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Until this album was released in 1978, Albert Collins hadbeen a journeymanTexas bluesman, little known and unrecorded for six years. Hisguitar playinghere won him a new generation of fans, and set the stage for thepopularity heenjoyed until his death. His clustered, sustained, choked, andbent notes,played with his thumb and fingers, set a generation of pickersagog. The tonewas piercing; the timing impeccable. Collins' vocals were neverquite asstrong, but it scarcely mattered as he was the man for whom theelectricguitar might have been invented. The eight songs on this setinclude "When theWelfare Turns Its Back on You," and several jaw-droppinginstrumentals.--Colin Escott ... Read more

Reviews (13)

A Blues Master
Albert Collins was one of the most unique blues pickers to grace the stage. Tuning his guitar to alternate tunings and using a capo, he would walk around the bar with his 100-foot cord wandering into the bathrooms, out on the street, around the bar playing the blues all the while. He mixes his blues up playing soft, slow blues, and powerful instrumentals. Sometimes his topics are serious, other times his humor comes through. Collins was quite the entertainer.

Although "Ice Pickin'" is a short album, it is jammed with the blues over eight tracks. In such a short amount of time, Collins covers a lot of ground. From his upbeat "Honey, Hush!" to making his guitar talk the argument between him and his wife on "Conversation with Collins" it is nothing but enjoyable. He shines with instrumentals like "Ice Pick" and "Avalanche". His phrasing is like talking. Never to many words, and he can get his point across with hardly any effort. Humor shows through in "Too Tired", where he's too tired to stand after sitting on a pin, and "Master Charge". He also gets heavy on "When the Welfare Turns Its Back On You" and "Cold, Cold Feeling".

A definite master of the guitar, and the blues. He has entertained many a people over his life. As he said in the movie "Adventures In Babysitting" - No one leaves until they sing the blues. He sure did.

The Master of the Telecaster in Fine Form
When people refer to the late Albert Collins as the "Master of the Telecaster", it's for a good reason. The Texas bluesman was known for the unique, instantly recognizable sound he wrung out of his guitar. Playing a specially tuned Fender Telecaster with his bare fingers instead of a pick, Albert got a sound that was dynamic and powerful, yet never lacking in soul. He could shake the walls playing a driving shuffle or send chills up your spine with a gut wrenching slow blues. His backup band, the Icebreakers, always provided exceptionally tight accompaniment. Until his untimely death of lung cancer in 1993, Albert was one of the most in demand performers on the contemporary blues scene.

"Ice Pickin'" is Albert Collins' first recording for Alligator records, and finds Albert and his band in fine form. The CD kicks off with the up-tempo shuffle "Honey Hush", a showcase for Albert's guitar and wry vocals. The band slips into a low-down groove for the powerful slow blues "When the Welfare Turns its Back on You." On this tune Albert shares solo space with Chicago sax man AC Reed, and is backed by a soulful horn section. The horns return in the next track, a funky instrumental groove called "Ice Pick." "Cold, Cold Feeling" is a mournful minor key blues that gives Albert plenty of room to stretch out on guitar, and showcases some of his most soulful singing. "Master Charge" is a modern day blues classic, featuring a funky rhythm section and tongue in cheek lyrics about the dangers of credit card debt. "Conversation With Collins" displays a similar tongue in cheek attitude, as Albert tells amusing tales of his domestic life with musical accompaniment. The disc concludes with the driving instrumental shuffle "Avalanche", another showcase for Albert's no-holds-barred guitar playing.

With its spectacular guitar work, tight rhythm section and soulful horn arrangements, "Ice Pickin'" is a contemporary blues masterpiece. After listening to this CD, you just may find yourself wanting to hear more of the Master of the Telecaster at work. "Frostbite", "Live in Japan", and "Showdown" (with Johnny Copeland and Robert Cray) were all recorded for the Alligator label, and feature Albert at his best.

Can't beat this one
Here you have one of the classic electric blues guitar albums with a great selection of tracks that can't be beat.

One thing that often doesn't get discussed in these reviews is what setting the music is good for. After all, unless we are professional critics, we don't often have time to just sit down and listen to a CD. This one is good for doing housework, driving to work, late night listening, eating breakfast to, working in the yard, just about anything. If you like blues, you can't go wrong with it.

Ice Age
I miss the Iceman. He was as funny as he was a serious musician. His sound was telicious.

You Just Gotta Laugh
Ice Pickin' is far and away the most enjoyable blues disc in my collection. Albert Collins brings an attitude and sense of humor to this record that I have not heard in any other blues recording.

The subject matter is all too familiar for a blues record: woman trouble, money trouble and just plain trouble. However, in songs like "Master Charge" Albert sits back and says, you just gotta laugh.

The guitar work is central to each track, with Albert letting his fingers tell the finer points of each story. The highlight of the record is the hilarious, "Conversations with Collins," where Albert tells the guys what happens when he decides to be a nice husband and let his wife have a night out on the town.

Great Blues and Great Fun. ... Read more

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B.B. King, probably the most celebrated living blues player, has come a long way from Itta Bena, Mississippi, and this CD illustrates just how far. A series of guest shots by such artists as Van Morrison, Tracy Chapman, Eric Clapton, Mick Hucknall, Bonnie Raitt, Dr. John, Joe Cocker, Marty Stuart, the Rolling Stones, and Willie Nelson, Deuces Wild is far removed from the blues King played in the '40s and '50s. It's more like psychodrama, especially in the case of the Cocker track, "Dangerous Mood." Nobody here, celebrity notwithstanding, is just going through the motions. The album's crass concept is redeemed by, among others, drummers Steve Jordan, Jim Keltner, and Charlie Watts. Although it's an overblown international project with no affinity for the meaning of the blues, the players and their love for the music triumph. --Stanley Booth ... Read more

Reviews (27)

Do yourself a favor and buy this album
If you like blues, B.B. or any of the artists on this CD, you gotta have this one. On a B.B. CD you usually don't have anyone to compare him to. Now listen here and understand why he is the King of the blues singers. Everybody is great but only Joe Cocker really comes up to his level. Great duet with Dionne Warwick on "Hummingbird" which B.B. recorded years ago. Check out B.B. next to Clapton, Jagger, Richards, Mick Hucknell, etc. etc. etc...get those credit cards out now!!!

A royal flush
B.B. King got to be the King of the Blues for a good reason. He is a phenomenal blues guitarist and a great vocalist to boot. Then you add an incredible presence and charisma and you get the man who is called King. No slight is intended toward Freddie King or Albert King but B.B. is the true king of the blues. This album is filled with great tracks. Paying the Cost to Be the Boss (featuring the Rolling Stones) is one of the highlights for me. I also like the duet of The Thrill is Gone with Tracy Chapman. Bonnie Raitt who also did a fantastic duet with John Lee Hooker in the late 80s shines on Baby I Love You. I could go on forever about what B.B. King means to me but it would take too long. Just do yourself a favor and buy this CD. This is a great celebration of a true American icon.

A blues master having fun with some friends
A few years ago, before I moved to Minneapolis, I was in town visiting a friend and was having a hard time finding my way back to his house at night. Because I was trying to find the correct street that lead to the freeway I was having problems concentrating on the radio, so I gave up and left it the radio on the next station to come up on seek. It happened to be the local blues station playing "The Thrill is Gone" by B.B. King and Tracy Chapman (from this album), and a few seconds later the blues had a new fan.

With one or two exceptions, the entire album is great.

Highly Recommended!

Tried to hate it, ended up loving it.
Okay folks . . . take it from me. Buy this album. But please promise me to buy another couple of albums if you like this one, okay?

