-in-the-Waters" LP from 1968. A relative hit for Chess, it features the exalted bluesman bellowing over psychedelicized arrangements that owe more to Steppenwolf than Willie Dixon. Waters himself complained that the drums were too busy and the lead guitar sounded like a cat's meow. Not a bad critique. --Steven Stolder ... Read more

Reviews (22)

Not excactly horrible, just superflous
With the exception of a terrible rendition of the Rolling Stones' "Let's Spend the Night Together", "Electric Mud" isn't unbeararble to listen to, it's just not particularly good either.
Muddy Waters' vocals are fine, sure, but the psychedelic arrangements and aimless guitar wailing doesn't suit the songs.

Guitarists Pete Cosey, Ronald Faulkner and Phil Upchurch, who back Muddy Waters on these eight songs, are probably quite talented players, but Muddy's brand of tough, downhome electric blues suffers greatly at the hands of extended fuzzy solos, manic drumming, and occasional wailing soprano saxophones which bounce around aimlessly like loose basketballs.

If you're really into 60s psychedelia, you might like "Electric Mud" just fine. If you're into the blues, don't waste your money on this album, which is neither original nor particularly well executed; rather it's a classically wrongheaded, crass update of the blues for a supposed "modern" audience, and everything here is readily available in much, much better versions.

A Crime Against Humanity!!
The reviewers below must be joking. This is an abomination - probably the worst album I've ever heard. I'm not a purist, just a lover of good music - and even Muddy recognised that this was awful. Much maligned? It really can't be maligned enough. By any standard this is truly dreadul - an attempt by an ill-informed record label to make Muddy Waters more accessible to white audiences. How? Who knows. Do yourself a favour, if you're after "Electric Mud", go for either "Hard Again" or "I'm Ready" (both produced by Johnny Winters). Poisoned chalk and an epicurist's cheese!

Flower Power Mud!!
A great combination of Muddy's powerful blues growl, and the musicianship of some of the best psychedelic players-Phil Upchurch, Pete Cosey(who later played with Miles Davis), etc.. Howlin' Wolf did an even wilder album at the same time(1968), with the same musicians, which I would like to see released on cd. I know a lot of people consider this a stinker, but I like this strange compelling mixture of tradition and modernism. FOUR STARS!!

I Don't Get It. This Sure Ain't The Muddy I Know & Love
Just a lot of fuzz-tone and reverb...over-done, over-produced...over rated.

Not as bad as the critics say it is.
Aside from the pointless meandering of "She's Alright," this isn't a bad album. It certainly isn't the Holy Grail of blues, but it isn't as bad as Waters or the critics say it is.

In case you don't know, Muddy Waters, in 1968, wasn't making any more hits. In a desperate attempt, Chess Records decided to put him with some avant-garde jazz musicians and make a Jimi Hendrix like album.

It's not that bad. I Just Want To Make Love To You fits in perfectly with Are You Experienced, and I really like Mannish Boy. Let's Spend The Night Together is quite good, even though everyone disagrees with me. The only song I hated was She's Alright, which went on and on with pointless soloing, and an instrumental version of "My Girl."

I'm sure Muddy was really pissed off that he couldn't make a real blues album, but this is ok. Then again, I always liked the electric blues of the 60s. Listen first, then buy it if you like it. ... Read more

Album Description

Digitally remastered reissue of the late bluesy Irish rockguitarist's 1974 concert album, first released on Polydor.Contains all 10 of the original tracks. Also featuresredesigned artwork & new liner notes. 1998 Strange Music/Capo/ RCA/ BMG release. ... Read more

Reviews (18)

A GREAT live record
Long lost in the sands of time, Rory Gallagher might have been the best slide guitar player in the world after Duane Allman died (apologies to Johnny Winter, but it's true). But while Duane was doing circles and endless blues jams with Dickie Betts, Rory was touring with his crack band and developing his knife edged slide playing. And this album is a peak for both he and that band.

Starting with the firey CRADLE ROCK Rory throws on the throttle and never lets up. Oh, he'll slow down like on I WONDER WHO and Tony Joe White's AS THE CROW FLIES (done acoustic on a National steel ala Mississippi Fred McDowell) but he'll crank it right back up on WHO'S THAT COMING and the album's centerpiece, the brilliant WALK ON HOT COALS, an version that smokes the studio take. And the man just drips music. You can hear it on the aformentioned CROW.

Rory hass three or four live albums available, but THIS is the one to get if you can only get ONE. If you like this, get the BBC SESSIONS.

The fact that so few people know Rory's music still saddens me. But I know this is one I reccommend to anyone who's interested in slide guitar or someone that no one else has heard of.

A Fantastic live record
I remember borrowing the 2 LP version of this album from my brothers *many many* times... & when I saw the re-release I jumped at the cd. You know how you have a fond memory of an 'old album' and then you re-visit it years later...sometimes it's a luke-warm feeling, sometimes less... R. Gallagher's Irish Tour '74 was 10 times better around this time. "I Wonder Who" is a great 12 bar blues work out; "Tattoo'd Lady" has some wonderful (blistering) guitar work (I don't remember the LP featuring the piano work so prominently in the mix - I really like it on this tune), "As the Crow Flies" is one of my favs - acoustic slide work that blends so very nicely w/ Rory's vocals -Great! and of course, "A Million Miles Away" is a gem.

If you like Clapton, Stevie Ray, give this cd a try. If you like Rory Gallagher, it's a must have.

Rory, we hardly knew ye
Previous reviewers have done a very good job with their high praise of this masterpiece, but there are three things i would like to share with anyone who might be tempted but not yet convinced to add this gem to their collection.

First, the blistering, full length Walk On Hot Coals featured on this disc is perhaps Rory and his bandmates at their finest. That cut alone is worth the price of the cd.

Second, this cd is a wonderful complement to, not a substitute for, Rory's Irish Tour 74 dvd. Although there is some overlap in the song titles, there is no overlap in the performances. (I really liked the dvd, and almost didn't buy the cd because I thought it would contain mostly the same perfomances. It would be a shame for anyone to make that mistake.)

Third, a word of advice. If you plan to listen to this cd while driving, engage the cruise control before you slip in the cd. Because driving under the influence of Rory Gallagher can earn you a nasty speeding ticket. And leave you grinning from ear to ear.

Many thanks to Rory and the boys for these superb performances.

Always at His Very Best...
Back in the 70's I saw Rory play at the legendary 'My Father's Place' in Roslyn Long Island where he played every song on the CD so it brings back indelible memories. Rory and the band played with such power and energy I recall thinking they were undermining the structural integrity of the building. The technical excellence of Rory's blues guitar and vocals were transcended by the personal connection he made with the audience.
He was more than a performer: he tore off a piece of his soul giving everyone a share. Unreal. But let the music speak for the Man. That night the audience were euphoric. Though I have seen many great performers over the years nothing tops that night.
This CD brings it all back. In two hundred years people will still be enjoying this classic. "Nice one, Rory. Nice one, Son. Nice one Rory, let's have another one."

