Amazon.com essential recording

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

Reviews (12)

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

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

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

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

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

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

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

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

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

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

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

Reviews (3)

Best Garcia Live disc available!
I have absolutely loved this album since first getting it as a record in the 70's. It is the (along with the 2 other Keystone recordings) Garcia album that I keep coming back to over and over. Jerry's singing is as soulful as on any recording he ever made. His gitar playing during this period is a bit more sparse than during later periods, but is as emotional as it gets. Although "Space" and "merls tune" are a bit lacking compared to the Dead's jams, all the other songs are classics. On "It's too late" (my personal favorite) Jerry makes his gitar sing. Merl's keyboards complement Garcia very well. He gives Jerry the room to shine shine shine. If you buy only one Garcia album this is it. (Vol 2 and Keystone Encores rate a close 2nd and 3rd.)

Live At Keystone, Vol. 1 [LIVE]
Get this. Get all of the Keystone releases. John Kahn is a fantastic bassist who provides an interesting contrast to the Dead's bass player, Phil Lesh. His playing helps bring out plenty of sweet lyrical magic from Jerry's guitar.

you gotta have this on vinyl - get the cd
Positively & It Takes A Lot To Laugh are classics in themselves - everything else is candy and its way sweet candy - you wont be disappointed - get this CD ... Read more

Amazon.com

Released in 1979, this live album is a gem, from the enthusiastic audience (who cheer every line of opener "Mannish Boy") to Muddy Waters's killer guitar to vocals that tease and deliver by turns. The slide work is what to listen for here, especially on "Howling Wolf," where Waters gives any guitar virtuoso a run for his money. There are other special moments as well, including the absolutely killer timing on "She's Nineteen Years Old," the rock-bottom-deep vocals on "Baby Please Don't Go," and the slow sensuality of "Deep Down in Florida." The only shortcoming of this CD is that it's so short: there are only seven songs here, which will leave any listener wanting more. --Genevieve Williams ... Read more

Reviews (17)

Muddy was still in command.
Muddy was the man. And this disc proves it. On every single one of the tracks on this disc we hear an older Muddy still in full command of that special sense of timing and vocal control that made his name synonomous with blues. He teases us with a slow, stalling intro to a rocking version of Mannish Boy. He introduces Nineteen Years Old, playing to the crowd: "If she wasn't a young girl I wouldn't be arguing over her. I'm so carried away with young women that I'll kill anyone about one of'em." Highlights like these abound, and live audiences hoot their approval the whole way through. Also of note is some stellar instrumental work. James Cotton blows some searing harp on Nine Below Zero, as does Jerry Portnoy on Baby Please Don't Go. Both Johnny Winter and Pinetop Perkins cut loose on the marathon Deep Down in Florida. And, of course, Muddy displays his usual impressive chops on the slide. Buy this album and put it in your CD player at high volume. The results are electric.

Steamy!
This latter-day album gives the listener a chance to hear Muddy Waters playing live with the band that he recorded his 1977 comeback LP, "Hard Again" with.
The musicians include Joe "Pinetop" Perkins, Johnny Winter and harpists James Cotton and Jerry Portnoy, and the crowd greets every song and every solo with enthusiastic response.

Muddy Waters himself plays slide guitar on a couple of tracks, and while his improvisations are more enthusiastic than melodic, the band is generally quite tight, and the highlights include "Mannish Boy", "She's Nineteen Years Old", "Deep Down In Florida", Sonny Boy Williamson's "Nine Below Zero", and a powerful rendition of Big Joe Williams' "Please Don't Go".
The atmosphere is great, and so is the music. Seven tracks is a little on the short side, and the sound isn't quite as three-dimensional as on "Chicago 1979" or "Muddy Waters At Newport" (or the stereo cuts on "Mojo"), but "Muddy 'Mississippi' Waters is nevertheless a really good latter-day Muddy album.
Look out for the expanded 2004 re-release...

Vital Mckinnely Morganfeild
If you don't have it please get it just wish it had more live music .

MUDDY AT HIS BEST
I picked up this Grammy winning live album (his 3rd of 4 Blue Sky releases) on vinyl after seeing Muddy open for Eric Clapton at the Capital Centre (R.I.P.) on April 26, 1979. After being blown away by this blues legend, it struck me that over half of the audience (which was still straggling in) had missed the best part of the show (and would never know it). As good as Muddy is on record, he is truely in his element on stage. Therefore, I just had to add this live album to my collection. When I upgraded my stereo system, this is one of the first CDs that I purchased. If you like Muddy, you'll love him live.