I don't care if you've new to the blues, have never before heard a BB King song before, or have never seen BB King in concert. This is perhaps the best introduction to the blues as you'll ever hear. From the Rolling Stones to Heavy D, there's something for everybody.

Typically the phrase "something for everybody" means lukewarm acceptance across a wide range of genres. I tried so hard to hate this album, but I just can't help loving it. Every artist here really sounds like they're pouring their best into the recording.

I defy you to tell me Bonnie's not leaning back and gritting her teeth when she plays slide guitar. Tell me that Heavy D wasn't breaking more than his usual room-temperature sweat when BB kicks the track back to him. My money's on Mick Jagger wishing he had some of Keith's alcohol-sodden blood running in his veins when the first few riffs of BB's guitar hits back harder than Mick expected.

Now that you've listened to it, go buy Blues on the Bayou. Then buy a Susan Tedeschi album. Grab some Little Milton too. Oh, and it wouldn't hurt at all to round it out with some Albert King, Ronnie Earl, and maybe some Johnny Lang or Kenny Wayne Shepherd if you're feeling spunky. But overall, shame on you if you don't have any John Lee Hooker!

B.B. King performs some of his best with other greats
This is an outstanding CD. One of my all time favorites! "The Thrill is Gone" with Tracy Chapman...amazing. "Baby I Love You" with Bonny Rait...amazing. "If I Love You" with Van Morrison...amazing. If you like the King at all, check this one out. ... Read more

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Sonny Landreth is a special guitarist. He has combined the idiosyncratic rhythms of his home state, Louisiana, with the intricate finger-picking of Chet Atkins, and the blues-rock slide of Duane Allman, into a distinctive style entirely his own. When he was backing up John Hiatt, John Mayall, or Beausoleil, his astonishing guitar licks were all Landreth needed, but now, as a bandleader himself, he has to rely on his songwriting and singing skills, which are considerably less impressive. On his 1996 solo album, South of I-10, Landreth does his best job yet in shoring up his weaknesses and showcasing his strengths. Landreth's best-known composition, a 1985 tribute to New Orleans called "Congo Square," has been recorded by Mayall, the Neville Brothers, Tom Principato, and Landreth himself, who re-records it for this album with help from guitarist Mark Knopfler and pianist Allen Toussaint. Landreth's vocal is much better this time, sticking close to the notes and timbres he can control and staying away from those he can't. With the help of his guest soloists and his producer R.S. Field (Webb Wilder), Landreth has his voice set the scene and then lets his guitar provide the eloquence. The new album features similar tributes to the music and weather of Louisiana: the title track, "Cajun Waltz," "Mojo Boogie," "C'est Chaud," and "Great Gulf Wind." These simple reflections of subjects close at hand are far more successful than Landreth's attempts at poetry and sweeping commentary. Most successful of all are Landreth's dazzling guitar fills and solos that express far more than his voice ever could. --Geoffrey Himes ... Read more

Reviews (9)

I liked about half of it
I don't know why everyone (but me), is giving this album 5 stars. There's a lot of junk on the CD. Tracks 4,6,8,11 and the hidden track 12 have no energy and very little guitar.

Try The Road We're On instead.

START WITH THIS CD!
You'll want 'em all. "Shootin for the Moon" starts it off with a little vocal assistance from none other than Mark Knopfler. (He sits in with Sonny on Creole Angel...) I just witnessed Sonny perform in Fort Smith, He encored with "Congo Square" and we were screaming "Don't go, Sonny!!! Please don't go!!!" He is even better live (if that is possible) than on the CD. What a band too! EXCELLENT 3-Piece band. He ends the CD with a spiritual beauty of a song "Great Gulf Wind"... Being a Southerner and having lived in South Louisiana, I can identify with many of the lyrics. If you haven't... his music will take you there. Simply AWESOME 10+++++++!!!!!

Take a trip south
Get out your road atlas and take a look at Louisiana south of I-10. I-10 runs through the great city of New Orleans and the state capital of Baton Rouge. South of there is the land of Cajun and Creole, a land of swamps, bayous and moss hanging thick from trees, and air that is so heavy with humidity that it can be cut with a knife.

To hear what it sounds like slip Sonny Landreth's disc South of I-10 into your cd player and prepare. Shooting for the Moon blasts out at you with a propulsive beat. This powerful song is just the beginning of the extent of Landreth's ability as a singer, songwriter and guitarist.

Creole Angel jumps out at you with a zydeco beat. Mark Knopfler assists on guitar as Sonny sings:

Bottle rocket combo got a corner on the crowd
Under her old balcony above a bar called
The Blat Cat Prowl
Sets off memories how she laughed every time
I'd break her silence with a piece of my mind

When Native Son begins, you know this is like nothing you have ever heard before. This is rollicking riotous music with a zydeco beat. Native Son is an infectious instrumental which showcases Landreth's unique slide guitar style. You can hear sliding and ringing and when checking the instruments on this song there is only the guitar the bases and the drums. It sounds like so much more.

While there is not a throw-away song on this cd Congo Square is the most commanding. It is a mesmerizing song from the first note. Congo Square takes the listener to the heart of voodoo land. As Landreth says "It might be superstition." who is going to take a chance.

Sonny Landreth is a "musician's musician", a singer/ songwirter/ guitarist who was born in 1951 and has worked professionally since being hired by zydeco bandleader Clifton Chenier in 1970. Landreth has a well established career as a sessions guitarist performing with such diverse performers, as John Hiatt, Mark Knopfler, Kenny Loggins, John Mayall, Junior wells, Clarence Gatemouth Brown and Dolly Parton. As a solo performer he has come into his own and is producing music that defies classification.

As a songwriter Sonny Landreth is serious about developing his art. He notes that his influences are both southern writers and bluesmen. He claims William Faulkner as one of his influences along with noted bluesmen, Robert Johnson, Charlie Patton, Skip James and Mississippi John Hurt.

Landreth is an incredible talent who produces music like no other artist. South of I-10 is a wonderful example of the kind of his music. Take a listen to it, you'll find yourself longing to take a trip south.

...only because SIX stars isn't an option!
Okay, if you got to this page then you obviously have at least some interest in Sonny Landreth. Here are four easy steps to follow: (1) Ignore the 'Editorial Reviews' drivel about his weaknesses (2) Listen to the sample of "Native Stepson" (3) Listen to the sample of "C'Est Chaud" (4) Quit wasting time, and order this album.

I first heard "South of I-10" in late 1994 (about a month before its January '95 release) when I happened on a pre-release review copy. I had heard of Sonny Landreth a few times before, notably on John Hiatt's "Slow Turning" and Kenny Loggins' "Outside:From the Redwoods". None of that admirable session work prepared me for what I heard on this album. There are plenty of good slide guitarists in the world, and there are lots of good Cajun musicians, but nobody puts those two things together like Sonny Landreth does.

I defy you to get through the first three tracks of this album without becoming a Sonny Landreth fan. The songs are well written, and fire the imagination from the first notes. As a guitarist, Landreth's style is truly unique, and his instrumental breaks overflow with virtuosity and inventiveness. Slide guitar work suddenly gives way to fabulous picking, and then flows seamlessly back into slide. By the time you hear the instrumental "Native Stepson" you'll be convinced that the album just can't get any better. And you'll be wrong.

So go back to the four steps listed above, and get to step four right away. By the time you've heard this album once or twice you'll even be ready for step five: Order Sonny Landreth's newest album, "Levee Town". Then you'll be ready for many long arguments with yourself over which album is better.