Lost Genius
The first time I saw Rory Gallagher live he was a warmup act, and he stole the show from Deep Purple, no easy thing to do. He was that good, blessed not only with technical skill but with a musical soul that shone through his music. This 1974 live recording is a tribute to his fiery blues-rock guitar playing and the heart behind it. I've been told by people who knew him that he was the nicest guy on earth, something that comes through in the video version of this recording available now on DVD, he was all music, no showbiz, a bluesman who seemed almost embarrassed when he became a rock star as well. If you don't know his work, this live album is a good place to start, just be prepared to buy more once you get a taste. The public has largely forgotten Rory just as they have Roy Buchannan, but guitarists will be impressed no end when you mention his name, they know how good he was and how much he loved the music. Maybe that's why the Rolling Stones considered him as a replacement for Mick Taylor, but somehow I can't see Rory wearing leopardskin jackets and leather pants. His life was too short, but at least we have this wonderful music to remember him by. ... Read more

Amazon.com essential recording

Simply one of the greatest live blues recordings ever. Hooker plays alone at Soledad, yet the real thrill is hearing him backed at Greenwich Village's Café Au-Go-Go in 1966 by Muddy Waters and his band, including pianist Otis Spann, unsung harmonica giant George Smith, Francis Clay on drums, and guitarists Sammy Lawhorn and Luther Johnson. All are at the height of their abilities, but it's Hooker who works like a hoodoo conjurer, making misery rain down in "Seven Days" and "When My First Wife Left Me." This August night's reading of "I'm Bad Like Jesse James" ranks among the most intimidating vocal performances ever taped. His guitar and baritone singing sink to rarely heard depths of the blues--that secret place in the music (known only to its absolute masters) where it becomes an elemental force. --Ted Drozdowski ... Read more

Reviews (12)

Classic, Must-Have
Miles Davis once told John Lee that, "You sound like you're buried up to your neck in mud" (that's a good thing if you tell the blues). This CD is deep. Raw. Painful. In fact, "I'm Bad Like Jesse James" hits so hard that you get scared just listening to the song. This live compilation, especially the 8 tracks from the Cafe au Go-Go which are backed by Muddy Waters band (yeah, THAT Muddy Waters), is a must-own for anyone who wants to experience the depth and power of John Lee Hooker. This is the blues in its finest 70 minutes. Awesome.

Great Live
This is my favorite live recording of early John Lee Hooker material. The CD has two different live recordings. The first eight tracks were recorded at The Cafe au Go-GO in in 1966. The last five tracks were recorded inside Soledad Prison in 1972. The last song on the CD, "Bang, Bang, Bang, Bang" which was changed later in his career to "Boom, Boom, Boom, Boom", is probably the best recording of this song that I have heard on any of Hooker's CDs. This recording is raw, rough, and powerful, just like the man himself!

John was right, way back in 1966, when he first sang the song (also on this CD) "I'll Never Get Out of These Blues Alive." Rest in Peace, I drink one bourbon, one scotch, and one beer to you.

A Real Transformation
Despite Hooker being in his prime and having a great band at the Cafe Au Go-Go, I found the tracks from his performance there tepid. It sounds like he was trying to tone down his act for an ofay audience. Really - it's not a lively performance. So, that part of the disc gets three stars.

However, the tracks from Soledad Prison are scalding. "What's the Matter, Baby", "Boogie Everywhere I Go" and "Bang, Bang, Bang, Bang" in particular absolutely cook. That part of the disc gets five stars.

Superb, gritty live blues
This CD reissue combines John Lee Hooker's "Live At The Cafe Au Go-Go" album with five songs from his "Live At Soledad Prison" LP (the other two songs from that LP had John Lee Hooker, jr. doing lead vocals, which is probably why they aren't included).

The eight Café Au Go-Go-tracks feature Muddy Waters and his band backing John Lee Hooker, and Hooker performs some of his best songs in rough, tough arrangements, topped by his hoarse, expressive baritone voice.
It's a little bit unusual to hear John Lee Hooker backed by a full band, but the arrangements work exceedingly well, and Hooker is in no way overwhelmed by the presence of three more guitarists (Muddy Waters, Sammy Lawhorn and Luther Johnson), and pianist Otis Spann.

Highlights include a truly menacing "I'm Bad Like Jesse James", a swaggering, swinging "One Bourbon, One Scotch, One Beer", a tremendous, slow "I'll Never Get Out Of These Blues Alive", and a soulful "When My First Wife Left Me", to which Otis Spann adds some truly magnificent piano playing.

On the Soledad tracks, which are also band-backed, Hooker lays down great renditions of "What's The Matter Baby" and "It Serves Me Right To Suffer", with the twin lead guitars of Luther Tucker and Charlie Grimes smouldering behind him.
"Lucille" is a great, mid-tempo boogie, and "Bang Bang Bang Bang", an alternative version of "Boom Boom", which rocks every bit as much as the MTV version did twenty years later.

If your idea of what the blues should sound like is latter-day B.B. King or Robert Cray, this might not be your thing...these recordings are far from polished and very much full of grit, but if you like your blues raw and ragged, this is indeed the real deal. One of the finest, most autenthic live blues records I have ever heard.

Awesome
Classic John Lee. Worth it just for "Bad Like Jesse James".....gives me chills.... ... Read more

Reviews (16)

SWEET,SWEET ROCK&ROLL!
Just listend to this the other day! My God! What a great band! Saw Johnny live at Anaheim stadium on this tour. All copy songs! But,done like no one else can do 'em! As all the other reviewers state."Floyd Radford just smokes on the other guitar,not second guitar!" Johnny must have wanted a great rock band. Not just be a show off,himself! I'm always hearing about Johnny down playing his rock side. Trying to prove his true love for the blues! You want the blues? No problem! Side two is full of the most blistering blues this side of... If you can get STILL ALIVE AND WELL from 1973,And SAINTS&SINNERS also JOHN DAWSON WINTER III.from 1974. Then my friend you will have one of the greatest rock&roll collections of all time! But! CAPTURED LIVE!IS ONE MEAN MOTHER F#@CKER! Crank it up for all it's worth! 10 stars for Johnny!

Worth every penny
Although I can't say that I share the same undying enthusiasm of some of my fellow reviewers, "Captured Live" deserves inclusion into any rock/pop/blues discography as a seminal recording. The "rock set-up" from the mid-70's that is dispalyed here is not Winter at his finest. His more traditional blues power trio ensemble still captures his vitality best. It is worth noting that he has not strayed from this format, more or less, for more than 20 years, although his current line-up does often feature a keyboardist. However, even while playing in a style not entirely to his suiting, Johnny and the boys still attain a much higher level of competency than the other American guitar-driven stadium acts of the day, such as Nugent, Foghat, or even Thin Lizzie. (In all likelihood this excursion into the rock set-up was pushed by execs at CBS records.) As far as this actual recording is concerned, two tracks, and two tracks only, need to be acknowledged for the breathtaking performances that they are; #5, Dylan's "Hway. 61 Revisited" and #6, Winter's own "Sweet Papa John". Both takes display the typical blazing fretboard work AND intricate slide playing Winter is noted for, as well as fine interplay between Johnny and second lead guitarist Floyd Radford. While still maybe not quite the ABB, the fast-tempo blues given here rank as definitive recordings of their kind. The remaining tracks just do not light things up as these two do, and are the only reason, as a whole, this LP doesn't get 5 stars from this reviewer. Johnny Winter remains the greatest Texas axeman of all time, even today when approaching 60 years of age. His version of "Hway. 61" is still the best Dylan cover of all time. Not more than two or three similarly styled musicians are worthy of comparison.

Can Do...Johnny Winter and his axe
Johnny Winter blistered the stadium at Tulsa International Speedway when I saw this tour. He followed the J. Geils Band, and went on in front of ZZ Top. I must say, Johnny blew away the great guitarist for ZZ Top. My Gawd, what an assault. He was all over the stage, as was Floyd Radford. Whew, high energy? That doesn't describe it.

Ever get into arguments about "who is the best slide guitarist?" Play "Highway 61 Revisited" and win the argument. Just unbelievable how that thing smokes. Johnny and Band play this album at a fast, breakneck speed that leaves other bands behind, sucking wind in their wake. "It's All Over Now" and "Bonie Maronie" break the speed of sound as Johnny and Floyd blister the fretboard. We just don't get musicianship like this anymore.

