Album Description

For more than 30 years, Ball has been delivering her signature brand of Texas blues, Louisiana R&B and Gulf Coast swamp pop to audiences all over the world. She has earned a huge and intensely loyal following through critically acclaimed albums and continued non-stop touring. Live, she’s simply unbeatable

LIVE! DOWN THE ROAD, a blistering set recorded at the Sierra Nevada Brewing Company in 2004. The CD mixes songs from throughout her career, including longtime fan favorites like La Ti Da and Crawfishin’ as well as newer material like Louella. Ball gives each song the workout of a lifetime, reinventing and reinvigorating every track with the immediacy and fire only a live show can deliver. ... Read more

Reviews (1)

The Braille Blues Daddy!
I didn't really know Bryan Lee before this album. Amazon just kept his name in front of me till I gave in and bought it. I guess suggestive selling really does work. Born in Wisconsin, Lee lives in New Orleans and has recorded for the past 14 years. for a Montreal label. No one can say he doesn't get around. Recorded in Montreal, "Live and Dangerous" is a smokin set from a talented blues singer and guitarist who flew under my radar for far too long. By the way, I liked the album well enough to buy two more of his. Just thought you should know. Enjoy! ... Read more

Amazon.com

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

Reviews (97)

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

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

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

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

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

Respect!

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

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

Amazon.com essential recording

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

Reviews (28)

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (13)

Acoustic Blues Deluxe
One of the other reviewers calls this album a "timeless classic" and it is. Over the very many years that John Mayall has been making blues music he has developed a reputation as the foremost British interpreter of the guitar/harmonica-based Chicago blues style, and has worked with extradinary musicians (particularly guitarists- Peter Green, Eric Clapton, Mick Taylor, among many others).
This album is all acoustic and it is extradinary. Anyone who thinks only of Mayall's electric approach is missing a real treat here.
Throughout his long and distinguished career John Mayall has been criticized for his vocals, and if you don't like them no one can help you with that. But, regardless, the musicianship on this work is so good, and the spark in the band is so uplifting, that his voice is of secondary concern.
Highly recommended from a long-time blues lover.

Mayall's Best
This remarkable album featured something new in blues-rock music. Mayall formed a band with no drums and no electric lead guitar, relying on the bass of Steven Thompson to keep the rhythm, and substituting acoustic "finger-style" guitar in place of the blistering electric licks that had been a prominent feature of Mayall's style. The format was not new to Mayall; the liner notes to the "Room to Move" compilation state that he got the idea from another, less well-known band. Regardless, Mayall's sound on Turning Point was unique; the use of woodwinds and acoustic guitar, combined with Mayall's harmonica, flirted around the outermost fringes of jazz, and the live tracks presented here are smooth and flowing, reaching a peak in the magnificent "California" which became a staple of FM radio for a time. "Room to Move" was the closest Mayall would ever come to a bona fide hit in the U.S.

Unfortunately, this was a turning point for John Mayall, commercially and artistically. Shortly after this release, blues went out of fashion, and the quality of Mayall's work plummeted. The no-drums format became increasingly difficult to work with in large, noisy concert halls and was eventually scrapped.

Mayall has returned to produce fine work in the 1980s and 1990s; his most recent release, "Stories", is one of his best; and he released first-rate albums such as "Chicago Line" and "A sense of Place" in the 80s. At close to 70, he is still recording and performing new work, but "The Turning Point" remains the high watermark of his career. This is one of the great albums of the 1960s, and one not to be missed.

This version has three "extra" tracks, and I'm happy to say that they're excellent and well worth the price of the disc, even if you own a copy of the original CD. I wish there was more of this stuff!

timeless blues
this rock classic withstood the test of time flawlessly. john mayall along with johnny almond make california a masterpiece in the same vein as al kooper and mike bloomfield in there super session masterpiece... funny thing how many lovers of the blues still seek out there sages when they wish to hear the real things....

Unforgetable
I remember this album (yes, that funny round vinyl thing) when it was new. I was blown away by the music that I heard. It is undoubtedly the best "live" album I've ever heard and I wanted more. I wore the record out!! I plan to wear the CD out, too!If you like smooth,jazzy, easy blues/R & B by a rocker, give it a try. Makes Dave Matthews look bad, and I like Dave Matthews.