Ah, to be home again....
If I had the opportunity to introduce people to Louisiana music, there are definitely artists that would be on the top of the list, Sonny is one. My friends and I refer to him as "the Mad Wizard of the slide guitar". He makes us realize what a rich abundance of talent we have around our hometown (Lafayette, La.). Sonny Landreth blows the doors off. I can remember seeing him perform at the Grant St. Dancehall in Lafayette and just being in awe of his talent. I hope to return to Lafayette (permenantly) in the next year or two and look forward to joining Sonny in the ranks of influential local musicians. Sonny, if you need a bassist after August of 2001, I'll be more than happy to oblige. ... Read more

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Buddy Guy's greatest album is also his debut full-length session as a leader. "One Room Country Shack," "Mary Had a Little Lamb" (a Stevie Ray Vaughan favorite), "Sweet Little Angel," and "Worry, Worry" are defining songs, full of high-wire vocal dynamics and guitar work of almost balletic poise. The tone of Guy's 1957 Fender six-string remains the benchmark for nearly every blues player who's since hefted a Stratocaster. This CD is as tasteful and dramatic as Guy's 1990s performances are brash and assaultive. Producer Samuel Charters, the noted blues historian, caught Guy just as he was emerging from the shadow of B.B. King and Muddy Waters, and provided an excellent cast of supporting musicians, including the underrated guitar genius Wayne Bennett, gritty piano virtuoso Otis Spann, and Muddy's redoubtable drummer Fred Below. The results are blues perfection. --Ted Drozdowski ... Read more

Reviews (4)

The music is probably 4 .5 stars BUT....
...The production leaves a lot to be desired. Im a big fan of the production on mid 60's to mid 70's recordings, but although my version of this album is remastered, somebody must have forgotten to mic the drummer!

Normally you get drums of a reasonable volume in one speaker (and bass in the other) in records recorded around this time, which is no big problem. However the drums (which are only present in the right speaker) are so quietly recorded that the rhythm of all of the songs is lost.
Fred drums like a funky mutha on Mary Had a Little Lamb, but it's barely audible.
Another reviewer suggests that the tracks were recorded before 68, so perhaps thats part of the problem. However when you listen to, say Hoodoo Man Blues, which was recorded with Buddy and Junior in 1965 you'll notice that the sound quality is very good in comparison.

My feeling is that this album was just badly produced and was probably mixed down on a four track recorder, so the remastering couldnt bring the drums out in the mix....

I just want to warn others of this flaw, because for me it almost ruins the album. On a positive note, I use the word almost, because the band are first class, as is the music.

This album should be a classic. Many consider it to be, and musically they're correct. But it makes for a dissapointing listen to my ears. Get something else by Buddy, preferably with Junior Wells, as all their recordings are of far superior quality to this.In fact the Vangaurd recordings Buddy did are all a bit lacking in dynamics.

If youre a guitar student though, you'll find much on here to enjoy, as the guitar rings loud and clear throughout and has a much cleaner tone than the later recordings.

A Man and the Blues... In Full
This album does a bunch of things. It is perhaps the seminal work of what musicologists call "second-generation Chicago blues." This is the blues form which remains the template for most popular blues produced today. In these performances, Mr. Guy alloys soul and rock figures with the Chicago blues vernacular. As a result, his album released blues to a truly pan-racial and cross-generational following. Most had never witnessed real blues music before. Mr. Guy's fret-board work illustrates the liquid tone possible from that pre-eminent electric guitar, the Fender Stratocaster. His technique transducts the passions of his elders uncorrupted. We hear them today from the hands of hundreds of young guitarists. This is the record that certified Buddy Guy's career. He is arguably the most original blues performer alive.

For some listeners this album has been something of a millstone around Mr. Guy's neck. His successive albums never reached the elegance of this one. Need they? Today, thirty-five years afterwards, blues production values have evolved. Mr. Guy's blues are evolving too. His 2001 release "Sweet Tea" blends the sensibilities of rap and alternative with the newly fashionable product called "electric Delta." "Sweet Tea" hasn't the irreducible beauty of "A Man and the Blues." Yet it does show Buddy Guy's intensity as synthesist and artist little diminished.

Some would eject Bach or Mozart into space for other civilizations to evaluate us with. I'd send "A Man and the Blues."

Buddy Guy with the frenzied funked up Blues!
Buddy Guy at the Beginning of the Frenzied, no restraints playing and singing which his true fans enjoy! He is on fire here! Play him over and over at The Crazy Coyote Blues Power Show 1490 KOTY AM Yakima Nation Reservation Radio in south central Washington state.

Great blues album
This is a great album but short. About 38 minutes long. Don't let the release time fool you either. It was made in the mid to late 60's as far as I know and you can tell by the sound quality. It is clear sounding but some of the louder songs sound very compact. This album contributes 4 slow blues tunes. Five of Nine tracks are Guy originals. I have to say that the track called Just Playing My Axe is not as good as I expected and though I can't place it, it sounds exactly like some rock song I have heard. Anyway there is one other guitarist on here named Wayne Bennet but he is only a rythm guitarist and due to the slow blues songs he doesn't seem to show up much. Whether this is a plus or minus for you there are horns but they aren't usually much more than background through out the album. Buddy also covers Jules Taub, Berry Gordy, and the great B.B. King. Sweet little Angel is one of the best Buddy tracks that I've heard. Buddy is very restrained and much more polished on this album than on many others. He doesn't really go ''out there'' Like he normally does but his tasteful leads and solos are still terrific. It's part of the greatness of this album. By the way- the legendary Otis spann plays piano on this album and that is a major contribution, and he compliments Buddy Guy very well. The old tune known as Mary Had a Little Lamb is a Stevie Ray Vaughan favorite and is a light hearted song that shows Buddy being his playful self. One Room Country Shack is a blues classic as well as A Man And The Blues and this is pretty near a perfect recording for it's time period and style. If you like Buddy Guy or if you want a toned down example of this great guitar player and vocalist to fit your tastes, than this is perfect. If you want a harcore version like the one that influenced Stevie Ray Vaughan and Eric Clapton so much- than get Stone Crazy-which is an example of that Buddy Guy style. ... Read more

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Walter Trout is not about tastefulness and subtlety--he is about ferocious intensity, exhilarating speed, and raw energy. This double-disc set (at single-disc price) presents Trout's complete, unedited performance from the March 2000 Tampa Bay Blues Fest (where they say he upstaged headliner Susan Tedeschi), and it is truly a thrilling ride. Running on adrenaline after a sleepless day and night traveling, Trout rolls through heavy blues rockers, slow 12-bars, soulful groovers, and even a Dylan cover. To be sure, this is pure blow-your-mind, "guitar god" kind of stuff that many blues purists may not enjoy. There are definitely times that Trout's incessant over-the-top style becomes slightly tedious, and there's not much in the way of originality, unless you count the fact that few others are even capable of such supersonic licks and unearthly tones. Still, despite the lack of a truly distinctive sound, Trout's ability to consistently fan the flames is amazing, and his voice, while not on a par with his guitar, is passionate and powerful. If you are a fan of pedal-to-the-metal electric blues-rock, few can match Trout in terms of sheer dexterity and drive.--Marc Greilsamer ... Read more

Reviews (33)