Howlin, Screamin, N' Slidin
What a performance, thank GOD it got recorded! The whole band is at the top of their game, and Muddy just smokes!

Muddy and the audience feed off each other's enthusiasm - making this a very special live recording!

This is nothing short of a MUST HAVE release for the blues fan!

For those of us who never had the chance to see Muddy perform live, this is as close as you can get.

Put it on, turn it up, close your eyes, and ENJOY! ... Read more

Album Description

14 live recordings by Southern singer/ songwriter/ producer extraordinaire Penn with like-minded keyboardist mate Oldham. Contains versions of several of the cuts they wrote that became hits for others, including 'Cry Like A Baby', 'Do Right Woman, Do Right Man' and 'A Woman Left Lonely', plus classics like 'I'm Your Puppet', 'Sweet Inspiration' and 'The Dark End Of The Street'. 1999 release. ... Read more

Reviews (1)

A "must" for fans of southern soul music!
Peter Guralnick calls Dan Penn the "secret hero" of his book "Sweet Soul Music," and in a way Penn is as essential to understanding soul music as listening to Aretha or Percy Sledge (two artists who covered Penn's work). Penn and Spooner Oldham labored for some harsh taskmasters, like Fame's Rick Hall and Atlantic's Jerry Wexler, but they managed to write and produce tunes that sound effortless in their construction. Listen to Penn's hit for the Boxtops, "Cry Like A Baby," or "I'm Your Puppet," his hit for the Purify brothers that launched the Muscle Shoals recording industry -- they sound like tunes that have been around forever, just drifting in the ether, waiting for Penn to hear them and write them down. But don't take my word for it -- buy this record, right now! You'll listen to it over and over again. ... Read more

Amazon.com

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

Reviews (27)

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

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

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

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

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

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

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

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

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

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

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

Reviews (14)

Simmering, sizzling, smoking, & burning
Twice I have seen Ronnie Earl & The Broadcasters live in small clubs, within flicking distance of his beads of sweat. After the first time, I walked out of the club shaking my head, mumbling, "Why isn't this guy famous?" I still don't know the answer, but hopefully this disc will continue to help him along in that direction. If you hear Ronnie talk in person, you can't help but get the impression that he is the most humble and sincere guitar wizard out there.

Blues Guitar Virtuoso Live In Europe does an excellent job of representing Ronnie and the gang's live act, simmering, sizzling, smoking, and burning their way through a set of mostly original compositions. Bruce Katz's B3 organ is the perfect counterpoint to Ronnie's stellar picking, most notably on the cover of Bobby Timmons' classic "Moanin'." and Earl's own "Serezen".

While it's a fantastic performance overall, the recording is not without flaws. First, the audio volume level varies from track to track, such that if the playback volume is adjusted for the louder tracks, you'll strain to hear the quieter ones. So I end up ping-ponging back and forth on the volume. Second, during the quieter passages, an annoying electronic hum is audible. I believe this is coming from Ronnie's guitar amp. (The same hum is also audible in a couple of tracks on his studio album Still River.) And lastly, clocking in at nearly 15 minutes, the closing track "Rego Park Blues" is too long and ambling for my listening pleasure away from the concert environment.

I would give this one four and half stars if I could, but since the review system won't let me, I'm giving it the benefit of the doubt and bumping it up to five. Keep the faith, Ronnie!

Stunning recording!
I don't think that Mr. Ronnie Earl needs any kind of introduction to any serious blues fan. He is one of the best (if not the best from my point of view) living "white" blues guitarists around. His amazing technique and the mastery with which he is able to build up a guitar solo from a quite start to the maximum of its intensity are second to none. I sow him playing several time and this live performance recorded in Europe is a very good example of what he is effortless able to do live on stage. Baked by his regular band Ronnie is in a dazzling shape and his performance is sublime throughout the entire concert. The rhythm section is solid and precise as usual and Bruce Kats does a marvellous job with his B3. As all his most recent albums this CD is totally instrumental however much more blues oriented than his previous studio ones. Tunes like "San-Ho-Zay", "Blues for the West Side" are solid Chicago electric "West Side" blues and "Rego Park Blues" worth by itself the price of the entire CD. The influence of great masters like Magic Sam and Otis Rush, a bit of T-Bone Walker skilfully mixed with a hint of Wes Montgomery are, from my point of view, pretty evident, however his stile remain very personal and unique in the today blues scene. A great album that should be present in any serious blues CDs collection. Five star (I would rate it six but...)