If you like guitar based rock and roll, going at a fast pace, with scorching twin leads, buy this now.

5 Stars.

Live from 1976
This album was recorded in 1976. So how is it that a reviewer below gets 4 out of 4 votes for his story about how he bought this album back in 1971? W C Fields was right- theres one born every minute!

JW's Best Recording
If you're just starting your Johnny Winter cd collection this is definitely the place to begin. There's not a lot of songs on this recording, but the ones that are feature JW at the peak of his career. I have listened to this disc no less than 1,000 times over the last 20 years. It still raises the hair on the back of my neck when he sings and plays Sweet Papa John. If you like absolute full-out jammin', emotional, awe-inspiring guitar music, do yourself a favor and buy this cd. The price is right and the music is right on! ... Read more

Amazon.com essential recording

This four-CD box set remains the absolutely definitive B.B. King collection, with 77 recordings and a biographical book that contains the great singer-guitarist's own remembrances of his decades-long career. It samples every stage of his development, from his days struggling to craft his music in the shadow of influences like T-Bone Walker and Lonnie Johnson to his latter-day pairings with rockers like Bonnie Raitt and Gary Moore. The one constant is his open-hearted singing and the soulful, contemplative solos he squeezes from his beloved guitar Lucille. These discs, of course, embrace all his essential hits, from his first--1951's "Three O'Clock Blues"--to his 1970 smash "The Thrill Is Gone," which took King to the pop charts and made him a household name. If this package is too lavish for the budget, try the excellent Best of B.B. King, Volume 1, which collects many of King's great early works. --Ted Drozdowski ... Read more

Reviews (13)

You Need This Set
I was on the line of whether I just liked B.B. or really liked B.B. After I bought this box set I upgraded to loving B.B. This is one of the greatest collections of tunes I have ever heard. Muddy is still the king of blues in my book but B.B. definitely deserves to wear a crown too.

A Box Set fit for a King
I grew up on His Music thanks to My Family I became aware of Blues Music&also B.B King.this Box Set Highlights His Career Between Him&Lucille.His Voice&Playing are something else no matter what time period.on Guitar for me B.B. King has always had a Sound that no matter where you are in the World you know that it is Him.B.B. King is One of the Baddest Cats Ever to Make Music.His Story telling&VIbe is very Addictive.

"He paid the Cost , To be the Boss"!
I just bought this box set last week and have been enjoying it like no tomorrow. I have many records of the top Blues singers going back to Robert Johnson and Bessie Smith, but I do believe that this is the best "complete" set on one artist! Man can them songs take you back. If I knew that this collection was this good I would of bought it years ago when it first came out (1992). No matter what your Budget is ,if you are really into the Blues you should buy this set - even if it means eating half lunches for a week or two, you won't be sorry. After hearing these tunes "The Thrill is Back"!

A really like it but...
Due to some unfathomable screw-up, the 90 second guitar intro was cut off of Gambler's Blues! This is a great intro and you can find the whole song on the 2-CD Anthology or Classic Live Performances.

This set needs to be remastered and songs added to fill-er-up to near 80 minutes per CD. Though there is already 72-74 minutes per CD, there is enough other good BB to easily add 20 minutes more of music for the 4 CDs.

Fantastic!
BB King is an amazing artist and this box set is a must for whoever can get their hands on it. Now I know where the title Lucille came from for his guitar, which he so eloquently describes for us in the song, just great storytelling. The second disc is simply awesome with a great start with "Going Down Slow," an extremely well done live performance! You can completely imagine exactly what BB is talking about thinking about a young man coming up to Chicago and blowing all of his hard earned money on a good time, and being abandoned by all his "friends" when the money runs out. BB knows the blues, and he sings like he was right next to you during the hardest of those times, and somehow you don't feel so all alone and your problems don't seem as miserable. I can't imagine a more talented performer, he really captures your whole undivided attention. There are simply too many highlights to name, but get this set and find out a great artists' work! And this box set doesn't just take it slow, there are rockers (She's Dynamite), jazzy ballads (try "Don't Get Around Much Anymore"), smokey blues, blazing guitar, cool guitar, the whole gamut. This is entertainment as fine as can be found. Take your time with this set and really get to know it, you'll be really glad you did. ... Read more

Reviews (8)

Elvin's best from 1978, and live
I owned this double-live album back in the 1970's- its great, sort of a live greatest hits as it has the best songs from Elvin's previous studio albums that he recorded during the mid 1970's.
Elvin was guitarist with the Paul Butterfield Blues band in the 1960's. This album is a mix of country and blues. Its great to see they were able to fit the entire album on a single disc- over 70 minutes of music!

sure feels good, feeling good again
saw elvin on sunday 5/19 great live renditions of cuts on this cd
he has new members in the band,but does the numbers exceedingly well, a giant of the blues scene , with a trombone player and new lead guitarist that he does duets with

GEM of a live album
The guy who said Elvin couldn't sing doesn't have an appreciation for joyous noise delivered straight from the heart. I happen to love Elvin's gritty southern-style drawlin' 'n' twangin' vocals, but if that's not enough for you, Mickey Thomas is also here, as well as the obligatory black female background singers belting out the soulful "Yes Sir's" and "halleluja's" in fine fettle.This album, predominantly recorded in California theater style venues in '76, has it all in Elvin's inimitable style of country, boogie, blues, rock, gospel, and soul, all rolled into one, complete with bold brass, funky keyboards and superb slide and blistering lead guitar, all supported by a solid rhythm section.Included in the selections is a 6+ minute Muddy Water's blues tune, "Brown Bird," masterfully rendered, and a medley including the Sam Cooke blast from the past, "A Change is Gonna Come."This is a definite MUST for Elvin lovers, and for the uninitiated, this good time rock and soul live album rates with the best of them for pure pleasure and near perfect quality.5 Stars all the way!

A Fun Album To Listen To
I first bought this on 8 track in 1978 when it came out. I saw Elvin in concert in 1980 and had a blast. He's a great guitar player and it's displayed throughout this album. Travelin' Shoes, Raisin' Hell, Sure Feels Good, and Struttin' My Stuff are the best songs on this CD. I'm so glad this is back in print on CD because haven't been able to find it for years.

Better late than never...
This CD is a great study not only in Elvin Bishop's song library, but in the awesome sounds which characterized the halcyon days of the early 70's. Whether it be the gratuitous Moog solos on "Rock My Soul", or the "whacka whacka geetars" of "Stealin' Watermelons", these sounds will transport you into an LA club of the early '70s. I was particularly happy with the improvement in the quality of the horn section (F.Y.I- sitting in from Tower of Power...) which were tinny on vinyl. ... Read more

Reviews (7)

OOOOOOOTTTTIIIS RRRUUUUSSSHHHH !!!!!!
This album is a must have for fans of blues guitar, or just great blues music. Otis Rush is a force to reckoned with on this album, his guitar is alive in his hands and sings, squeals and grunts at times. His singing is powerful, and always tasteful.
Right from the opening track his 'blue guitar' hits the mark and never waivers. All Your Love is well done, and I also loved that he did a version of Kenny Burrell's Chitlin's Con Carne !!! very cool !
Otis Rush is awesome and certainly lives up to his nick-name as 'King of Singing String.'