Go Walter Go!!
If it wasn't for a stroke of good luck, I would have passed this one by. You see, I was browsing the Amazon blues section one day when I stumbled upon this Walter Trout guy. I decided to ckeck him out, and what I heard just amazed me. Being a lover of many shades of blue for 25 years and I never heard of him. I'm quite embarressed to admit this, but it's true. I have never admitted to being a know it all, but I'm sure I'll go to my grave without hearing all the great music thats out there. Now for the cd. A great guitar player with great credentials and a solid band. This is Walter Trout. This cd delivers all the goods from start to finish. From the very bluesy "The Reason I'm Gone" to a great cover of Dylan's " I Shall Be Released", this guy just hammers away. I'm a little afraid to buy one of his studio cd's because I just can't see anything comming close to this "live" masterpice. Maybe the word masterpiece is a little to strong, but you know what I mean. This is a great cd. And being a double cd at [a great price]..., well you can't go wrong.I'm glad I discovered Walter Trout. Another great cd for my collection.

a guitarist on another level
LIVE TROUT delivers. It comes in full-blast and never lets up. The guitar is beautiful throughout. It goes from fierce to subtle--but it constantly explores. Every song features enough solo work that it boggles the mind. If you want to immerse yourself into the blues-rock world of Walter--sit back and try to comprehend all that his beat-up strat is doing. There is a joy that is evident in this live CD that shines through. If you are to start with one CD from this man--this is the one. He is a road warrior who just keeps getting better. The guitar work is exquisite and the concert is a blast. This double Cd is a steal.

sweet agony of walter trout's blues
for people who love original, tight & coherent, blazin' blues, mr. walter trout is, hands-down, among the front-line best. and what is the test for being the "best"?? being able to write your own stuff & bring it off live, every time. other artists need studio mixes & such stuff but if you got any doubts about Trout, give an ear to his other cd's & you'll know I ain't lyin'.

Over Powering
I first discovered Walter Trout on the Ruf Recording Sampler where his cut "Gotta Broken Heart" appeared. I like the version of this song enough to go ahead and get one of his albums. I purchased "Live Trout" for its price and because live albums are usually full of raw energy which you cannot find on a studio album. I was right about the raw energy. Trout abounds with energy, power, and sheer presence. He's so fast I'm amazed that his strings don't get tangled.

Unfortunately, he bores me. It's great that he can shred with the best of them, but you don't have to fill each second of a song with notes. The times I got into Trout were when he was playing with volume swells and slowing down. Also he does a good cover of Bob Dylan's "I Shall Be Released." Even the beginning of "Serve Me Right to Suffer" is good, but he jumps in with his speed. I believe anyone can play with speed, but speed doesn't say much. Music should be felt, not forced.

I like it when guitarists rock out, but I tend to tread the line a little on the purist side. Trout has a great following and loyal fans and he really can connect to them. I think of him as Blues Heavy Metal, and those who lean more to the King's (B.B., Albert, and Freddie), SRV, Buddy Guy and even Hendrix may find this too heavy to palate.

WALTER- LIVE*****
made the trip from southeastern mass. to fort lauderdale for a weekend blues festival. walter trout turned out to be the highlight of the event(from over 30 performers). see this guy live - you won't regret it. also recommend michael burks. ... Read more

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Another day, another Lightnin' Hopkins collection. It's only to be expected for a musician whose career lasted six decades, and whose recorded output was so profuse (often for several labels simultaneously) that the neophyte is hard pressed to determine which of the many albums, compilations, and box sets to acquire. One could do worse than this collection from Rhino Records, which includes classics such as "Coffee Blues" and "Mojo Hand," and even includes a few songs that aren't to be found on Mojo Hand: The Lightnin' Hopkins Anthology, generally considered the ideal collection for the beginning Hopkins aficionado. While hard-core fans probably have all these songs somewhere in their extensive collections, this CD is ideal for those seeking an introduction to the seminal bluesman. After all, he did help develop Texas blues, played a hand in developing the blues from rural to urban art form, and rode the 1960s folk-blues revival to one of the longest careers in blues history. Covering the 20 years of Hopkins's career between 1941 and 1961, the collection also provides a brief history of the development of the blues over the same period. --Genevieve Williams ... Read more

Reviews (1)

Lightnin' Hopkins Is the Real Deal
It's encouraging to hear contemporary artists like Keb Mo', Robert Cray, and Kenny Wayne Shepherd carry on the blues tradition into the new millennium. However, I'm always drawn back to the originals like Muddy Waters, Elmore James, Howlin' Wolf and of course Lightnin' Hopkins.

This newly packaged collection of songs from Rhino is an excellent companion to Rhino's 1993 anthology Mojo Hand. The Very Best of duplicates seven tracks from that release and focuses on Hopkins' work from 1947 to 1961, but offers enough new material to make this a worthwhile purchase. And with Hopkins' lack of loyalty to any one record label, no fewer than seven different labels are represented on this 16-track collection.

On many of these songs Hopkins performs solo accompanying himself on guitar (and adding piano on "Mighty Crazy"). On a handful of tracks he is backed by a bass player and on "Shotgun Blues," a second guitarist. Only on "Conversation Blues" and "Last Night Blues" is there a full band of bass, drums and harmonica (provided by Sonny Terry) backing Hopkins.

This is an excellent introduction (or addition) for fans of acoustic Texas folk/blues performed by one of the genre's greatest practioners. HIGHLY RECOMMENDED ... Read more

Reviews (13)

Soulful sounding voice
Ruthie Foster has a wonderful, soulful sounding voice. The music is good, too. I wish you would do a Gospel album! I, for one, would buy it instantly. And I bet many others would also.

Great Mix of Blues, Gospel and Rock!
I had never heard of Ruthie Foster until I saw her perform a large selection of cuts from "Runaway Soul". You will be hearing more from them! Ms. Foster has a glorious, soulful voice that is unbelievable. Great songs, music and vocals. Buy it!

emotion evoking style
I had never heard of Ruthie until last nite - saw her on austin city limits . I was blown awayyyyyyyyyyyyyy by her voice and her style....I must have every cd she has and i am spreading the word to everyone --I think she sounds like roberta flack--bonnie raitt and aretha at times. her voice is so smooth and goes on and on in her phrasing.... blows me away..she can hold a note so long it seems unreal--so smooth and delightful to hear.... maybe there is someone I can love as much as I did Ella...God bless you ruthie and get more cd's out --hurry..I love you..

More than your money's worth!
Everyone else has already told you how magnificent Ruthie Foster is, and they are all right. I'm here to tell you about a good deal. You know how it is when you usually buy a CD and there are one or two songs that you really like and the rest is just filler? Well, this CD could be titled "The Best of Ruthie Foster". Every song is a favorite. You'll be getting more than your money's worth with this one!

AS GOOD AS IT GETS!!!!
Saw a rerun of Austin City Limits that Ms. Foster performed on, and fell in love with her deep, heart-felt voice, and the choice of music she performs.....Great mix of blues for those of us that are "dabblers" of appreciation for that style, some have almost a gospel feel, to many songs you hope and wish you were hearing on contemporary music stations now. I ordered Runaway Soul for "Hole in My Pocket", and hope to get all her recordings. Trust me--you won't be disapointed!! ... Read more

Amazon.com

A mainstay of the festival circuit and blues clubs, MarciaBall is acaptivating performer and a one-woman ambassador for the southLouisiana soundshe loves. This, her third Rounder album, dates from 1989. It's amostlyself-composed program that doesn't quite capture thejoy of herlive shows, but comes close at times. Of all the new songs, "The Powerof Love" isbest. It's a beautifully poised performance that grows slowly andinexorablyfrom a two-minute vocal-piano intro. Some of the songs are builtaround themournful swamp-pop chord changes; others around Cajun two-steps.The albumcloses with country star LeRoy Parnell's "Red Hot," which hassince become oneof her show-closers. --Colin Escott ... Read more

Reviews (4)

An excellent early album
On this set, Marcia demonstrates her skills on a variety of songs, beginning with How to carry on, an up-tempo rocker, which sees her attacking the piano in a manner reminiscent of Jerry Lee Lewis. There's nothing else quite like that here, but there is a nice mix of tempos. The mood of the album is generally upbeat.