One of the Best Blues Guitar CDs
I heard one of Ronnie Earl's cuts on a web radio station. I liked it so much I took a chance on an album - came out a winner. A local ice cream shoop has three choices: "I Like It", "I Love It", and "I Gotta Have It." Blues Guitar Virtuoso is definitely "I Gotta Have It". Too, it makes great music when I work out at the Healthy Living Center. Highly recommend this if you love blues/jazz guitar.

Stands the test of time
I stumbled on this disc five years ago in Vancouver. I liked the demo enough to buy it. I'd never heard of Ronnie Earl before. I played this CD lots after I bought it. It's one of the few that you can just plug in and let it go from start to finish...Rego Park cooks! My house was broken into a couple of years ago and my CD collection was stolen along with a bunch of other stuff..The first CD I replaced was this one...Ronnie Earl and the Broadcasters can play..I'd love to see them live..this is their best CD IMO

Great recording
Earl is fast and clean and very jazzy, he has a lot of technique. Probably is alot harder to play like he does than it sounds when you listen. The CD is very well recorded. A few of the songs really wail- I mean he sounds very inspired at times. I have no regrets purchasing this disc- it fits well into my blues collection... ... Read more

Reviews (7)

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

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

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

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

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

Reviews (17)

One of the best live albums ever.
First of all, I read Tom Hibbert's review of the album, and he must know nothing of music reviewing except to spout off with a complete lack of knowledge and/or taste. Reminds me of a Rolling Stone review of albums in the 70's. If Stone put the album down, you knew it would be a good one.

Kooper & Bloomfield working together brought a special "magic" to the music, if I may. Super Session, side 1 in particular, was a giant leap for rock'n'roll in the 60's, and "Live Adventures" took it one step farther. Great songs, great jams. Just a particularly enjoyable album that helped more than one young teenager make the jump from top 40 to "real" music.

Bloomfield & Coopers Best
Since the release of this album (when I was 16 years old) I have had and lost 4 copies of the LP (all stolen at parties or otherwise perloined!).
I now have the CD and this time NO-ONE even gets to touch it!

Live Adventures is probably the very best live album of it's genre ever recorded. Bloomfield, Cooper, Bishop and the rest display an almost phsycic link in the live sessions which gives the music a flow and dynamic rarely heard in the history of live music, especially considering the alleged amount of practice prior to the event.
Having heard most of Bloomfield & Coopers work since I have to say this is a defining moment in Live Music.
This album is a must for anyone with a Blues/Jazz/ liking.
Anyone who is not transfixed by tracks like "No More Lonely Nights" & "Don't Throw Your Love On Me So Strong" should be arrested immediately by the taste police!
Buy It!

Every track is amazing, but I want more
Great music, every track is great, but I want more. Two demerits to Columbia for not remastering this masterpiece and adding the full recording of I Wonder Who and other improvements. All they did on the CD transfer was copy the LP to CD! And, for 3 full nights of playing, this is a pathetic offering, a total of only 85 minutes of music on 2 CDs. Boooo!

Fantastic CD.
I loved it back in 1969 and I love it now. This is real music of the 68, 69 era. Feelin' Groovy. Take care.

Contact High
I loved this record in high school. You can almost smell the dope. You can almost get a contact high listening to it. If you want to recreate an era, this live at the Fillmore album will do it for you.

Unfortunately, most of the music is terrible. (I'm listening to Sonny Boy right now, and I'm getting a headache. One of the worst blues performances ever.)Bloomfield plays killer licks, as usual, and the Hammond has that distinctive Kooper sound.

But even allowing that this is a jam session, the band does not hang together, except when they're doing the most basic blues, which they play fine. (Not hard for musicians of this caliber to jam blues.)

The rest sounds like a high school band trying to recreate a Grateful Dead show, with some Ornette Coleman thrown in. It's all sloppy -- and rarely in a good way.

Kooper sounds like his voice is in training. Other albums (first Blood Sweat and Tears especially) would attract producers who could bring out Kooper's best.

Kooper's sobered up and his relatively recent ReKooperation is top notch.