Awesome Blues Power
Here is some of the most perfect blues guitar playing you will ever hear. There's even a smokin' version of Kenny Burrell's Chitlins Con Carne. You can hear the warmth & slight crackle of the tubes in Otis'amp. Tone to the bone. Majestic vibrato. Spine tingling singing. Otis' only living equal in this music (that I can think of right now) is Buddy Guy. I have several Otis Rush CD's. Highest recommendation to this one, Right Place, Wrong Time, and Cold Day in Hell (if it's still in print, I'm not sure). Blues Power.

Buy this CD. The sound is superb. There are no clunkers here
You can feel his guitar sing beautifuly on every track. His vibrato is second to none. If you like it, get "Right Place Wrong Time".

You can almost hear Otis breath through the speakers!
This is one of the most Raw in your face Blues recordings I have ever heard! Otis sings with deep conviction and plays with a passion and makes every note count! The crowd is very enthusiastic and this adds to the excitement! One of my all time favorites at The Crazy Coyote Blues Power Show at 1490 KOTY AM (1490koty.com) Yakima Nation Reservation station in southcentral Washington state.

Otis Rush is the Man!!!!!!!!!!!!!!!!!!!!
Otis Rush is just sometimes with me another dimension. Otis has influenced every major Blues artist playing guitar since the 60's. This is easily one of his best listening Cd's with the performance and selection of songs here. He is one of the VERY few who are still alive from the 50's cutting edge consisting of Otis,Freddie King,Magic Sam,Luther Allison,Buddy Guy and Eddy Clearwater of the West Side Chicago sound. He is in Japan here where some of his best performances have been recorded. He is scheduled to go back to Japan to tour in May 2001. Hopefully someone will have the foresight to record him on audio and video. I rank this CD in my Top Ten of alltime Blues CD's. Its a must for any lover of the blues! ... Read more

Reviews (5)

Sean Costello is better than Eric Clapton.
What is everyone missing? Sean Costello has got it all. He's got the voice, and the chops! His new album is just a little taste of how well he can cover the soul of the blues. All of his albums are great, he is definitely the next Blues/Soul great!

It's Still The Blues
This is Sean's first major label release and he fills every song with all the excitement and drive his independent releases offer. The new originals show maturity and style, it's his best all around effort to date.

I've got to say, if you don't think this is Blues, then you don't understand the genre. Check Sean and his band live and you'll get it, it's all Blues.

A modern classic!
This is an excellent record from Sean Costello. He's in his mid-20's now and has made some outstanding Chicago blues styled records and a great swinging blues disc (his first one). He's clearly maturing as an artist and this record has roots deep in the blues that he mastered so long ago. But its obvious that he's not stuck for the rest of his life trying recreate the Chess blues style recordings. The songs on this record clearly show that he also bears some influence from soul and R&B artists like Al Green, Sam Cooke, Bill Withers, and others. There are a couple of good blues cuts done only the way that Sean could do them. The originals are excellent and provide us with a glimpse into Costello's life. There is a lot of passion and soul from a great young blues artist. This one's bound to win some serious attention. The production is excellent and has a great warm, full sound like so many great recordings from the 60's and 70's.

But if you're looking for another album of Chicago style blues, this isn't it. Its got a mean streak of soul and R&B mixed into those Chicago blues. A classic album!!!

The other review saying this is pop music is completely off the wall. If you want to know what a young blues artist sounds like who's gone the pop road then check out Johnny Lang's or Kenny Wayne Sheppard's newest disc, total commercial pop-rock-blues.

I highly recommend it!

A Cool New Blues!!!!
I love this new Sean Costello record!
It's a cool hybrid of Soul and Blues. I especially like his version of Simple Twist of Fate (with Levon Helm from The Band on drums) and No Half Steppin' reminds me of a classic Stax song.
A great songwriter and his singing and blues guitar playing remain first rate. I highly recommend it!

Sorry, not my cup of tea...
I was really impatient to receive this CD that I ordered months in advance as soon as it was published on the Amazon's catalogue. The main reason being that I am a big fan of Sean Costello and I own all his previous albums that I rate, without doubts (all of them!) 5 star. Unfortunately for some reason that I cannot understand this one is not a blues album, but a sort of soul-pop-rock (with a hint of blues) - radio friendly, kind of music that is just not my favourite gender. So if you are expecting, as I was, to buy something in line with his previous works, I strongly suggest you should give this CD a listening before buying. Having said that, it could be that soul - pop audience will love this album. Sean playing is still top-notch and I hope that he will come back playing the "blues" very soon. ... Read more

Amazon.com

As the first artist on Chicago's esteemed Alligator imprint (and the reason owner Bruce Iglauer started the company), wild-man slide guitarist Hound Dog Taylor has attained legendary status. His crude, propulsive sound even inspired the label's "Genuine Houserockin' Music" motto. Taylor left behind only two studio releases and a live disc when he died in 1975, but Iglauer has now unearthed more previously unreleased material. Recorded between 1971 and 1975, Release the Hound contains a mix of studio and live material that is every bit the equal of Taylor's existing catalog--and even more raw and primitive. The six-fingered six-stringer explodes through a volatile collection of boogie, blues, and good-time shuffles that makes Elmore James sound like Keb' Mo' in comparison. Hound Dog and his riotous bass-free backing duo of guitar and near-tribal drums were not technical perfectionists, but they could sure fire up a party thanks to Taylor's combustive mix of scorching slide playing and magnetic personality. --Hal Horowitz ... Read more

Reviews (4)

Unreleased and raucous!
I was chomping at the bit when I heard this was going to be released. This new release of vault material contains 3 studio recordings and 11 live tracks. My appetite was whetted by the 2 unissued live tracks from these concerts included on the Hound Dog Taylor Deluxe Edition. For the uninitiated Taylor's band which featured Brewer Phillips on second guitar and Ted Harvey on drums (Levi Warren deputizes for Harvey on 3 tracks)is the blues equivalent of a garage rock band. Hound Dog's combination of a cheap Japanese guitar and his frenetic slide playing is unforgettable. Most of the tracks are live and although the sound may not be up to current standards, it sounds as good as most bootlegs and the energy of the performances makes up for any sound deficiencies. The live tracks are a mixture of outtakes from the live "Beware Of The Dog" album and various radio broadcasts. Among the unissued tracks is the energetic studio instrumental "Phillip's Screwdriver", a cover of Freddie King's "Sen-Sa-Shun" and the Howlin' Wolf tribute "The Dog Meets The Wolf". Taylor wrenches emotion from his cover of Elmore James' "It Hurts Me Too" and Taylor's autobiographical slow blues "Things Don't Work Out Right". Strong versions of Taylor classics like "She's Gone", "Sadie" , "Walking The Ceiling" and "See Me In The Evening/It's Alright" are among the other highlights. Every track whether an original or cover contains the distinctive stamp of the Houserockers. Taylor's slashing slide guitar and infectious sense of humor shine through making this one of the best vault reissues of the year. Highly recommended!

god damn!!! this is raw and furious!!! god bless hound dog..
god bless hound dog taylor. that's all. just god bless his guitar, his voice, his soul and his blues...
I'm a younger blues fan(25) from Chicagoland, and while I'd heard OF Hound Dog Taylor for the longest time, I'd never HEARD Hound Dog Taylor, y'know what I mean?
I read a review in the Illinois Entertainer about this album coming out and they described him as a cross between the blues and punk. That got my attention real quick, as I've also dug on punk rock my whole life...
went out to my local record shop, they had the promo, listened...and holy f&*^% s*^&^!!!! I immediately fell in love!!! It moved me in ways I love to be moved. it touched my heart. I wished to god I had been at the shows on the record. I wished I had gotten to see him play!! why hadn't I known earlier how INCREDIBLE Hound Dog was/is?
Hound Dog's slide is absolutely BLISTERING. his voice is raw and strained. the band(the houserockers), comprised of a drum kit and another guitar(yes, a 3 piece) is unreal. The album cover is a great painting by another favorite musician of mine and Chicago-via-Wales local Jon Langford(ex-Mekons). Inside the album tells some great anecdotal info on Hound Dog and the band and how they played for practically nothing and Hound Dog on a cheap Japanese guitar with a slide made from a brass kitchen table leg! hell yes! Hound Dog is raw and vicious and touxhes your heart all at once. If you dig slide, boogie, roadhouse-juke joint, punk and or blues...hell...just get it and be done with it. get bit by the hound dog and you'll never be the same again...
cheers hound dog

More fun than any of his previous albums...
I was turned on to Hound Dog Taylor by a friend in college. I always liked 'Beware of the Dog' but this album is even more exciting. There are some recording imperfections but chances are , if you're a Hound Dog fan, you're already used to this. Regardless, these performances are riveting and loads of fun. Don't wait on this one!