The power of love is her own song - of course, there have been many songs with this title - I've come across about ten totally different songs. The most famous was the one that was a huge hit all over Europe in the eighties for Jennifer Rush. It was a flop in America, but later became an American hit for Laura Branigan, then in the nineties it became a monster hit for Celine Dion. Marcia's song is not as dramatic, but it is still a great song.

Mama's cooking explains in song why Marcia manages to avoid getting fat - she could eat plenty, but always burn off the excess by dancing the night away. The cover picture provides the proof.

Lee Roy Parnell, who eventually achieved success as a country singer in the nineties, wrote two of the songs but he was unknown at the time this music was recorded. What's a girl to do and Red hot show that he could write great songs.

Marcia's music should appeal to anybody who likes rock music with a touch of blues, particularly fans of Bonnie Raitt.

First rate
This is the best of the cds put out by Marcia Ball and I recommend it highly. The performances on other Ball cds is equally good, but the quality of the songwriting on this one sets it apart from the rest. (I realize 4 stars around here amounts to damning with faint praise, but geez, there ought to be some shades of gray between the ridiculous and the sublime).

energy personified
I've seen her performance live and this CD easily captures all the energy of her live performance. "La ti Da" is "awsome. Probably the most moving (and my #1 fav) cut on the CD is The Power of Love".

Great stuff
I first heard this while painting sets (for a play) late at night after a long day. It was so envigorating that we played it several times. Marcia Ball has so much fun with her songs, whether slow ballads or catchy numbers, that it's impossible not to tap one's foot along with her. Great stuff!! ... Read more

Reviews (17)

WOW!
Apologies to the second reviewer, but the reason it contains no David Porter is because it is the first of three chronological sets, going from 1959 to 1968. Porter had no single sides during that time, so why would you expect him to be on this compilation? This set is GREAT!!! And I doubt there is a better document of gritty southern soul. Price may seem steep, but divide it by the 9 CDs which all have about 70 to 75 minutes of music (and music of exceedingly high claiber) and you'll see that it's actually an amazing bargain. Can't imagine that any fan of R&B or 60s music worth his or her salt doesn't own this box.

A Labor of Love!!!!
If you're going to shell out money for this baby, then be prepared to go all the way. The listening will both elate you and exhaust you as you hear innumerable songs (probably for the first time) that make you go "WOW!" I stopped counting after awhile, but the quality factor here is way over 90%, not bad for a 9 CD set. The one constant here is the GROOVE, engineered by Booker T. and the MG's. If God has a house band, you know it's gotta be these guys (or will be when the other 3 make it there). The late Al Jackson Jr. had a pulse like no other drummer you will ever hear, and if you only listen to this set for the drumming, then it's still the wisest investment you'll ever make. Go to your bank if you have to, but get ahold of this monument to great music. Your soul will thank you!!!

AN EDUCATION IN SOUL MUSIC 101
I bought this set originally as individual CD's but thankfully was able to trade them in once I found out it had been boxed and got it with the Atlantic 8 CD box. They complement each other quite well with very minimal repition between the two sets. Originally this Stax/Volt set was released as a LP Sized box set with an appropriately sized booklet, so my review is based on that format. This set contains all of the Stax/Volt single "A" sides and key "B" sides to boot between the years 1959 and 1968 when Stax/Volt & Atlantic parted ways. The book is extremely informative, with great colour photos of original labels and the artists in question. I'm assuming it has maintained the same level of thoroughness in it's smaller format judging by the photo above. Like the Atlantic box this is an essential collection that serious music collectors should have and an incredible education on the roots of black soul music. Being Australian I hadn't heard 95% of this or the Atlantic stuff before with the odd Otis Redding, Booket T. & The MG's & Sam And Dave tracks reaching the airwaves or record shelves here. It's only with adult hindsight that I was able to delve backwards to investigate further.. I was in "Time Warp" mode back in the late 80's/Early 90's thanks to a similarly named Record store here in Sydney. This set is lovingly compiled and most of the tracks reveal a gritiness missing from today's so-called version of R & B (don't start me on that!) There isn't a lot I can add that my fellow reviewers haven't already stated. From one stand point this music is probably very personal to those who grew up listening to it (like the Beatles for me). But I love soul music too and to hear the grooves put out by that Stax/Volt house band puts so many others to shame for sheer quality and toughness. There are probably those who don't understand the difference between Motown & Stax/Volt/Atlantic. From an Aussie view, it's like comparing the Beatles & the Stones.. The Beatles would be Motown (slick & professional, great sounding records but tough when need be - they were fans of and influenced partly by that label) while the Stones would Stax/Volt/Atlantic (not as slick in appearance, rough on the edges but bluesy & gritty - most of their influences came from the deep south & Chicago blues). I hope that make sense. I've wanted to get the other 2 Stax sets for a while and maybe down the track I will..it's on my 5 year wishlist plan! That said buy this set for some thoroughly great music and an insight into a great label's massive but very important legacy.

Whew!
Probably the greatest box set there is. Out of all the tracks there are only two out and out duds - the Nick Charles ones. What is so amazing about this set is the incredible continuity of quality. Booker T. and the MG's....this truly is their legacy. What fabulous musicians...the tastiest that ever scratched their sound into vinyl. All of the Stax classics are here (Otis Redding, Sam and Dave, Bookert T.,Albert King, Bar Kays, etc.) but the real treat are the ones that I was never aware of (William Bell, Mable John, The Astors, Gorgeous George). This is maybe the only huge box seat that is worth the dough.

BASIC SOUL GROOVES
If you are interested in exploring the true origins of the groove you must here this songs.
The most interesting thing, for me, is Al Jackson's and Duck Dunn's use of space in their grooves. They demonstrate that the question is not how quick you play or how many notes you can play, but the real sense of the song, it's musical potential.
Almost all the songs in this compilation are timeless and beautifull.
When you hear this tunes, you can feel that musicians are enjoying while playing, that's the most valuable evidence that it's good. ... Read more

Reviews (9)

Blues at it's best
Excellent compilation and a great collection of songs recorded under the limited enviroment that Eli Toscano's Cobra Studio had, but all these songs stand by themselves. Every time I hear Otis or Freddie King I can hear Eric Clapton, it's clear he got influenced by this great musician. I can't quit you baby, a song written by Willie Dixon (who plays almost all the bass parts) later covered by Led Zeppelin and All your love later covered by the same Eric Clapton with John Mayall and also Aerosmith payed tribute this song later on.

*****
A criminally underrated performer, southpaw guitarist Otis Rush broke into the R&B top 10 on his first attempt with the great slow blues "I Can't Quit You Baby".

That song was penned by Willie Dixon, as are several of these late-50s singles which Rush recorded for Eli Toscano's Cobra label, but Rush was a more than able composer himself, and he is the man behind some of the best songs on this CD, including "All Your Love (I Miss Loving)", "Three Times A Fool" and "Keep On Loving Me Baby"; superb, sophisticated blues tunes which often eclipse Dixon's.

Otis Rush' brand of blues is less rough and boisterous than the music of Howlin' Wolf and less polished than that of B.B. King, and he was a major source of inspiration to Stevie Ray Vaughan, who named his band after Rush's song "Double Trouble", and did a great rendition of "All Your Love".
His intense vocals and stinging lead guitar playing is reminicent of Buddy Guy and Magic Sam, and if talent was everything and luck and timing never mattered, Otis Rush would currently be hailed as the reigning king of Chicago blues.