"C-A-L-L-L-L-FORNIA"
As a lyricist,, he was terrible. As a singer, hopelessly off key. But as a musician -- immense. I saw this band at the FIilmore and the recording faithfully delivers the electricity and wonder that this music produces. Johnny Almond, Jon Mark and Mayall of the anthemic "Room to Move". And then California -- a clarion call to a mythic image of the West in the seventies. The bonus tracks are great also.This CD is a must have. It is a classic. And perhaps the most creative work John Mayall ever produced. ... Read more

Amazon.com essential recording

One of the greatest concert recordings of all time. How could it be less, with B.B. King performing some of his best material before a literally captive audience in an Illinois prison? "Worry, Worry" and "How Blue Can You Get" take on deeper meanings here, although King works the latter's camp lyrics as if he were in a juke joint. His mix of down-home humility and commanding stagecraft is instantly appealing. And his guitar barks, sings, and squeals with such authority that this is a bravura performance from the first bent, soul-searing note. A true desert-island disc. --Ted Drozdowski ... Read more

Reviews (27)

The King at his best!
When people talk about B.B. King's greatest albums they normally narrow the fight down to two albums: Live at the Regal and Live in Cook County Jail. For years blues fans have fought about who is the better of these two blues heavyweights. However any way you slice out Cook County Jail is the clear favorite.

The main reason that I think this is the superior recording is that it captures the King at his peak as a guitar player. This album is the reason he is one of the greatest guitar players ever. In the Regal he depended too much on his horns group, so we didn't hear enough of Lucille.

Then there's B.B. the performer. Something about these 2000 some odd prison inmates gave the King a buzz that night, because he was very loose that day, having fun with the crowd and going through fantastic versions of How Blue Can You Get, Worry Worry, Three 'o' Clock Blues, and (most notably) the always essential The Thrill is Gone. All coming with a flair that only he could have produced.

There are some albums that a blues fan should simply own so that he can declare himself a blues fan. Cook County Jail makes one. Live at the Regal makes two. Both are all time classics, and represent B.B. King at his all time greatest. So if you love great blues, jazz, and soul meshed together, which normally means you love great music, then you must own these two CDs. You ain't a blues fan if you don't.

B.B. and Lucille, live and great as ever
Live in Cook County Jail is a wonderful live B.B. King record. I have only two complaints: The songs are soooooo short! Everyday I Have The Blues is like one minute long! The CD ends way too quickly. Also, B.B.'s live records tend to feature the same songs over and over. Several of the songs on Live In Cook County Jail can be found on Live At The Regal, and they're performed in very much the same way. Having said that, though, any live B.B. is great. His voice and guitar are amazing as always, and he has a great rapport with his audience (even when it consists of prison inmates).

quite remarkable indeed
i was 12 years old when i first heard b.b. king and it was this exact album.it is still relevalt to me today as it was 15 years ago.this album was recorded live and as such it captures the very essence of a live act,touching and delivering a great emotinal impact followed by a great deal of exitment of the crowd.
it is a rare moment and you can take part in it.

Blues you have GOT to have
I had this record in the '70's. I bought the CD in the '80's and I have never gotten tired of listening to it. This is one of the best all time CDs, blues of otherwise. My favorite BB King CD, and that is saying a great deal. Thank you BB!

King Knew He Was Having A Good Day !
This is one of the very first BB records I ever purchased. It stands the test of time as a very great live blues record. What stands out the most is BB's playing on it. Lucille had an amazing tone too. This is a blues record through and through, don't let other less knowledgable reviewers throw you. It's pretty cool he knew at the time too that is was a magical day as he announced "Me and Lucille feel very very good today...". His band is outstanding too. The only down thing I can say about it is that after repetitive listens, Worry, worry, worry seems to drag on. That's no big deal.... ... Read more

Amazon.com

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

Reviews (14)

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

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

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

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

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

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

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

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

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

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

Amazon.com

At first glace, the combination of blues-roots guitarists Tab Benoit and Jimmy Thackery doesn't seem like a logical one. Both are barnstorming bandleaders, and Benoit's clipped Louisiana Telecaster would appear to be at odds with Thackery's tougher Strat attack. But, as 2002's Whiskey Store collaboration proved, the duo's strengths complement, even invigorate each other. The resulting tour is captured here, in all its volatile glory. Both headliners, along with gutsy saxist Jimmy Carpenter and dynamic B3 organist Ken Faltinson, are in smashing form. As you would expect, the studio work is expanded, extended, and juiced with additional moonshine for the live experience. Benoit's more palatable vocals dominate, and his gripping version of Otis Redding's "These Arms of Mine" is the show's most emotionally stirring performance. But blues guitar lovers aren't aboard just for the poignant moments; they want pyrotechnics, which are abundantly provided as well. From the fiery double-time explosion of a nine-minute "Bayou Boogie" to the feverish swamp funk of "Bone Pickin'" and the stealthy, slow burn of the title track, this is a breathtaking picking extravaganza offering plentiful proof of each artist's speed, dexterity and collaborative discipline. --Hal Horowitz ... Read more