This session is a relic, and would sound best, if you want to play it at all, on a scratchy piece of vinyl, accompanied by a hot bong, a black light, and a room full of posters. ... Read more

Reviews (5)

Hard-rock blues
Okay, I'm not a Hound Dog fan -- not that I have anything against him, it's just that this is the only album I've got by him. Maybe it's because I doubt there's better album by him. This is a clear favorite for when I want some loud, electric blues. It's a great live recording that captures both the energy of the performance and gives a generally clean, balanced sound. The opener "Give Me Back My Wig" and his take on "Dust My Broom" are great work. The only thing that holds it back from a five-star is a few muddy tracks and a few uneven songs. Even with all that, if you're into electric blues, you should definitely have this album, along with Muddy Waters "Hard Again".

The Houserockers' very best album
Hound Dog Taylor (1916-1975),the six fingered man (yes,just look at the picture,he really got six fingers on the left hand !) was a giant of the Chicago blues.His guitar playing and his singing mostly remind of Elmore James.Here he is recorded live with his Houserockers, Ted Harvey on drums and Brewer Phillips on bass,at the Northwestern University of Evanston,Ill,and at the Smiling Dog Saloon,Cleveland,in 1974.Great versions of Elmore James' classics,"dust my broom" and "the sun is shining",and awesome originals like "kitchen sink boogie","let's get funky" (remember Magic Sam ?) or "it's allright". Hound Dog is one of the very underrated great Chicago bluesman, with J.B.Hutto.Let's have a ball with him now !

THIS is the one!
This is the Hound Dog Taylor you should have seen live. But thank God for this awesome recording, you get to hear it, and you'll swear it's like you were really there. Raw, raw, raw sound that's always imitated but never duplicated; "Beware of the Dog" is definitely one of the top ten best live blues recordings ever made, EASILY. He and Philip Brewer and Ted Harvey set the standard for a blues power trio.

Raw and powerful
This is just a great classic album - It's like walking into a small club and hearing low down slide guitar and tough blues - I got this first on LP when it came out in 75 and it still sounds fresh and alive. Awesome.

Hound Dog's best, narrowly
Hound Dog's albums are all much of a piece: raw, stripped-down, exuberant "punk blues" that lack finesse but have feeling to burn. If pressed, I'd pick this one as his finest, because he and the HouseRockers ironically get a fuller and more powerful sound outside the studio -- this is a live album -- and, in the interplay between the tiny club audience and The Man, you can hear how much pure and simple joy he derived from his work. And, by returning that uplifting energy through his music, he was elevated to greatness. ... Read more

Reviews (7)

Best Blues guitarist ever!!
This is AWESOME Albert King live guitar playing!!! He was at his best on stage!!! Every song is soooo good!! I'd venture to say this is the best blues I've ever heard and I've heard a lot. This includes Hendrix, BB King, EC and SRV. His guitar sound is
sooooo sweet whether he plays soft or loud. It's true feeling...
Wednesday Night and Live Wire/Blues Power are also MUSTS!!!
Albert King is thE TRUE KING OF THE BLUES GUITAR!!!

They All Want To Be Albert!
It's hard to believe that 34 years has passed since Albert King recorded this CD during a live performance one Thursday night at the Fillmore Auditorium in San Francisco on June 27, 1968. It's even harder to believe that Albert and his Gibson Flying V guitar sound as fresh today as they did back then. There is some fantastic playing on this CD as is evidenced by "Drifting Blues" and "I've Made Nights By Myself". Albert had such incredible guitar playing ability that it was, and remains, a standard by which all blues players seek to attain. While, a lot of new blues guitarists are often compared to the great Stevie Ray Vaughan, those comparisons overlook the individual that SRV idolized and emulated-Albert King. In fact, Albert influenced the playing of many of the greatest players including SRV, Eric Clapton, Jimi Hendrix, Buddy Guy, Billy Gibbons and even Kenny Wayne Shepherd. On this CD you will experience what a consummate live performer Albert was. Some have described his playing as down right ferocious and sometimes scary. One thing is for sure, Albert is often imitated, but he will never be duplicated. The Wednesday Night makes a great companion to this disc so seek it out as well.

Live is Best.
To me, music recorded in front of a live audience is better. The musicians get turned on by the audience and vice a versa. As a white kid of 14, I listened to this kind of music in what was then the Black part of Seattle. I was able to enjoy this wonderful music with no hassels of any kind at "Battles of the Bands," in the old Finn Hall, The Washington Hall and even the Black and Tan. I have loved the blues then and ever since. Albert King is one of the greatest. Any one that enjoys blues will enjoy this album. What wonderful music.