Alternating between smouldering slow blues and swinging up-tempo numbers, this is one of the truly essential albums in any blues collection. If Rush had never recorded another note, his reputation would be intact based solely on these eight singles.

Rush for Otis!!
What do Duane Allman, Carlos Santana, Eric Clapton, and Jeremy Spencer have in common (besides the obvious electric fireworks)? They all knew about Otis Rush, and to hear these unbelievable, dynamic tracks, he was so good that it must have taken an act of Congress to have kept him under wraps from audiences. His guitar licks could raise welts on your skin, and when he cried over the blues, it seemed someone was tearing the flesh from his heart. You need this if you're a serious blues collector!

His Vocals&Guitar Playing are top Notch
when I first Heard this Set I was thinking WOW! this is where Eric Clapton got so much from.Otis Rush has a Energy&Vibe in His Playing that you can truly feel&enough sting in His Vocals that Knock you out as well."I Can't Quit You Baby","It takes Time" are my Cuts here.Must have Collection.

Seminal West Side recordings
While Otis Rush certainly has grown as a blues giant, he never put together a body of compelling reordings as he did for the eight singles he recorded with Willie Dixon producing. Perhaps the focus necessary for three minute single sides make these so riveting. Rush's vocals are riveting while his guitar is brilliant throughout. One should not forget the notable contributions by Ike Turner, Walter Horton, Little Walter and others. Despite some of the material being somewhat lame (though Rush makes Violent Love listenable), the originals of I Can't Quit You Baby, My Love Will Never Die and All Your Love (I Miss Loving) are among the highpoints of fifties blues recordings. These recordings belong in any credible blues collection. ... Read more

Amazon.com

No independent label has surveyed a wider, deeper expanse of the American musical grain than Rounder Records has done since 1971. In celebrating the label's 30th anniversary, this budget-priced anthology presents 68 gems from the archives without duplicating a single artist. Rather than a linear progression through time or genre, the four-disc set hopscotches all over the musical map, from the blues of Mississippi Fred McDowell to the bluegrass of Alison Krauss, from the Texas country of Jimmie Dale Gilmore to the Celtic fiddle of Natalie MacMaster. Some of the juxtapositions are a little jarring: the Mardi Gras chants of Bo Dollis and the Wild Magnolias give way to the Hawaiian guitars of the Tau Moe Family, while the soulful groove of Walter "Wolfman" Washington leads into the Klezmer Conservatory Band. But listeners whose tastes are as eclectic as Rounder's will find the set a treasure trove of discovery. --Don McLeese ... Read more

Reviews (3)

Well Done Compilation - with a Caveat
This is a typically well organized Rounder compilation, with some impressive artists included. However, it should be noted that these are interpretations of older "roots" tunes done by Rounder label artists, rather than the originals. As such, Scott Billington, who wrote the liner notes, does himself (and us) a bit of a disservice by referring dismissively to the original versions of these tunes as a "scratchy collection of old recordings". Were it not for that very "scratchy collection", this four-disc set would not be here for us to enjoy.

Introduction to American Music
Rounder Records has always done an incredible job of putting together compilations and making the music sound alive. This collection celebrates 30 years of Rounder, and is a great overview of the label, as well as a taster for anyone looking to check out some truly alternative music. The mixture is very eclectic; much like American culture, blending and weaving through musical styles. The set features Blues, Folk, Cajun, Bluegrass, Celtic and much more.

A highly recommended listening experience.

A Roots Music State of the Union.
Think of this as an update on Harry Smith's Anthology of American Folk Music. Showing up on the heels of the wide success of the "O Brother..." soundtrack and just before the PBS American Roots Music series, this is a worthy collection of samples of the work of contemporary artists working in the earthy music forms from whence it all sprang. From acapella gospel to zydeco with old-time, bluegrass, blues, New Orleans brass and Hawaiian tunes sandwiched in between. What can you say? It's Rounder, for Pete's sake! ... Read more

Amazon.com

Shemekia Copeland has already scored numerous awards and accolades, but this is the young singer's real artistic breakthrough. While Copeland's first two CDs were at times marred by ham-fisted musical support and subpar songwriting, she is now free to unfurl the subtle, soulful side of her big voice. "Don't Whisper" sounds like a lost Memphis classic--the kind of tearjerker Ann Peebles might have cut. Copeland pours her vocals like warmed honey over the song's sad lyrics and an arrangement that balances producer Dr. John's delicate piano with edgy, tremoloed guitars. She turns soft and breathy on the lovely, jazz-inflected ballad "Happy Valentine's Day," evoking a worldly, relaxed beauty that belies her 23 years. There's plenty of full-tilt belting, too. "Sholanda's," a tongue-in-cheek trip to a beauty parlor, balances her power with graceful New Orleans-flavored drums and slide. And "The Push I Need" is a playful duet with Dr. John that's sprightly and smart enough to sidestep clichés. Overall, there's a sense of poised musicianship at work, which makes Talking to Strangers emotionally tempered and rewarding. --Ted Drozdowski ... Read more

Reviews (3)

AMAZING LIVE PERFORMER
Shemekia can perform like nobody's business. Saw her in an outdoor gig in NYC on 7/11/03, and she brought the house down. Incredible voice, particularly given her young age. Fantastic stage presence. Great band. Just a jaw-dropping hard-core blues experience. Don't miss her, and BUY THIS CD. We got all three, and had them signed at the show.

Wow!
Shemekia Copeland just may be the most exciting female singer we've seen since Aretha Franklin, and with this CD, she truly reaches her stride. There is not many times when you have 15 tracks and ALL of them are good, but this is one of those rare disks. Her big, soulful voice adds a new dimension to the blues, superbly produced by old pro Dr. John (who plays keyboards on some of the tracks). She comes across as real in all her tunes here, ranging from the playful ("Livin' on Love"), the mournful ("Happy Valentine's Day", a beautiful slow ballad; "Talking to Strangers", "Should Have Come Home"); the vengeful ("Ka-ching"), the introspective ("The Push I Need", a duet with Dr John) and even her offbeat ode to the owner of a beauty salon ("Sholanda's"). I guarantee you will hear much more about this young singer in the years to come, so enjoy her now. Very highly recommended.

No Stranger To The Blues
Opening with Arthur Neilson's slide guitar, "LIVIN' ON LOVE" kick starts the highly anticipated TALKING TO STRANGERS, Shemekia Copeland's new CD that's chock full of hot cuts. "TWO'S A CROWD" is a rocking blues number that shows off Shemekia's powerful pipes.

Copeland gives it to the dogs out there with "WHEN A WOMAN'S HAD ENOUGH". During "SHOULD HAVE COME HOME", Shemekia repents for the women who have made mistakes in their relationships. The driving rhythm of this song will stay on your mind. The emotional feelings that Copeland conveys on the songs "DON'T WHISPER" and "TALKING TO STRANGERS" shows just what the teeny bopper superstars are missing.

Producer Dr. John turns performer with his piano solo on "TOO CLOSE", which helps bring out the smoldering side of Shemekia. "KA-CHING" tells of the lighter side of life. Even having fun, her voice rings true. Dr. John then brings out the soulful side of Shemekia on their duet, "THE PUSH I NEED". She then burns a hole through your heart on "HAPPY VALENTINE'S DAY", with all the pain in her voice.