Reviews (1)

Fire and Smoke
The CD is so hot that it may burn your hands off just holding it. The guitar playing of Beniot and Thackery are just fantastic. This little known CD should be in any blues or rockers' collection. The vocals are surprisingly good and the backup is "all pro." This is one of the best live recordings I've heard in a long time. I hope they come out with more! ... Read more

Amazon.com essential recording

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

Reviews (25)

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

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

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

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

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

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

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

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

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

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

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

Excellent!

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

Album Description

Kelly Joe Phelps is the premier acoustic blues guitarist. For years his fans have been begging him to release a live CD. At last, Tap The Red Cane Whirlwindis the long-awaited opportunity to hear Kelly Joe recorded live in concert! Over an hour of pure unadulterated Kelly Joe Phelps at his finest – recorded in the intimate environments of two favorite venues – McCabe's in Santa Monica and The Freight And Salvage in Berkeley. The repertoire features Kelly Joe favorites, including "Jericho," "Tommy," "Not So Far To Go," plus astonishingversions of two classic cover songs – "Hard Time Killin' Floor Blues" and "I Am The Light Of The World." ... Read more

Reviews (6)

Just like being there
I bought this right after seeing Kelly Joe Phelps 'live' in Leeds (UK). He's definitely somebody you should see (he's amazing), and seeing him helps you picture where all this stuff comes from and how he gets into it.
This CD captures Kelly Joe's solid, yet intricate and crystalline guitar perfectly. Watching him play is mesmerising. I think this CD also shows him as an artist who is growing, and judging by some of the new songs he played in Leeds, the next studio album will be a treat.
But here, I particularly love 'Cardboard Box of Batteries', which is slow and perfect, every pluck of the guitar string perfectly woven into those smoke vocals. Such subtlety. Such restraint. Such complexity too: there's enough to keep you listening for years; each song is like a miniature blues symphony.
Just like in real life, KJP doesn't really say anything in between tracks, so don't expect any chat. It's just him and the music. Which is fine by me when the music's this good. Kelly Joe is the real thing. I highly recommend this.

A Thing of Understated Beauty
Kelly Joe Phelps has always been quietly dazzling, rewarding repeated listenings rather than knocking you off your feet on the first try. His very first live recoding is no exception. It's a well crafted, beautifully rendered work of art. It's all here. The brush of his fingertips across the strings, the quiet humming he does as he plays his guitar and his well worn but comfortable vocals that tell tales of late nights, fading hope and optimism hanging on by a thread. This is a rare live recording that adds to Kelly Joe's musical legacy rather than merely fulfilling an obligation.

05 Gift From Mr. Phelps
Being familiar and enriched by the integrity and quality of Kelly Joe Phelps' prior recordings, the only reservation I had before I bought this CD was that it was live.
Understand me, I don't dislike live albums in principle. In the case of certain artists, live recordings have captured legendary performances and unusual moments of beauty.
Anyway, the point was whether an album of new versions of old songs and a couple of classic Blues, plus the potentially limited sound of a live performance, would add to Phelps' track record.
Great news. This album is as satisfying and likely to touch you as much as any one of Phelps prior incarnations, whichever one may be your favorite.
The album begins with a remarkable version of the classic "Hard Time Killin' Floor Blues," sung so close to the bone you may think he's channeling Skip James himself, and also serving a the first reminder of this man's skill and feel on the acoustic guitar.
Both his voice and his strings do the honors on several of self-penned tunes too. Three that must be mentioned, for their intimacy and new touch, are "Not So Far To Go" and "Waiting For Marty" -both ballads that were highlights from his last studio album Slingshot Professionals"- and the tender and thoughtful"Tommy." Plus the second cover, "I Am The Light O f The World," is equally astounding.
Finally, the quality of the recording is impeccable as live albums go. It seems that the people in the small audience present were as enthralled as I, when he played these songs. Other than applauses respectfully waiting for the end of each song, the silence is absolute. Almost reverential of the great music captured on Tap The Red Cane Whirlwind.

Accoustic blues...
I first listened to this album at the reccord store under the jazz/blues category, expecting to hear electric lament guitar solos; typical blues you know?