This is the blues
There are two types of songs on this disc, shuffles and slow gut rippers. They even pretty much alternate one after the other on the disc. While it sounds like things could get boring after a couple songs, have no fear, we're dealing with Mr. Albert King.

While there are only two speeds, a gaggle of familiar blues standards, and the same notes on each solo, it really doesn't matter. The emotional whallop that Albert delivers is as intense as it gets. There are many long, searing solos that spew hell and brimstone. Then there is Albert's thick, sandpaper voice which is a beauty in itself. This is the blues, a man with limited ability and unlimited soul, playing on a stage.

Smokin' Albert at His Best
Albert King might play the same handful of licks all night long, but he'll knock you dead with 'em every time. Now THAT takes some doing! I agree with the review below-- I like this CD a lot more than B.B.'s Live at the Regal. Albert is full of confidence, he's totally in the groove, and you sense that he's in his happy, first blush of fame with "crossover" success. He really swings, and his timing is unbelievable. My friend and I were listening to some "ambient" nineties music the other day, and we quickly had enough and said: "forget this-- put on some Albert King, Thursday Night in San Fran!" We realize that there's no getting around it-- you can't beat a raw, thrilling, table-pounding groove, with hot, precise guitar licks. King rarely wastes a note here. It's been said many times, but 'tis true: he creates an exquisite, knife-edged tension by what he DOESN'T play. He sure was "in the zone" during that Thursday Night in 1968-- that's why this album is an all-time keeper. ... Read more

Reviews (6)

Best CD I ever heard! Where has Kelley been hiding!!
Enjoyed the enthusiastic blue-sy voice and excellent piano! The quality was amazing and I'd buy this one AGAIN and AGAIN!! I especially enjoyed Queen of the 88's, a great boogie beat! It's an incredible 9 minutes long at least! I hope to see Kelley Live in concert soon.

This Lady ROCKS!
I've seen Kelley Hunt perform several times & she is one I will never tire of seeing. Inspiration is just the album she needed to put out to the fans as anyone who has seen her live knows this is where she truly shines! She gives it all she's got the entire show & never, ever lets up. Queen of the '88s is a real pleaser as it has Kelley telling us a little bit of her history & how she got to be the boogie woogie mama that she is! No one can sing & play that piano like she can - very, very powerful & clear whether it be rock n roll, the blues or gospel. And getting help from the great Mike Finnegan is just an added bonus. Check it out - people from Kansas can rock with the best of them anytime! And go to a concert when she comes to town - you won't regret it for a moment.

Play that boogie-woogie!

I picked up Inspiration after seeing Kelley perform live, she is soooo phenomenal! Recorded live at three different venues between 1998 to 2000, Inspiration keeps the listener hooked by showcasing Kelley's phenomenal range - from blues to gospel to boogie woogie. And while this CD only has nine tracks, only 2 are under 5 minutes, and two of them are over eight.

The CD kicks off with Kelley's 'lusty growl' and killer drum beats in a story of "I-N-S-P-I-R-A-T-I-O-N" (think Aretha Franklin's "R-E-S-P-E-C-T"), thanking an ex-lover for letting her find herself. "Stronger Wings" is a very gospel-feeling tune and Kelley's vocals soar. "Treat Me Right", "Back in the Saddle", and "Forgive and Forget" are all upbeat romps that showcase Kelley's trademark boogie-woogie style of piano playing and show her as a strong woman. The guitar throughout "Just Like Oxygen" is awesome and Kelley's 'bluesy' voice grabs you and tells you a tale of wanting. "Natural Thing" is another great gospel-type tune, heavy on the piano and drums. "Love Never Dies" (Lullaby for Charles) is a soaring ballad which gives me chills when I listen to it. I saved my fave song for last..."Queen of the 88s" is Kelley's tribute to her childhood piano teacher, Mary Burke Norton, also known as the 'last of the red-hot mamas'. Kelley alternates between speaking the story and singing it and while it is over nine minutes in length, it not 'long'. It is an AWESOME song!

If Mary Burke Norton was the Queen of the 88s, than Kelley Hunt is the Princess, ready to ascend the throne. She may not be mainstream, but I have never seen anyone tickle the ivories like her and I don't think the mainstream is ready for such a talented, diverse artist!

What an Inspiration!
After hearing Kelly Hunt perform at Boondocks in Amarillo, TX, I was sold on this lady! Not only can she play the 88's like no one around today, but she can sing as well. Her voice can make you cry or laugh or shout out loud. What a blues singer!