Another Great Live Album for Hound Dog Fans!
The one thing those who were lucky enough to see Hound Dog Taylor play live all agree with, is that he always put on the best of shows. Like the first live Hound Dog album, "Beware Of The Dog", on this 2004 release, Release the Dog, we can hear Taylor living it up with the audience both before and after he would get into a number, and like on his first live album, you can feel right down to your bones, just how grand he did play live.

If it wasn't for new technology, chances are we never would have gotten to hear this album, as the recordings were all very raw, with lots of tape hiss, etc. But most of that has been cleaned up, and we now get to hear a bunch of his songs live that we never before have, and if your a fan, you will be delighted at what you will hear.

The album, like so many of his past studio LPs, blasts off with an explosion from the Dog's guitar, with the Elmore James cover "Wild About You Babe". This live take is better than the one we hear him play on his debut album, and it's the best song on the album. But every live song on here is excellent, the man just had a knack for playing to a crowd! We get to hear him play "Sadie" with fine results, and another James cover, "It Hurts Me Too", is also tops. Then there is the slower number, "Things Don't Work Out Right", which sounds like a rework of his song "Freddie's Blues". It contains different lyrics - with drummer Ted Harvey adding background talk just like he does on "Freddie's Blues", but the music here is a bit more up tempo, with more of Hound Dog's guitar here than what is heard on "Freddie's Blues".

We also get to hear the original drummer for the Houserockers, Levi Warren on three songs, "She's Gone", "It Hurts Me Too", and " The Dog Meets The Wolf" (a tribute to Howling Wolf), which comes from the first live gig that the Hound and his band ever played outside of the Chicago area.

In addition to the live stuff, this LP also contains three studio recordings. Two are alternative takes of "Walking On The Ceiling" - which contains a nice drum solo by Harvey, and "Gonna Send You Back To Georgia", the song that would later metamorphous into "Give Me Back My Wig". The third studio cut is something that was never released before, "Phillips Screwdriver", an instrumental featuring Brewer Phillips playing a fine lead guitar, as Hound Dog lays down a heavy bass line.

The album closes off with an untitled little rap between the Dog and Harvey, which is priceless. What I reviewed here is the pre-released promo album, I only hope that they include this little gem on the official release.

Hound Hog has been gone for almost 30 years now, so hearing anything unreleased from him is cool. But don't expect something along the lines of the compilation, posthumous album "Genuine Houserocking Music", which was an okay album, but not anywhere as good as this one, which is great! What a true joy for all Hound Dog fans! ... Read more

Amazon.com

This reissue of the Boston favorite's 1995 debut clearly highlights her greatest strength: her voice. Susan Tedeschi has been singing since she was 4 years old, and it shows; her voice has the power and control that comes from long experience. If her version of "Hound Dog" doesn't blow the top off of Big Mama Thornton's original, it's still a strong effort, and she's just as good with her own material. The title track--penned by Adrienne Hayes, guitarist for Tedeschi's band--is especially good, as the slow tempo allows Tedeschi to stretch her pipes a bit. Unfortunately, even by the release of Just Won't Burn, Tedeschi's guitar hadn't caught up with her voice, and the discrepancy is even more obvious here--there's a spark, but it doesn't quite catch fire. Still, there's no question that her heart's in the right place, and if her guitar work continues to improve, there'll be no stopping her. --Genevieve Williams ... Read more

Reviews (26)

The makings of a superstar - Better Days!!
I bought Just Won't Burn on a whim at a music store and fell in love with it the same day. I heard this woman named Susan Tedeschi with this remarkable bluesy voice that so reminded me of Bonnie Raitt. And who doesn't love Bonnie Raitt. But I discovered Susan Tedeschi is even better. Her voice has that Janis Joplin edge on tracks like It Hurt So Bad and Rock me Right.

I recently bought Better Days and love this album too though it's not quite as strong as Just Won't Burn. But that's a good thing cause we want our artists to improve with each album. That isn't to say Better Days isn't great. The title track is well written and well sung. It's an amazing ballad-like blues song. I also enjoy Love Never Treats Me Right and Locomotive. I feel the best track on this set, though, is Ain't Nobody's Business. It's pure blues and shows us just how much talent this lady has.

I recommend this to blues fans, Bonnie Raitt fans, Janis Joplin fans, and just fans of artist who really can sing. Susan Tedeschi is a superstar and should continue to get more recognition from the public especially with a bigger record label. She is currently writing and recording songs for her new album. I hope she takes her time. I saw improvement with Just Won't Burn from Better Days. I want to see improvement again. But it's difficult to improve on perfection!!!

Great music, bad production
I love Susan Tedeschi and was thrilled to get a hold of this "pre-fame" CD. It's a great CD too. Full of powerful blues that are more reminiscent of Bonnie Raitt than of Janis Joplin.

The production on this CD is really pretty spotty. The first track "It's Up to You" has a very muddy quality to it and "It Hurts Me Too" is painful to listen to on headphones with the mixing from left to right channels constantly moving. Most of the tracks however, are adequately mixed.

All in all, this is well worth listening to if you're a Tedeschi fan, but her following CD's are far superior to this one. She just keeps getting better.

A good record
Like most people, I fell in love with Susan Tedeschi after hearing "Just Won't Burn". It became the soundtrack of my senior year in high school...so I immediately bought "Better Days", and at first listen, I was disappointed. Nothing seemed to click. It wasn't bad, just okay. I set it aside for a couple months and just recently started listening to it again. I don't know why I didn't love it before! Some of the songs almost have a country feel, like the first track. Most are mellow blues, but they still rock. I can't wait for the new album!

This gal knows how to play the blues!
I first heard Ms. Tedeschi when she opened for B.B. King in his year 2000 tour. What a night! I happen to be a big fan of the blues, and when I heard those performers, I was more than impressed! But Ms. Tedeschi stood out from the rest, because she expresses such a great amount of talent. You can tell that she loves her work! She can really play the blues, and her voice is just the icing on the cake!
It's hard to say which song on this album is my favorite. It's like trying to decide which one of your children you love more. But I will say that her interpretation of "Hound Dog" is not one to be missed. I would also have to say that the instrumental work on "You're On My Hair" is great! Not to mention, she can play a mean slide guitar! (When you hear "Locomotive" you'll know what I mean). I recommend this album to anyone who has a deep respect for the blues, you won't be disappointed!