Ending her CD with "PIE IN THE SKY", a song by her late father blues great Johnny Clyde Copeland, Shemekia shows that though she may be daddy's little girl, her great big voice makes her so much more than that. Certainly, she is no stranger to the blues.

Don Brown Sr. writes for Caught Live Too! and Las Vegas Blues --BLUES.LVJAZZ.COM ... Read more

Amazon.com essential recording

The best of Buddy Guy's solo albums since his 1991 reemergence finds him mixing songs from his concert repertoire ("Someone Else Is Steppin' In") with blues chestnuts ("I Smell Trouble") and his own new originals, like the gritty plea for urban spiritual renewal "Cities Need Help." His performance is raw and natural, a nasty throwback to his late-'60s roadhouse days. Guy takes unbridled pleasure in hard playing and vocal shouting that straddles the soul-blues border. The absence of shallow attempts at pop-radio play and the lack of guest appearances by rock stars or emerging bluesmen like Jonny Lang, which plague most of Guy's recent CDs, is refreshing. This is simply Buddy, on his own strong terms. --Ted Drozdowski ... Read more

Reviews (14)

Smokin' blues
This CD is among Buddy Guy's best. About half the songs are done with members of Stevie Ray Vaughn's Double Trouble. All the songs showcase Buddy's classic guitar work.

Probably Buddy Guy's best latter-day album
"Slippin' In" from 1994 is somewhat more antiseptic than Buddy Guy's classic Chess sides, and the clean production has sanded away all the grit, which won't be to everybody's liking.
But it is a good album nonetheless. Guy stays away from stereotypical funk and modern day blues-rock shredding and actually plays the blues, and his guitar playing in particular is excellent almost all the way through.
"Slippin' In" features former Stevie Ray Vaughan-cohorts Chris Layton and Tommy Shannon on several tracks, and none other than the great Johnnie Johnson is playing the piano. His playing on "7-11" completely takes over the track.

Buddy Guy performs an excellent "Don't Tell Me About The Blues", a nice "Shame, Shame, Shame", and the slow blues "Little Dab-A-Doo" is excellent, partly due to the presence of Johnnie Johnson.
Guy's take on Lowell Fulson's "Love Her With A Feeling", and the slow, soulful rendition of "Trouble Blues" are very good, too, but the otherwise decent "Someone Else Is Steppin' In" suffers from annoying backing vocals, synthetic sounding organ, and too much seperation of the instruments (multi-tracking isn't always such a great thing).

"Man Of Many Words" is a very obvious rip-off (it's Otis Redding's "Hard To Handle"), and a couple of other tracks have been recorded many times before as well (albeit with different lyrics). But even klichés like "Please Don't Drive Me Away" and "I Smell Trouble" are well executed and played with a passion, and the combined forces of Buddy Guy's axe and Johnnie Johnson's tinkling 88s make "Slippin' In" a really enjoyable album which can easily be recommended.

Hello Planet Earth, This Is Buddy Guy
First let me start by saying that Buddy Guy is from a different planet! This can be the only explanation for his six string talent that he displays so well on this gem of a recording. If I had to look for one flaw it would only be that he had switched the order of tracks 1 & 2. How's that for nit-picking? The only reason I say this is because I think "Please Don't Drive Me Away"
may very well be one of his best all-time cuts. The guitar work seems so connected to his vocals that it sounds like interplay that can only come from the soul. This track rocks! The next track,"7-11" goes in the totally opposite direction as a laid back Blues lament that shows Buddy is equally adept at rocking Blues, or slow burners. The oft covered "Shame,Shame,Shame" is probably my least favorite track on the album,with Buddy seemingly going through the motions vocally, but even this grows on you after a while. From there on the album alternates between slow, soulful Buddy treatments and uptempo Blues rockers. Some songs benefit from the rhythm section provided by the somewhat legendary Double Trouble gang. Johnnie Johnson also gets his moments in the sun on the piano. Buddy seems to click with just about everybody he plays with..as usual.. and his guitar has never sounded more powerful, tender and bluesy on one recording.

Other standout tracks include the Lowell Fulson penned "Love Her With A Feeling" where Buddy shows the great interplay of soft, pleading vocals and tender string picking. "Little-Dab-A-Doo" is a humorous original tune about a man's desire to "get a little" and the famous Fred Flintstone call before the final guitar solo is a humorous touch. "Someone Else Is Steppin' In" is a raucous party tune about two-timing on both ends that uses slightly off-tempo, gang background vocals to give the cut a raw, live feel. This is a staple of many fans and I enjoy it a little more each time I hear it. "Man Of Many Words" is an oldy, but goody with strong drum work by Chris "Whipper" Layton to drive the vocals along during instrument breaks. As usual, Buddy is killer with the guitar work. "Don't Tell Me About The Blues" sounds like a very personal song to Buddy Guy. He obviously has lived the Blues and his vocals are top notch and from deep down. The way he alternates between a slightly crackling falsetto and then, without notice changing to shouting, powerful vocals is a trademark that sets Buddy apart from most of his contemporaries. The finale, "Cities Need Help", is a change of pace Buddy Guy original about The decay of urban America and even family values. This shuffle has great rhythm provided by a piano, snare combination and it cuts loose at the end...a fine ending!

If you love Buddy Guy this album must be included in your collection. If you are looking for a place to start your Buddy Guy collection, look no further. Though it doesn't receive the attention or acclaim of "Damn Right...", it is without question a Blues masterpiece and one of, if not THE, best Buddy Guy albums available. Ok, you can return to the mothership Buddy...just come back once in a while and leave a gem like this one!

JUST LOVE THIS
THIS IS THE CD THAT REALLY GOT ME INTO THE BLUES.IF YOU HAVE EVER HEARD THE SONG 7-11 YOU KNOW WHAT I MEAN.NOT ONLY IS THERE SOME GREAT BLUES ON THIS BUT BUDDY CAN ROCK ON THIS CD TO.BUDDY IS JUST A VERY SOULFUL GUITAR PLAYER.AND HIS VOCALS REALLY GO WITH THIS MUSIC.LOVE THE SONG LITTLE DAB A DOO.IF YOU ARE INTO THE BLUES,BUY THIS AND START CHECKING OUT THE REST OF HIS CATALOG.

Hang on, don't let go!
I first heard this cd at a friend of mine one weekend and upon my return home I bought it, played it and continue to play it. Buddy is an amazing guitarist that has been around for a long time. This cd really jumps so if you are of the faint of heart and looking for something to vedge to this ain't it. This is electric blues at its very best, IMHO this is an essential blues cd for anyones collection, possibly a desert island pick. ... Read more

Amazon.com

This 2 CD set represents the best introduction to Hooker's trademark sound: one- and two-chord vamps delivered with a hypnotic, perpetual boogie rhythm and accented by reverberating staccato runs and intense foot-stomping. With his deep, rich voice, Hooker electrified the blues of the Delta, bringing the stark, brooding sound to the city and influencing scores of rock musicians. Most of his highlights are here: from early Modern classics "Boogie Chillen," "Crawlin' King Snake," and "House Rent Boogie"; to Vee-Jay singles "Boom Boom" and "Dimples"; to 1966 Chess work with Chicagoans Lafayette Leake and Willie Dixon;to 1971 collaborations with rockers Canned Heat;to performances with modern blues stars Roy Rogers and Bonnie Raitt. --Marc Greilsamer ... Read more

Reviews (9)