Kelly/Inspiration
Kelley Hunt has one of the most versatile voices I've ever heard. She seems equally at home belting out raucus lowdown blues, crooning like a gospel queen, or torching low and sexy. Her vocals are strong but perceptive, penetrating and sensitive at the same time. And you would be hard pressed to find a keyboardest with a better left hand. Kelley can boogie-woogie with the best. Don't pass up a chance to see her live. ... Read more

Album Description

Digitally remixed and remastered 2 disc Legacy Edition ofthe Grammy Award winning album Muddy ''Mississippi'' Waters Live. The original recording was produced by legendaryguitarist Johnny Winter, who also plays and performs on the album. All tracks on disc 2 - Muddy ''Mississippi'' WatersLive at Harry Hopes - are live recordings of Muddy and hisband never before available, 'Medley-After Hours/StormyMonday Blues', 'Trouble No More', 'Champagne & Reefer','Corrina, Corrina', 'Hoochie Coochie Man', 'She Moves Me','Kansas City', 'Pinetop's Boogie Woogie', 'Mad Love (I Want You To Love Me)', 'Everything's Gonna Be Alright' & 'Got My Mojo Working'. 2-CD deluxe digipak with customized slipcase features original artwork plus additional track information and rare photos. 18 tracks. Legacy. 2003. ... Read more

Reviews (8)

and I thought I've heard it all
I guess I must have not read Muddys biography enough or didn't put two and two together. I thought with the Chess Box 3 CD set I have almost all of his recordings.

But I wasn't thinking.

Muddy got me into the Blues. Live in Newport was the first blues CD I bought.... I think probably around in 1989.

I bought this one just now, June 2004 and I am still in love with the blues. And with Muddy.

This album is great. I always prefered his live material... I love concerts and to feel the music as you can in this CD and to imagine to be there. Amazing. I do agree with the review of anders_pj... some arrangements and esp on the 2nd CD the obvious Champagne and Reefer influence make some of the songs not work quite as good as some other recordings.

But all in all a must for any Muddy fans. And some which want to discover THE father of Electric Blues.

****1/2.....Better sound, better mixes
The original seven-track Muddy 'Mississippi' Waters Live" album was a nice, but ultimately inessential record.
However, this 2003 deluxe edition (similar in design to the deluxe edition of the Allman Brothers Band's "Live At Fillmore East") restores the truncated mixes of the originally released songs, it adds another disc of previously unreleased material, and both discs have been digitally remastered. The drums and the bass may have been left a little too much in the background at times, but the vocals, the guitars, the harmonica and the piano are superbly crisp and clear.

Disc one has been fleshed out a little bit...the original mixes have been scrapped in favour of new and usually better ones, something which is particularly audible on the leadoff track, "Mannish Boy", which is two minutes longer than on the 1979 LP (and the original CD issue) due to the inclusion of a verse sung by Johnny Winter.

Other highlights include a terrific "Nine Below Zero", the slow groove of "Streamline Woman", and a swaggering nine-minute "Deep Down In Florida", and the band, which occationally includes Johnny Winter in addition to the standart Muddy Waters band (he doesn't replace any of Muddy's usual guitarists), is tight and muscular. Lots of great harmonica playing from Jerry Portnoy, and the four (!) guitarists manage not to step on each others toes too much, or engage in meaningless flailing...with the possible exception of Waters himself, whose occational enthusiastic improvisations on the slide guitar may make you want to reduce the treble a little ;o)

Disc two will hold the most interest for longtime fans, of course, since this material, which was recorded at the same series of August, 1978 shows as the songs on disc one, has not previously seen the light of day.
Opening with a lenghty soliloqui by Muddy Waters, and a "Stormy Monday Blues" which doesn't quite match T-Bone's original, it features a swinging "Trouble No More", an interesting "Champagne And Reefer", and the irresistable piano-driven "Corrine, Corrina".
This rendition of "Hoochie Coochie Man" has a lot of power as well, and the mix is one of the best on the entire album, finally bringing the bass and the drums to the forefront. And the rarely heard "She Moves Me", an early track from the Aristocrat days, is a nice inclusion, as is the slow, intense "Mad Love (I Want You To Love Me)", and Joe "Pinetop" Perkins' nimble performance of Clarence "Pinetop" Smith's classic "Pinetop Boogie Woogie", .