Well I was pretty darn surprised when I discovered it was everything but "typical blues".

Mr Phelps came up with a live album using only accoustic guitar as an instrument.Is voice and music immediatly brought up an image inside my head : burning hot asphalt under a deadly summer afternoon sun....

I brought it back home and popped it into the CD player and started listening.The quality of production was so good that I felt as if I was sitting on Mr. Phelps front porch listening to his music while sipping a bourbon.Wish I actually had Bourdon at that time....

This album is very mellow and heart warming.This guy has a great voice.

I have a hard time imagining that anyone could actually totally dislike this album.That's how good it is.

nice recording, but where's the slide?
I've listened to Kelly Joe Phelps since his first recording- actually own them all but for his ep- I was initially surprised when he avoided playing slide on "Sky Like a Broken Clock", then confused when he had Steve Dawson playing slide on "Slingshot Professionals"- I was hopeful when I heard he was doing a live solo recording, and when I first saw the cd cover on his site, with his guitar laying flat, I'm afraid I had assumed (my fault) that he had returned to his amazing original style of slide playing- Unless my ears deceive me, there's nary a slide heard on this- please correct me if I'm wrong- I've never had the pleasure to see Phelps play live, hope to at some point... ... Read more

Reviews (10)

As Good As Live Rock Gets
Back in the early '70's my friends and I used to refer to Rory Gallagher as the "King of the Cut-out Bin". A frist rate
guitarist with a great feel for all kinds of blues, soulful singer, and charismatic performer (though without pretense), Gallagher was, for some reason, a non-seller. This album was the first Gallagher cut-out I bought and when the CD was released I didn't flinch at all at paying full price because this is some of the best live blues and rock on earth. After a perfunctory introduction and some enthusiastic applause from what sounds like a small audience, Gallagher rips into the first notes of his cover of Junior Wells' "Messin' With The Kid" and never lets up. His acoustic blues are just as impassioned as his electric rock; his performance of "Pistol Slapper Blues" is actually reminiscent of Blind Boy Fuller's, complete with fine Piedmont style fingerpicking and "Going To My Hometown" features mandolin and audience participation. Bassist Gerry McAvoy and drummer Wilgar Campbell fir perfectly with him. ther challenge and push him without getting in the way. Campbell's fills never intrude on the music, rather they help to fill the background and tend to keep the intensity up. Gallagher's own virtuosity never seems to exist for its own sake; his ego seems totally subsumed in the music. This is the mark of a true musician. The production is competent without being the least bit slick and there are just enough wrong notes to indicate a minimum of overdubbing. This is a great live rock album, doubtless one of the best, and an object lesson for many musicians with great chops and little maturity. Don't miss it.

Can blue men play the whites
The list of blues guitar legends is long(and growing longer so I hear)but Rory Gallagher deserves a place higher up near the top of that list.Gallagher never played the game and he payed the price but when it comes to playing the blues with passion and fire you will be hard pressed to find his equal.Rory was a phenomenal live performer and is captured here in fine form ( even when he picks up the mandolin for" going to my hometown" .
"Live in Europe" is a must have for any serious fan of the blues or those who just love to hear the guitar sing.
At his peak Rory was untouchable and he was close to his best here.His finest work however is on Taste- live at the Isle of Wight.

One word: Awesome
I hate to admit it, but I'm just discovering Rory Gallagher some nine years after his passing. I grew up in the '70s and remember hearing his name, but somehow I NEVER heard a Rory Gallagher tune. Had I, I'm sure my life would have been different. A friend sent me a CDR of Irish Tour and that blew me away! I started buying some Rory Gallagher CDs and one of the first was this. Hey, this is killer! The CD is worth it for In Your Town (a bonus track) that is more incendiary than any guitar blazing by Clapton, Peter Green, Jeff Beck or any other British blues-oriented rocker. I am now buying every Rory Gallagher CD I can (I just got the BBC sessions...), but definitely his live stuff -- this and Irish Tour -- are two great places to begin. I can't believe how or why Gallagher was ignored by FM radio back in the day -- at least the stations in my hometown. Well, better late than never to have discovered this awesome, awesome musician! (Thanks, Bill for turning me on to Rory Gallagher! I owe you big-time!)

A Must Have....
I hope to lead a good life and someday find the piece of heaven where Rory is playing. Until then this album is a reminder of what's to come. I think I even owned it on 8 track. Still as powerful today as it was so long ago.