As Close as It Gets!
Let's get one thing straight: as of today 09/15/03, there is no "ultimate" John Lee Hooker collection. But with 31 of his best tracks, this Rhino mini-box comes the closest to Hooker nirvana. (There is a 10-CD set, Epitath, but since it would take a week to listen to it once, I'll pass.) The problem with compiling such a collection is implied in Boogie Man, Charles Shaar Murray's fine biography. Hooker recorded for a number of different labels, especially in his early days, and also under a variety of different names (John Lee Booker, John Lee Cooker, Little Pork Chop, etc.), so it takes a lot of legwork to figure out just which recordings were made by Hooker at all, much less obtain the rights to rerelease them. (Murray spends almost half the book on such detective work.) Therefore, such classic gems as "The Flood" and "Whiskey and Wimmen" are not included in this set. Still, it's a very good attempt. Rhino has chosen to start the collection with the track "Teachin' the Blues," which is an aural primer on how he created his unique sound. Thus educated, the listener can then move on to such primal tunes as "Boogie Chillun" (A live staple for virtually every major blues band from Canned Heat to Savoy Brown, this was the number Hooker chose to perform in a guest spot on the Rolling Stones Steel Wheels tour in the eighties.), "Crawling King Snake" (covered wonderfully by the Doors), "Boom, Boom" (the Animals), and his reinterpretation of an Amos Milburn song, here entitled "One Bourbon, One Scotch, One Beer (which, when combined with John L's House Rent Boogie, was very well covered by George Thorogood). He recorded several such reinterpretations, most notably "Frisco Blues" (In this case, he reportedly didn't try to get the correct lyrics to Tony Bennett's famed "I Left My Heart in San Francisco;" he just sat down and recorded his own off-the-cuff rendition.). In conclusion, there is plenty of John Lee Hooker's best stuff here to warrant a recommendation; it's just not as "ultimate" as his most devoted fans would want it to be.

One of the best available overviews of the Hook's career
So why "only" four stars?
Well, the music is great, but Rhino could certainly have found room for more than 31 songs on two compact discs. And why include two versions of "In The Mood" when songs like "I'll Never Get Out Of These Blues Alive", "Onions" and "Old Time Shimmy" are missing?

The sad thing is that there are really no John Lee Hooker-compilations on the market that truly get it right. Either they're too short, or they're limited by the fact that the compilers were only able to chose from recordings made for one particular record company.
This one is the best of the lot in my view, though. It almost gets it right (although the missing "Never Get Out Of These Blues Alive" is a pretty big minus), and the sound quality is very, very good.

(If you're not against spending a little extra, you might want to look for the fine Vee-Jay compilation "The Early Years", which also spans 31 tracks, and MCA's "The Best Of John Lee Hooker 1965-1974" instead of this album. Those two will satisfy almost everyone. And if it doesn't, there's always the ten-CD "Epitaph" box set.)

Rhino Captures the Hooker.
This is such a nice set.

Almost a primer for the new fan, and a refresher course for seasoned vetrans...John Lee is well portrayed on these very nicely remastered cuts.

Disc 1 starts with his solo accoustic stuff...

"Teachin' the Blues" is a classic blues gem, and this is a great cut of it.

Disc 2 features gritty, rocking cuts of legendary blues tracks including Hooker staples like "Boom Boom," and "One Bourbon, One Scotch, and one Beer."

If you think you like Hooker, this is your starter kit.

If you love him, this little portable collection completes the set.

There is also a 2CD set from Tomato Records that closely mirrors the titles on the Rhino collection but uses different cuts. It is grittier, and poorly produced, but makes a wonderful companion peice to the Rhino set.

Boogie, Chillun.

Good tunes, but compilers show lack of respect for music
This is the first John Lee Hooker album I've ever bought. I love the music, but as a product, it's not worth the price. Originally, I couldn't decide between this and a couple other compilations. I went for this one because it had good reviews and seemed the most complete. I was dismayed to find out that, although there are lots of tunes, many of them fade out right in the middle of the song for no good reason. There was plenty of room left on the disc to have the songs in their entirety (less than 50 minutes of music out of a possible 75?). Personally, I think that fading out tunes like that shows a complete lack of respect for soloing and arrangement. In addition to this, the liner notes are are less than thorough and not too interesting. I would recommend finding another recording of this fine artist.

Now I got this rent, let's have a ball!
People who know nothing about any kind of blues and blues afficionados alike will have a ball with this collection of some of the finest moments of Hooker's long career.

Many different styles and a whole array of production values are laid down chronologically in order to give one a linear idea of Hooker's output.

So many great moments exist on this puppy that I will not begin to list them. There is lots of treasure here - that's for sure. ... Read more

Amazon.com

On his sophomore release, guitarist Eric Sardinas seems to have chilled out a little, settling into a musical stride that, as with all the best blues, can keep going all day long. While in many ways his music hasn't changed much since 1999's Treat Me Right, Sardinas sounds a lot more confident on this one, especially during Devil's Train's bluesier second half. Here, his admittedly exceptional slide work and gravelly voice are great assets, especially as he relaxes into "Country Mile," duets with Honeyboy Edwards on "Gambling Man Blues," and carries "Down to Whiskey" all the way to the end. Although Sardinas is from southern California--and that's often audible--there's a Texas feel to his blues: it's big, loud, tight, and impossible to ignore. A notable exception is the final track, which ends things on an unexpectedly quiet note.--Genevieve Williams ... Read more

Reviews (11)

Better Than the First!
Listening to Eric Sardinas one has to conclude that he is one of the top electric slide guitarist in the business today. Based on this sophmore release, it's clear that he continues to grow and sharpen his skills. However, as with his previous release, it's clear that his hard edged style of blues will not be easily appreciated or accepted by many blues fans. Much of that has to do with Sardinas's singing which is smokey, strained, gruff and at times uneasy.

On "Killin' Time Blues" and "Gambling Man Blues" which features HoneyBoy Edwards, Sardinas does demonstrate that he is capable of some rather pleasing vocals, showing that the harsh vocal tone throughout the remainder of the CD is intentional. If you like your blues hard and heavy and your guitar smokin', this CD may well fit your bill.

Eric Sardinas does it again
Eric Sardinas has done it again and created another album of the best slide guitar electric blues this side of Johnny Winter. Devil's Train is a bit more varied than Treat Me Right, with even a couple of instrumentals thrown in the mix. Aggravatin' Papa is one of the best songs he's recorded yet. If you get a chance, see him live -- he puts on an incredible show!

HE'S BACK....AND JUST AS BAAAAAAD
Sardinas has bucked the sophomore jinx and come back with an excellent album of rockin' blues. It's still got the trademark Sardinas sound of rude slide guitar work and whiskey soaked vocals. All but two of the tracks are originals. He does a killer version of Elmore James "MY KIND OF WOMAN" that's so good it sounds like Elmore's ghost is dancing all over his guitar strings. The other cover is David Honeyboy Edwards "GAMBLING MAN BLUES" in which Sardinas actually does a delta style duet with the legendary bluesman himself, that was recorded inside a hotel room. He does a couple instrumentals with "TEXOLA" which has more of a rock and roll feel than blues. And "SIDEWINDER", which is a fantastic, on the edge blues song that features almost 6 minutes of blazing slide guitar, mixed with some of the sweetest sounds I've ever heard come out of a dobro. Sardinas really has his mojo workin' on this one. Some of the other highlights here is the title song "DEVIL'S TRAIN", and "BE YOUR MAN", that again features some great dobro work. I don't think anybody plays this instrument better than Sardinas. And my favorite track "COUNTRY MILE", a song with some killer hooks that should start getting some airplay from some of the radio stations out there with good taste. This is a very solid and cutting edge blues album that's a pure joy to listen to from beginning to end. Get on the Devil's Train and you may never want to leave. Highly recommended.

Somewhat disappointed