You'd think that a nine-minute "Kansas City" would likely overstay its welcome, but it doesn't, mostly thanks to the wonderful band and a couple of great guitar solos. And the album finally winds down with the great, up-tempo swing of "Everything's Gonna Be Alright" (sung in part by Luther "Guitar Jr." Johnson), and a fast, aggressive "Got My Mojo Working" with a nice, meaty harmonica solo by Jerry Portnoy (?) and some superb drumming by Willie "Big Eyes" Smith.
(The liner notes name Jerry Portnoy as the harpist, and he was indeed a member of Muddy's band at the time, but during "Nine Below Zero", and just before the harmonica solo, Muddy Waters clearly says: "It was nine below zero, Cotton". It's not supposed to be James Cotton, but who knows? Sounds more like Portnoy, though.)

This double-disc reissue includes an essay by Muddy-guitarist Bob Margolin, as well as Muddy Waters encouraging the audience to "smoke a little reefer, people", and it is a nice addition to any Muddy-fan's collection. It is not necessarily better than some of the other excellent live recordings left behind by Muddy Waters (like "The Lost Tapes", "Mojo", "Chicago 1979" and of course the Newport album), mainly because it doesn't really add anything new to Muddy's vast legacy...almost all of these tracks have been issued before in equally fine live versions (musically, at least).
But 4 1/2 stars anyway, because it's just so good! Even if there are other, less highly touted live recordings of the legendary Muddy Waters band which are just as good, or perhaps just a little bit better.

Best Blues Vocalist
This is the best blues vocalist ever, and the 2nd disc with its more laid back atttiude is better. Excellent sound, excllent band.

Second disk is as good as the first
This one's worth every penny. Had it been the new disk that had been issued originally, then IT would have won a Grammy. Best "deluxe edition" I've ever bought.

DESERVES A 6TH STAR
How do you improve upon a 5 star Grammy winning live album from a blues legend? Remaster the original album (with a longer version of Mannish Boy), add another disc with almost an hour of unreleased music not used the first time around, and a 22 page booklet containing essays by Robert Gordon and Bob Margolin as well as photos of Muddy through the years. This Legacy double disc set deserves a 6th star. Muddy's best just got better. ... Read more

Amazon.com

Taj Mahal's been chasing the blues around the world for years, but rarely with the passion, energy, and clarity he brought to his first three albums. Taj Mahal, The Natch'l Blues and The Real Thing are the sound of the artist, who was born in 1942, defining himself and his music. On his self-titled 1967 debut, he not only honors the sound of the Delta masters with his driving National steel guitar and hard vocal shout, but ladles in elements of rock and country with the help of guitarists Ry Cooder and the late Jessie Ed Davis. This approach is reinforced and broadened by The Natch'l Blues. What's most striking is Mahal's way of making even the oldest themes sound as if they're part of a new era. Not just through the vigor of his playing--relentlessly propulsive, yet stripped down compared with the six-string ornamentations of the original masters of country blues--but through his singing, which possesses a knowing insouciance distinct to post-Woodstock counterculture hipsters. It's the voice of an informed young man who knows he's offering something deep to an equally hip and receptive audience.

Soon, Mahal turned his multicultural vision of the blues even further outward. The live 1971 set, The Real Thing, finds him still carrying the Mississippi torch, while adding overt elements of jazz and Afro-Caribbean music to its flame. But it's overreaching. His band sounds under-rehearsed, and the arrangements seem more like rough outlines. Nonetheless, these albums set the stage for Mahal's career. (For a condensed version, try the fine The Best of Taj Mahal.) Today, he continues to make fine fusion albums, like 1999's Kulanjan, with Malian kora master Toumani Diabate, and less exciting but still eclectic recordings with his Phantom Blues Band. --Ted Drozdowski ... Read more

Reviews (11)

It doesn't get much better than this
I'd been waiting for the CD release to replace two well-worn vinyl copies of this energetic, unique live performance. from the first time I heard this recording nearly 30 years ago, its become a treasure.

Taj Mahal and his back up band perform a variety of "great American folks tunes" with an intensity and ease seldom found in any performance. The music, no matter how old the tunes are, sounds fresh and displays a lack of datedness, pretense or restraint.

The instrumentation and arrangements are unusual (a banjo and tuba duet, for instance) and full of joy.