Live in Mott
After four years and three albums, not counting the posthumously released 'Live at the Isle of Wight', Rory Gallagher split up his previous band ''Taste'' in 1970, just as they seemed destined to break into the big time. But then Rory Gallagher always did things his own way, never one to do the obvious. Rory then set about putting his own band together, under his own terms. It was very much Rory's way or the Highway, and Rory's way could not of been a bad one as bassist Gerry McAvoy stuck it out with Rory through thick and thin from the first to the last.

With Rory now firmly in control a new trio was formed under ''The Rory Gallagher Band" banner with the aforementioned Gerry McAvoy on Bass and the powerhouse drummer Wilgar Campbell. For the next two years they toured incessantly, wherever people were prepared to listen to them, and at every performance never less than a 110% was given by Rory and the boys. They often played for over three hours when they were only booked to do one. There was never any money or time wasted on stage - attire either. What the band wore on the street is what they wore on stage. What you saw was what you got. Rory never believed in Set Lists, playing what he thought was appropriate to the moment; some nights opening with one song, the next playing the same song as a final encore. Giving the other two just seconds to know which song he would be launching into next. Rory would do this with songs as well, playing 'Too Much Alcohol' one night as a full blown electric rocker with the band, and the next as an acoustic Blues with just him on acoustic guitar and a Harmonica.

During this time they recorded the first two studio albums. The self-titled debut album released in May 1971 mostly made up of songs left over from Rory's "days with Taste", followed by the far more adventurous 'Deuce' released in December of the same year. But it was not until the release the following year of this groundbreaking Live album that Rory Gallagher achieved record sales to match his fanatical live following. 'Live in Europe' reached Number 12 in Britain, but more importantly breaking into the American Billboard Top 100, opening up a whole new audience.

The set starts of at a frantic pace with two rockers, the evergreen chestnut Junior Well's 'Messin' with the Kid ' (which Rory turned into his own), and the Rory original 'Laundromat', then everything is slowed down for the aching blues of 'I Could've Had Religion', where Rory's slide and harmonica work are allowed to shine. Then, without the band, an acoustic version of Blind Boy Fuller's 'Pistol Slapper Blues'. This time Rory gets to show off his fine guitar picking. For a complete change of tempo we get the stompin 'Going to my Home Town' with Rory on Mandolin, some very effective bass work from Gerry and Wilgar plus some marvelous Audience participation. Rory could of had a hit single on his hands if he had released an edited version of this song as a 45. But like 'Led Zeppelin' Rory never released a single during his career, leaving that area to the so called Pop Bands. Live set centerpiece is 'In your own Town', a ten minute band work out. And when Rory cries out "See this match? Well I am going to set this whole place alight.'', you just know it's time for the band to cut loose.

Next in the running order are the two tracks added on to this digitally Remastered CD version. Two great blues workouts in traditional Rory Gallagher style, a worthy addition to any set. The album closes with Rory's raved up version of 'Bullfrog Blues' including a pulsating bass solo from Gerry followed by a thrashing drum solo before the whole band crashes back in with Rory bringing the house down with a screaming slide solo.....which leaves everybody breathless.

After this batch of touring, Rory took on a keyboard player to fill out the sound in both the studio and as a touring unit, but I always preferred this pioneering first band. Whatever you think 'Live in Europe' is a fine testament to a credible live act and a fine Human Being
Mott the Dog ... Read more

Reviews (7)

a classic
a powerful collection of live sounds from one of the greats, commanding respect and infinite hours of listening.

One word: Wow!
Though I prefer the early Basie sound of the 30's, this album is remarkable for its clarity, sound quality and sheer presence. Basie also sounded better live than in any studio, and this disc exemplifies this phenomenon. Unlike many other live recordings, there is very little, if any, background noise, superfluous pops and buzzes or anything else to mar the magnificent sound. Incredibly, Basie was relegated to being a warm-up act for Sinatra in the Copa Room in Vegas and these songs were recorded as Basie and the boys swung before the Chairman hit the stage.

The highlights of this album are undoubtedly One O'Clock Jump and the swingin' Jumpin' at the Woodside. It's impossible not to become a Basie convert if you listen to just these two cuts. The brass section really cuts loose and you'll find yourself wanting to get up and just cut loose. That's what Basie is for: smiling, swingin' and having a great time. What a master musician and bandleader he was. Enjoy this collection!