Better Days
First I heard Susan Tedeschi's CD, Just Won't Burn, and I was hooked, then I went in search of everything she's recorded, and found Better Days. I love it! She rocks you hard, and breaks your heart, and moves your soul. You know how Marilyn Monroe could where a potato sack and still looked great? Well, it doesn't matter what Susan Tedeschi sings, it's all great! She's up there with the big leagues, like Stevie! ... Read more

Amazon.com essential recording

This is probably the best Wolf compilation there is in terms of comprehensiveness and digestibility. The problem with collecting the works of prolific artists is that there's so much material; fortunately, Chess made some good selections. Chronicling Howlin' Wolf's career from Memphis, through Chicago, and on into his later years. There are snippets of interviews, as well as the classic tracks you'd expect: "All Night Boogie", "Howlin' For My Darling", "Evil", "Forty Four", "Spoonful", and "I'd Better Go Now." This box set is a bit much to swallow if you're not already a fan of the Wolf, but if you are, this is a great way to get his best work in one place. --Genevieve Williams ... Read more

Reviews (7)

He's the Wolf!!!
If life were a college course in Blues Appreciation, at least three aural textbooks would be required listening: the Complete Recordings of Robert Johnson and the Chess Boxes of Muddy Waters and Howlin Wolf. Just purchasing a CD or two of any of the other blues masters will suffice (for awhile anyway), but these three giants produced so much listenable and danceable music that nothing less than complete box sets will do. Even at 71 tracks, this set still feels incomplete; where is Wolf's fabulous live recording of "Highway 49" from the Newport Folk Festival? Or "Do the Do" from London Howlin Wolf Sessions, featuring Eric Clapton and Hubert Sumlin's fantastic guitar figures? But these are minor quibbles. How can you argue with an album that starts with a lonesome Wolf moan ("Moanin at Midnight") and ends (well, one track from the end, anyway) with a frail Wolf teaching a roomful of top blues acolytes (Clapton, Steve Winwood, Bill Wyman and Charlie Watts) how to play acoustic guitar on "Little Red Rooster" the way Charlie Patton himself taught Wolf some 40-50 years ago? What an experience! His powerful, gargling-battery-acid voice (only Blind Willie Johnson and Captain Beefheart had more abused throats) now a shadow of it's former self, his commanding presence still moves the assembled royalty of British blues-rock to "get on it" and produce a memorable take. In between are too many highlights to mention, including "Killing Floor" (probably the only song set in an animal slaughterhouse), "Back Door Man" (later covered memorably by the Doors), "I Ain't Superstitious" (also covered well by Jeff Beck Group and Savoy Brown), and most memorably, his signature song "Smokestack Lightning." As a bonus, there are several snippets from an interview recording just a few years before his death in which he reveals how he got his name, how he got started playing the blues, and the "hidden" meanings behind both "Smokestack Lightning" and "I Asked Her For Water". These glimpses into the real, behind-the scenes Wolf persona, each about 30 seconds to one minute long, are priceless. Throughout the set, Wolf is supported by first-rate musicians, particularly the aforementioned Sumlin, who was such a good guitarist that he was "borrowed" regularly by the likes of Muddy Waters and Little Walter, but always made his way back to Wolf's pack. This set and all it's great music should keep most listener's happy for hours. Now, when will some great writer take up the challenge of giving Howlin' Wolf the biography he deserves? (Waters and Walter already have fine bios.) Until then, the Wolf fan will just have to make do with the (excellent) liner notes from this set and play it once again to hear the magic of the Wolf moanin' at midnight, or at any time of day he so desires.

Footnote about voice of Howlin' Wolf
In his excellent review, "anders_pj" stated that nobody has ever copied the sandpaper voice of Howlin' Wolf. Well, there is one significant exception. This is the voice of Captain Beefheart (born Don Vliet). IT IS AN IDENTICAL COPY of Howlin' Wolf's. Captain Beefheart is a genius and one the most creative musicians to come out of the U.S.A.

The ultimate Wolf collection
This is a sublime, exquisitely packaged collection of Howlin' Wolf's awe-inspiring brand of blues.
Just under 3½ hours of music, opening with Wolf's eerie, wordless "throat singing" on 1951's "Moaning At Midnight", and ending with the opening track, "Moving", off his final studio album.

A lot of people have covered Wolf's songs, but none have come close to matching his ferocious sandpaper voice, and Howlin' Wolf in his prime was without a doubt the most electrifying performer the Chicago blues clubs had even experienced. Standing 6'4" and weighing 275 lbs in his prime, Wolf towered over everybody, literally as well as figuratively.

Starting off as a strict Charley Patton-imitator, Chester Arthur Burnett showed up in the juke joints of Mississippi in the late 30s with one of the first electric guitars anyone had ever seen, and when he finally started recording (for Sam Phillips' Sun Records in 1951), he was 41 years old and had been performing for two decades down in the cotton belt.
He suddenly had two hits on the R&B list at the same time ("Moanin' At Midnight" and the clanging, piano-driven "How Many More Years"), and in the winter of 1953, Wolf headed out of the South (in his own brand new $4,000 car), settling in Chicago, Illinois, where he would record for Chess Records right up until his death from kidney failure in January, 1976.
"-I'm the onliest one", he said, "-drove out of the South like a gentleman!"

"The Chess Box" collects every hit the Wolf ever had, as well as B-sides, album tracks, rare acoustic solo performances, and a few short interview snippets. The only thing that could have made this collection any better would have been a fourth CD of live tracks.
The first CD collects Wolf's singles from 1951-1955, including the up-tempo, R&B-styled "Mr Highway Man" (excellent piano playing by Albert Williams), the Charley Patton-classic "Saddle My Pony", a remake of John Lee 'Sonny Boy' Williamson's "Bluebird" (oddly credited to John Lee Hooker), the classics "Evil" and "Forty-Four", and the harp-driven "Just My Kind".

The first fifteen songs feature Wolf's original lead guitarist Willie Johnson, after which Lee Cooper takes over.
Johnson's aggressive, fiery guitar playing suited Wolf's songs perfectly, and he was surrounded by a slew of excellent blues pianists, from Ike Turner to L.C. Hubert, but around 1955 a more fixed band constellation started to take form, featuring bassist, arranger and composer Willie Dixon, and a fabulous young guitar player, Hubert Sumlin, who would stay with the Wolf right up until his death, and who became an idol for guitar players like Eric Clapton and Jimmy Page.

Disc 2 is even better, mixing Wolf's originals with Willie Dixon's more contemporary compositions. Highlights include the all-time blues classic "Smokestack Lightnin'", composed by the Wolf himself, and featuring some of his best harp playing, as well as axe-men Hubert Sumlin and Willie Johnson playing side by side (one of only two side where they appear together).
And then there's Wolf's sublime take on Tommy Johnson's awesome "I Asked Her For Water (she brought me gasoline)", Dixon's "I Ain't Superstitious", "Shake For Me", "The Red Rooster", "Howlin' For My Darling" and "Down In The Bottom", and the classic "Sitting On Top Of The World". The supremely catchy "(Meet Me) Down In The Bottom" features Johnny Johnson on piano and Jimmy Rogers on guitar, but it's Wolf himself playing the fills and the main slide guitar riff heard during the intro and the instrumental break, and he plays as well on "The Red Rooster", "You'll Be Mine" and several other tracks.

Disc 3 opens with one of Willie Dixon's best compositions for Wolf, the up-tempo, almost blues-rock-like "Hidden Charms". Backed by two sax players, Donald Hankins and Elmore James' saxist J.T. Brown, Hubert Sumlin plays some of his greatest lead guitar, and many consider his 18-bar solo the best guitar solo ever recorded.

Dixon's other contributions, the silly "Three Hundred Pounds Of Joy" and "Built For Comfort", are almost novelty songs, but the superb arrangement makes them work.