Superb - The best of BASIE
I never got to see Count Basie "Live". But, in listening to his "live" recordings it amazes me that people are talking while the band is playing. These musicians should have had total attention and a standing "O" at the end of every song! What a powerful band! Perhaps some of these folks at the show see them every night? Listen to this CD and you will see why Count Basie was so incredible. You can't go wrong.

Wow!!!
One of the many great albums by the Count, this one has it all.

Basie Swings B4 Sinatra Sings
This album was "put together" during a joyous 5-day gig where the band opened for (and then backed) "Ol' Blue Eyes" in the Copa Room at the Sands Hotel/Casino, in Las Vegas, in 1966. The band did a short set each night, and the reissue producers picked various tunes from each set to make up one LONG set. The tunes included are some of the BEST charts the band ever did, recorded by one of the BEST BANDS the Count ever had. The personnel included Basie stars like Sonny Cohn, Al Aarons, Al Grey, Marshall Royal, Eddie "Lockjaw" Davis and Sonny Payne...if you are a Basie fan, that tells it ALL...and if you're NOT, buy this and you'll BECOME A FAN!!

This is really PART ONE of a great two-part session. I HIGHLY RECOMMEND you also get PART TWO, "Sinatra At The Sands," so you can enjoy the wonderful combination these two music legends made working together. (Check out the interplay between Frank and "Lockjaw" on the other disc, when they do "I've Got A Crush On You" and try to tell anyone they were not having FUN doing these sessions!!) The band plays with all the energy and creativity musicians bring out when "the room" is full of people who are really tuned-in to what they're doing...and the magic continues when Francis Albert is introduced and does his thing with the band!! Both of the CD's are really enjoyable for anyone who even "likes" music!!

Anyway, this fits right into the "BURIED TREASURE" category. Buy this (and the Sinatra disc, too!) and enjoy Basie classics like "Splanky," "Foo Birds," "I Can't Stop Loving You," "Makin' Whoopee!" and "Corner Pocket" done on a live session with great playing. This will surely become one of your favorites. ... Read more

Album Description

2003 live release for the late blues rock guitaristfeatures 8 tracks. Digipak. Repertoire. ... Read more

Reviews (2)

More Great Live Roy Buchanan!
I was wondering if this would ever be released on cd. "Live In Japan" was released by Polydor only in Japan in 1978. "Live In Japan" documents Buchanan's tour of Japan in 1977 and was his gift to his Japanese fans. This disk was supposed to be Roy's favorite among all of his releases. Buchanan's live disks tend to be much more explosive than his studio albums. The standout cut is a great live rendition of "Hey Joe" with "Foxy Lady" as a coda. The disk begins with an excellent cover of Booker T. & the MGs instrumental "Soul Dressing". The disk also includes the upbeat "Sweet Honey Dew" a cover of Larry Williams' "Slow Down" and an inspired version of "My Baby Says She's Gonna Leave Me". "Sweet Dreams" one of Roy's personal favorites is also included. Roy's playing shines throughout and if you are a fan this release along with the new "American Axe" another live set from 1974 are essential. My only regret is that the disk is only about 46 minutes long. A number of other songs were played during Roy's tour of Japan including a smokin' cover of Cream's "Sunshine Of Your Love". Maybe at some point this will be released stateside in an expanded edition with some of the outtakes from this tour! Until then enjoy the master of the Telecaster!

Roy's Favorite
This was recorded during a tour of Japan in the late 70s. Roy stated that of all the albums he released this was his favorite-many of the others he refused to acknowledge. Listening to this CD helps the listener understand why Roy thought so highly of this album- Roy was on that night and the band was tight. My only complaint is that the whole show isn't available. This is the editted show, some 46 minutes of the two hour event. Still if your a fan of this amazing guitar player you owe it to youreself to pick this CD up along with American Axe to hear this guy make that guitar cry! ... Read more

Reviews (5)

Together for the First Time BB King / Bobby Blue Bland
One hell of a great Soul album. Every track will knock your lights out a little more than the last one did. Its constantly building up to to the finally and leaves the listener begging pleading,for more.
Luckly, there is a Volume 2 named Together Again and it too will knock your socks off. Both of these albums, totally bring the pure excitment of being at the live show. I have seen both artists on numerous occasions, and these CD's are the next best thing to being there in person.

Great joking between performers, and the Soul is that type of Soul that is dripping with grease, and like Tina Turner says, "Nothin no good without the grease. These CD"s should be sold with moist towletts included. I'm ready anytime for Volume 3. Take the hint BB & Bobby.

this is a must have masterpiece
i was 10 years old when my father bought this on 8-track. i enjoyed it then and i still do. if my house caught on fire, this is one of the cd i will try to save.

Thanks to my Mom
when i was a Little Boy My Mom bought this Record&i enjoyed it alot.not knowing that much about B.B.King&Bobby blue Bland.but the way the two Artists Connected I wanted to know more.and as time has gone on this Live Album has become one of my All-time faves Live.you feel the Fun&High level Quality all through it.this is Classic Music&alot of Fun.

A great pairing.
Two legends in the world of the Blues, who have nothing but fun as they work together. A phenominal live album, which captures the joy they share in their work.

Hard to have much of the blues listening to these men, as they weave in and out of each other's lines in classic songs like "Don't Want a Soul Hangin' Round", "Its My Own Fault Baby", and "Three o'clock in the Morning". They both know the words, and neither once cares at the liberties taken in the lyrics by the other. For this reason (and just the fun they obviously have), this is probably not the album one should purchase as an introduction to this genre.

The songs herein have been done by this pair a million times, so they each know where they want to go (and more interestingly, how to throw the other just a tad off stride). Nothing but a lot of fun, though, as these two masters kid back and forth with the other.

Singing the blues has never been this much fun. Neither has listening.

blues that make you smile
Much of bb king's stuff is "more of the same" but I can't stop listening to this one. It is a very casual and very inspired recording that is technically very well recorded. Just try not to smile as BB and Bobby try to catch each other in verses with no obvious rhyme. It is equal parts blues, soul, intimate riffs, big groovy horns, house rockin music, and down home storytelling. The interaction of these two artists with each other and with the audience is first class. Definately an overlooked gem. ... Read more

Reviews (5)

First Impressions
Wasnt aware of this CD - saw it on the J.Booker page...havent rated it either as I havent listened to it yet, (it wont even let me pick no stars -doh! amazon) but regarding others comments - from the samples provided (very handy) it sounds like he is playing on an older electric piano, not acoustic, and agree it sounds badly balanced/recorded..I like to hear what he is playing for transcription purposes. Some of the older Booker recordings are bad but the playing is on an acoustic and comes across clear.
And for posterity let them be issued - warts and all.

to conclude - I will get it; Im a fan and I play.

Dr. John Stands alone, all by hisself and Shines doing it!
Dr. John's solo album at the Lonestar is an example of a piano player standing out there alone on his talent. In this age of studio electronic enhancements this is very refreshing! This is a great way to hear his abilities as a performer. He makes the most of an otherwise terrible piano. After a few minutes the piano quality (or lack of) won't bother you because the level of his abilites shines through anyway. The song selection is OUTSTANDING!!! The performance is more "spirited" than his studio album "Dr. John plays Mac Rebennack".

Mac Goes It Alone
The great Mac Rebennack, aka, Dr. John goes it alone, all by hisself on this one, and the results are pure as the sweet smell of New Orleans' magnolias. If you're a Dr. John fan, this is an absolute must have. All his hits are here, as well as a host of Big Easy standards. But not only that, there's an excellent bonus DVD on which the good Doctor recounts New Orleans music history.

Go with the re-issue of 'Dr. John plays Mac Rebennack'
It pains me to write this because I love this guy, but if you own 'Dr. John plays Mac Rebennack' I believe you're going to ask yourself why would anyone believe I would want to listen to this master play solo blues piano on anything other the best acoustic piano they could find for him at the time.

Compared to the other CD mentioned, this one makes one think of DJ putting on a concert in the KMart keyboard section. Thank god the DVD includes DJ on an true acoustic.

Highly recommended, excellent set of Dr John live
This is a marvelous live recording of Dr. John from the legendary Lone Star from 1986 to kick off series of live performance discs from him. This is just Dr. John and his piano, singing and playing a number songs associated with him and/or New Orleans. Performances including vocals are wonderful and some of the material is not standrad stuff. Included is a bonus DVD with him answering questions and demonstrating aspects of the New Orleans tradition. Only reason not giving this a fifth star is that perhjaps that should be reserved not simply for superb recordings, but ones that stand out as definitive for an idiom or a performer. I am not sure whether this is such a disc. ... Read more

Reviews (11)

Awesome, but Wed & Thurs in SF even better!!!!
Albert is THE master!! This CD is truly powerful guitar playing and great vocals! A must for ALL Blues and rock fans.
As great as Live Wire / Blues Power is, it is very misleading to say that these were the best songs of the live SF shows. ALL songs were great, and the "leftovers" that were placed on the Wednesday night in San Francisco and Thursday night in San Francisco were just as good. All three CD's form the greatest collection of the sweetest guitar playing ever!!!! He was the TRUE master. It's amazing how few paople know about this secret pearl of music.