And the rest of the disc features mainly Wolf's own songs, plus a powerful rendition of "Dust My Broom", and a 1970 recording of "The Red Rooster" featuring Eric Clapton, Bill Wyman, Charlie Watts and Stevie Winwood.
The sax-augumented "Love Me Darlin'" rolls along like a steam train, creating a magnificent groove, and Wolf's gravelly vocals on "I Walked From Dallas" and the awesome "New Crawling King Snake" must be heard to be believed.

CD 3 also includes two interesting acoustic solo performances, as well as the funky "My Mind Is Ramblin'" and "My Country Sugar Mama" (fine harp playing by the Wolf), and the menacing "Commit A Crime".

But the best song on the disc (and probably the best song of Wolf's career) is without a doubt the magnificent "Killing Floor", Howlin' Wolf's own composition and one of the defining classics of electric Chicago blues.
It opens with a supremely catchy guitar riff from Hubert Sumlin (Buddy Guy is playing the acoustic slap-back rhythm guitar), and the two-sax horn section of Arnold Rogers and Donald Hankins plays soul-revue stabs. And when the mighty Wolf finally opens his mouth it becomes clear that though Led Zeppelin and Jimi Hendrix may have nicked the riff, the song itself belongs forever to the Howlin' Wolf, and those who dare try to cover it do so at their peril.

An essential addition to any serious collection of electric blues.

A must for true blue Blues fans
This is an excellent set. It covers a wide range of time and includes a diverse group of accompanyists. Howlin' Wolf is one of the great Blues Men. The booklet is really helpful in learning the history of the man and his music. I highly recommend the boxed set.

Will keep you Howlin at the moon all night!
Essential for any blues fan..... ... Read more

Amazon.com essential recording

This visceral live recording from April 1, 1980, was broadcast on radio from the Steamboat 1874 club in Stevie Ray Vaughan's adopted hometown, Austin, Texas. It circulated among collectors, and his manager used some of the tape as a demo before Vaughan was signed to Epic Records by John Hammond. Young Stevie Ray's performance bristles with uncorked energy. Vaughan is caught improvising on raw slide guitar, growling through Otis Rush's "All Your Love (I Miss Loving)," and pushing his fretboard speed and vocal limits on Guitar Slim's "They Call Me Guitar Hurricane." Also offered are unpolished versions of tunes that became fan favorites: "Tin Pan Alley," "Love Struck Baby," and "Tell Me." --Ted Drozdowski ... Read more

Reviews (31)

"Stevie-Rave-On"
This 1980 radio broadcast of the 25-year old Stevie Vaughan (not yet known as Stevie Ray) and his band was only released two years after his death in 1990.
It features Vaughan, drummer Chris Layton and then-bassist Jackie Newhouse tearing through a nine-song set with youthful enthusiasm....three of the songs, including the smoking Elmore James-inspired slide guitar instrumental "Slide Thing", are Stevie Ray Vaughan-originals, the rest are cover versions of classic blues and R&B tunes.

Stevie Ray does a funky rendition of Eddie "Guitar Slim" Jones' "They Call Me Guitar Hurricane", a supremely groovy "All Your Love (I Miss Loving)" (the Otis Rush classic) with some excellent syncopated drumming by Chris Layton, and a very good and very mature take on the slow blues "Tin Pan Alley".

His vocal prowess doesn't quite match that of Elmore James or Howlin' Wolf, obviously, but Stevie Ray still manages to pull off a fine performance of Wolf's "Tell Me", and he and the band swing mightily on Willie Dixon's "Shake For Me", proving (if proof was needed) that Vaughan actually had a powerful and often underrated singing voice.

And you get to hear early versions of his own "Love Struck Baby", the opening track on his debut album three years later, and the wonderful, swinging blues-rocker "I'm Cryin'", which was called "Live Another Day" back in 1980, after the line "(If) I can't love my baby / I can't live another day".

This is a really, really good "live in the studio" album, with only a few SRV originals, but featuring some well-chosen and masterfully executed cover songs. A very worthy addition to Stevie Ray Vaughan's catalogue.

Raw
"In the Beginning" is one of Stevie Vaughan's first recordings from 1980. It was before he used his middle name, and Double Trouble was Chris Layton and Jackie Newhouse who would later be replaced by Tommy Shannon. Stevie's sound is in metamorphosis to what would eventually be heard on the "Texas Flood" album. Here he is raw and full of power, quick and on the verge of moving into stardom. Even in his mid-twenties, Stevie had a presence on the stage, and you can hear his larger than life sound in this early recording.

He opens with the powerful "In the Open", a loud and fast guitar workout. You can hear the ease as he moves around the guitar in the instrumental piece. The notes drip from his fretboard. Moving straight into "Slide Thing" he plays with a slide across the strings in another instrumental track. Definitely a cool piece. A few of his standards appear here for the first time, like "Love Struck Baby" his jump blues which opens "Texas Flood", a tad faster played live. "I'm Crying" closes this album under the title of "Live Another Day". The star of this concert is the heartfelt "Tin Pan Alley", which is full of signature Stevie licks and his powerful blues voice. He would record this later as "Roughest Place In Town" on "Couldn't Stand the Weather". This raw version is a must have for any Stevie fan. Another great cut is a cover of Otis Rush's "All Your Love I Miss Loving."

"In the Beginning" is aptly named for we hear Stevie at the beginning of his recording career. This is him before the record deals, just an Austin local bending strings and playing the blues on the verge of stardom. He's not quite refined here, but his sound is raw and powerful, and you can already hear how special of a performer his is. No Stevie fan's collection is complete without this early live recording.

One of Fender Stratocaster's Greatest Moments
This is the stuff that legends are made of. A young gun calling himself "Stevie Vaughn" steps out onto the stage with a bass player, a drummer, and a '59 Stratocaster and within an hour blues music is changed forever. This live radio broadcast's recording quality is marginal and several of the original tracks are missing, but even so, nothing and I mean nothing can detract from the smokin energy, sheer talent, tight vibe and raw emotion of Vaughn's performance on this CD.

Only four stars because it is incomplete!
SRV played more than nine songs the night this was recorded. Lets hope the powers that be will come to their senses and give the fans the complete performance that SRV made that night.

As far as the music included on this cd goes, it is spectacular. Tin Pan Alley is an instant classic off this cd, as well as the cover of All Your Love (I Miss Loving). This live set is far superior to the Live Alive cd. If you like live SRV, pick up Live At Montreux for more stellar guitar work from the "master".

SRV, I wish you were still around man. RIP. Thanks for the great music and inspiration you gave us all!!!!

Stevie is awesome.
Although I don't listen to a ton of blues, I do enjoy the genre. A friend got me completely hooked on Stevie and it started with borrowing this CD. The first two tracks are spectacular! I had never heard guitar playing like that before. Stevie Ray is the best blues guitarist ever in my opinion, and undoubtedly one of the best guitar players of all time period. He poured more heart and soul into his shows than I have ever seen. The rest of the songs on this cd are all pretty good, but the first 2 make it great. Especially good for a live CD. This is great for any fan of the genre, of great guitar playing, or of great music in general. It gets a solid 89 percent. ... Read more

Amazon.com

The premise behind this compilation is somewhat unusual: classic tracks, yes, but classic tracks recorded by John Lee Hooker... and friends. Charles Brown, Eric Clapton, Ry Cooder, Los Lobos, and Bonnie Raitt are only some of the performers who appear here, and the tracks, selected from recordings made by the prolific guitarist since 1988, show that Hooker hasn't lost his touch. Among the highlights, there's a smokin' duet with Raitt on "I'm in the Mood," a rendition of "Boom Boom" with a guest appearance from Jimmie Vaughan, and a reprise of Hooker's 1956 hit "Dimples" with Los Lobos backing up. Mention must also be made of the lone solo track on this CD, the acoustic "Tupelo," which hearkens to Hooker's Delta blues roots. There are also three previously unreleased tracks, which are probably the real reason to get this compilation. --Genevieve Williams ... Read more

Reviews (13)

Simply said, this album is a must-have for all Hooker fans.
Blues fans will be pleasantly surprised by this recording pairing the master himself with some of the finest musicians alive today. Special mention should be made of "I Cover the Waterfront" and "Don't Look Back" which feature the soulful voice and guitar of Van Morrison, as well as the familiar touch of Carlos Santana in "The Healer". Last, but certainly not least, adorers of Bonnie Raitt will love the playful duet she and Hooker provide in "I'm in the Mood".