One Of The Great Live Blues Albums!
Legendary blues guitarist Albert King really hits his stride on this CD (originally released in 1969). Worth it just to hear the uptempo classic "Night Stomp". Arguably, this is King's best album. All the tracks are great, and this is one disc that really sticks-to-your-ribs, and one that you will go back and play again and again! A great disc for budding blues guitarists to listen to... you'll be hard-pressed to find a better teacher (with the possible exception of Freddie King). Regardless, this disc is a must for both blues and rock fans alike. Well worth the price.

king of the flying v's and more....
This is a seminal album....one of the finest live concert recordings ever, irrespective of genre. I saw King Albert twice at the Fillmore East in the old days [this one was recorded at Fillmore West], and this CD [or my old vinyl LP for that matter] captures him in all his live glory. Albert was a consummate professional who hadn't played large venues for the most part in his career when Bill Graham tapped him for the Fillmores, and he succeeded in pleasing [no, knocking out!!] audiences and turning them on to the blues....if you're counting your coins and wondering which next blues CD purchase will best serve your budget [or even if you're made of money and don't care either way but love the blues] - BUY THIS ONE!!!

Albert King's Most Influential Live Album!
Well the Blues is meant to be played live. It was never a genre for three minute radio songs. When Albert king signed at Stax he produced several hit singles beginning with "Laundromat Blues" and going on from there. This was his first live album- ever. He produced three recordings from it, this one and "Wednesday and Thursday Night in San Francisco". The latter two were not released until 1990 when the Stax label was ressurrected under the Fantasy organization. Albert plays a host of new material and reworkings for this LP. It was his first outing at the Fillmore where he was the headliner. He woos the young audience and introduces them to what the blues is all about. He opens the set with Herbie Hancock's "Watermelon Man", a tune he used for about a dozen years after this as his opening with his line "take off your shoes and slip them under the seat". He goes into the title track "Blues Power" from here. This a Talking Blues, a type that Albert excelled at. B.B. and Freddie never did any talking blues, Albert loved to talk! It is interesting that this type of blues originated in Appallacia with white players in the 1920s. Albert is the all time virtuoso of the talking blues witness "Matchbox", "Cold Feet" and others. This ten minute outing contains a comprehensive overview of his guitar style. It is very excellent and the tone of his guitar is fabulous. It of course has his signature stop break he first recorded at Chess in 1961 with "Won't Be Hangin Round". SRV used it in Texas Flood (Live)! This song has a lot of jargon that places Albert as an older player with a young audience, such as "Soda Fountain" and "Guys and Gals"..however, it's over their heads, they were into his guitar. The title "Blues Power" is of course the catch phrase of the sixties various "Powers" (Austen Powers!!) and like "Born Under A Bad Sign" (Age of Aquarius!!)these attempts at contemporizing the blues were lost in the fabulous guitar work outs. No one cared about the lyrics or content only the sound.

Albert does a reworking of his first minor hit with King Records "Blues At Sunrise" with a small amount of Hendrix type feedback (he'd been doing this for a long time) and it's a great slow blues offering. He also does the closest thing to a slide riff he'd ever done with B.B. King's "Please Love Me". "Night Stomp" is an interesting reversal of the famous 9th chord runs he did in Overall Junction. He wrote this tune with the album's producer Al Jackson, Jr, the famous drummer of the MG's. He also wrote "Cold Feet" the talking blues, with Albert! The album closes with "Look Out" which was of course "Overall Junction" redone. This is interesting with the strange almost Buddy Guy bends he produced- it's different from anything he ever recorded.
This is a classic recording. It was at a time when the blues revival of the sixties was waning and Jimi Hendrix (who played with Albert) had taken the blues to a new level of blues-rock. Albert became accepted as an innovator of modern urban blues with his soulful recordings for Stax records. However, live he always played traditional blues and often his set included tunes from the 1940s (check out the other two albums e.g."Driftin Blues"). I saw him in 1990 and his set included "Stormy Monday" and "Move To The Outskirts of Town". Get all three of these CDs, they are an historic record of the blues influence on music of the 1960s.

Forget SRV? I dont think so.
I agree with all the positives about Albert King, he certainly is CLASS. I do disagree with the person who said "forget SRV" yeah right! He was CLASS too, wasn't he?? ... Read more

Amazon.com

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 pric