BUY THIS CD, lower the lights, crank up the volume, and be swept away. You won't regret it.

A bluesmaster!
The photos of John Lee Hooker,at the booklet inside this cd,show us how old is this man,but no doubtly,his musics are still one of the most beautiful things at the modern blues. This album is marvellous in all the ways.The participation of artists such,Bonnie Raitt,Van Morrison,Ben Harper,Eric Clapton....is a great gift for John Lee Hooker,and all of the bluesfans! The voice of John Lee,is pure,fantastic,and .... eternally!

"Blues"
This 1998 compilation draws from John Lee Hooker's guest star-heavy Virgin/Point Blank albums, mostly ignoring the solid Hooker-songs in favour of the attention-grabbing, star-studded duets featuring Robert Cray, Bonnie Raitt, Eric Clapton, Jimmie Vaughan, Los Lobos (!) etc.

Almost all the duets from "The Healer", "Boom Boom" and "Mr Lucky" are here, the good one ("I Cover The Waterfront" with Van Morrison) and all the mediocre ones.
John Lee Hooker's original versions of these songs are almost all significantly better than these overblown re-recordings, which means (as Stephen Thomas Erlewine said in his review) that this disc is primarily for listeners who like to think they like Hooker, but really just want to hear Eric Clapton wail away.

Super CD
Absolutely a gem no doubt about it. You will not go wrong with this cd.

Some Blues Greatness Here
If you love the electric blues and blues slide guitar, this is a must-have album for your collection. Many of the songs are instantly recognizable blues patterns that have set the style for generations of blues and rock superstars. John Lee Hooker is on a par with B.B. King, Robert Johnson and other classic great blues artists. The repertoire of session musicians from the likes of Carlos Santana, Jimmy Vaughn, Bonnie Raitt, and Eric Clapton are not to be missed. John Lee Hooker set a blues standard - get this album. ... Read more

Amazon.com

The blues world lost a treasure when Luther Allison died in 1997, just as he was finally garnering the recognition he so richly deserved. If there's any question of that, this live album, recorded at the 1995 Chicago Blues Festival and at Buddy Guy's Legends, will dispel any such notion. A performer and songwriter of the first order, Allison had the sort of mastery of his instrument that comes from long experience; whether rolling off licks on the "Gambler's Blues/Sweet Little Angel" medley, or playing extended solos on "All the King's Horses," Allison's on the ball and in control at all times. This album contains mostly newer material previously recorded for Alligator Records, like "Soul Fixin' Man," "Bad Love," "All the King's Horses," and "What Have I Done Wrong?" Overall, this is an excellent memorial to a musician who should be remembered. --Genevieve Williams ... Read more

Reviews (27)

Luther Live @ Chicago Blues Fest
Bluesman Luther Allison grew up on Chicago's west side, learning his chops from such legends as Freddy King, Muddy Waters, Howlin' Wolf and Magic Sam. After several successful records with Delmark and Motown, Allison moved his base of operations to Paris in the early 1980's, and from there he toured and recorded extensively, becoming a blues favorite to European audiences.

Absent from the American blues scene for many years, Allison crossed the Atlantic in 1994 to retake stateside audiences by storm and promote his then-new Alligator Records release, "Soul Fixin' Man." I was one of the lucky ones in the audience when Luther rocked the house @ Buddy Guy's Legends. I was a freelance writer at that time, and my notes of that gig read something like this:

"Around 9:45pm on Friday June 10th, seismic monitoring stations as far south as Joplin, Missouri reported tremors registering as high as 5.1 on the Richter Scale. Small boats on Lake Michigan were swamped by huge waves....politicians, fearing that The End had come, repented and gave spontaneous confessions of perfidy to tabloid reporters....Christians fell to their knees and praised God, shouting "The Rapture is here!"....others cowered like dogs and wept bitterly, knowing themselves damned....and fearing a massive rupture along the New Madrid fault line, the National Guards of Illinois, Iowa and Missouri were nearly mobilized before anyone realized -- it was just Luther Allison tuning up."

It was wall to wall and floor to rafter with stone-drunk blues fans (most of which still hadn't sobered up from the Bluesfest) when Allison and his wrecking crew took the stage, playing with total abandon and whipping the house into a frenzy with two sets that were marked by long winding solos and incendiary guitar work. The fact that Legends still stands after Allison's earth-shaking performance is some kind of tribute to Chicago building codes.

Sitting at the bar taking it all in were Buddy Guy and the father-son double whammy of Lonnie & Ronnie Brooks. There was much speculation in the crowd that one or more might join Allison onstage, but such hopes never materialized -- and Luther didn't seem to need any help anyway, except maybe someone to hose him down every half hour or so.

All too soon, the lights went up, the band stepped down and all that was left to do was to go outside and watch an unidentified taxi driver hose down several panhandlers with a super-soaker watergun....I walked to the bus stop, feeling the last rumbling echoes fade, knowing that, for sure, I had been in the presence of greatness.

This is Luther Allison live, in his element, at the very height of his considerable talent. This recording belongs in any serious blues collection.

God I miss this man!
I can't believe this man is gone. We are fortunate he left us with Live In Chicago. As said in another review, Luther Allison is Blues....he's Rock and Roll...he's Funk...he's Soul. But beyond all else he wraps these all in an unequaled energy and passion. The two performances are quite different due to the venues. He was a master at adapting to the space. The disc from the Chicago Blues Festival is more wide open, the second at Buddy Guy's is more soulful, pointed at reaching deep into his audience. I must second a comment made in a prior review...you will be haunted by the power of Luther Allison. Over the years I never missed a chance to see him live. We'll never be able to see him again...but Live In Chicago is a marvelous set of memories of this masterful artist. I salute the Alligator Records people for bringing it to us.

I Blew My Speakers Listening to Luther !!!!!!!!!!!!!!!!!!!
I'm gonna make this short, I own thousands of cd's and have seen hundreds of live performances over the last 30+ years so I feel qualified to make this statement, Disc One of this 2 cd set is the greatest live performance I have ever heard! I have no doubt about it. Everytime I listen I am reminded of his greatness. Listen to how intense he does "Cherry Red Wine", I just wish I could have been there. Does anyone have a video of this?

One of a Kind!
Luther Allison is one of a kind! You can literally feel the passion Allison put into this perfomance. Solo's like the one in Cherry Red Wine are hard to come by. Allison melts the frets away during this solo. This live performance in Chicago is unique and certainly worth getting. For any Blues, Jazz and Rock fan or any person that appreciates fine music this is a must have for your collection

Wish I was there.
As a blues fan and guitar player I'm constantly looking for CD's to provide inspiration and listening enjoyment, this live performance would bring tears of joy to Hendrix! The tone is great and Luthers fingers are flying, we've lost one of the greats. Number 1 in my collection. ... Read more