Great music and great fun---this is "The Real Thing"

Taj Always Had His Own Style
This is an excellent Taj Mahal CD. The album is fun and relaxing and must have been a great show to see. The quality of the music is great considering it was taken from a live performance. Although, a few times on the CD when Taj is talking between songs, the sound drops very quiet for a short time but quickly shoots back up to a good volume. The use of horns is a great change on this album and the other musicians on the stage sound great throughout. This is a good CD which will spice up any blues collection by providing a sound different from most other blues albums.

A-MEN, brother reviewer...
Yeah, man, the "official" reviewer just doesn't get it AT ALL. This is one of the best ROOTS recordings EVER - and I don't say that lightly. Remember...this is 1971...LIVE, a 2 LP recording, at the Fillmore...I mean, the Allman Brothers - WITH DUANE - did their recording that same year. Now, how many acts could have gotten away with playing a tune with nothing but a banjo and a TUBA, for cryin' out loud! ("Tom And Sally Drake")? Taj Mahal, that's who. Taj engages the audience as well as anyone ("Gimme some help...GIMME SOME! - You can do it...if you're jacked up to it...) and standouts here are the norm. "You're Goin' To Need Somebody On Your Bond" is the groover, with Taj 'gettin spiritual' with the blues, and doing the back and forth with the crowd. Also a highlight is "Ain't Gwine Whistle Dixie No Mo'", where every band member gets a piece of the action, and my spine tingles at the thought of John Simon groovin' on the piano, and John Hall doing a GREAT guitar solo, and ending, with Taj whistling over the many horns. No, if you don't get it, you don't get it...but I was 15...and I got it. This is Taj's moment in Time, Live - History, I believe it's called - and he grabs on and holds tight. Any fan of blues, jazz, roots, gospel, or African-American music History has to consider this a MUST HAVE CD. Period.

This is it!
The "official" review doesn't take into account the power of this album as a whole. The chemistry is there, and this has the raw energy of the best blues. One of my favorite albums of all time.

BEGstore.com transaction review
BEGstore was perfect! Prompt shipping, clean packaging, and a free shipping upgrade! I'll do business with them again. ... Read more

Amazon.com essential recording

For most of the 1970s, keyboardist Merl Saunders was Jerry Garcia's main musical foil away from his main band, allowing the Grateful Dead icon a chance to really broaden his horizons. Dates from 1973 at San Francisco's Keystone with bassist John Kahn and drummer Bill Vitt have yielded three CDs' worth of material--Volume 1 and Keystone Encores augment this particularly strong set. Here the quartet tackles a pair of rollicking rockabilly numbers, a blues staple, a wonderfully touching, soulful ballad, and the standard "My Funny Valentine," the latter delivered in a rather exploratory style.--Marc Greilsamer ... Read more

Reviews (1)

Burning up the Keystone
Live At Keystone, Vol. 2 highlights two of the most fabulous muscicans of the 20th century. Jerry Garcia and Merl Saunders share the pinnacle of their careers on this funky live album. Both products of the San Francisco counter culture, Saunders and Garcia colaborated many times during the 70's and 80's at the famous Keystone Auditorium. The two effortlessly bounce their electric emotions off of eachother throughout the entire album. Saunders and Garcia jam out almost every track on the album, and their raport with the audience can be heared in the background. Live At Keystone, Vol. 2 is an album that cannot be passed up by music lovers of any kind. ... Read more

Reviews (22)

Great Overview Of An Original Guitar Hero
I was very excited when I learned this was being released. I am a fan of great blues and blues/rock guitar playing and Rory Gallagher certainly fits the bill. This 2 cd anthology of his BBC recordings provides a fitting tribute to the now deceased Irish guitar hero. The first disc contains material from live concerts broadcast on the BBC while the second disc contains material recorded in the BBC studios. The set was recorded from 1971-1986. Rory Gallagher was one of the first world famous Irish rock musicians. He has influenced either directly or indirectly many of the Irish groups that followed such as Thin Lizzy and Gary Moore. He sort of reminds me of the Irish equivalent of Johnny Winter. Both are under appreciated and adept at playing both blues and rock. They played some of the same festivals, broke into the scene at the same time and play both acoustic and electric guitar equally well. The set includes some tracks not included on his studio albums. I think the live disc is the better of the two simply because of the live energy Rory was able to generate in concert (all of his live albums are worth picking up). My favorite cuts on the live disc include a killer version of "Calling Card", "Used To Be" and the trio of cover tunes "Got My Mojo Working", "Garbage Man" and "Roberta". Notable cuts on the studio side include "Hands Off", "Feel So Bad" "Toredown" and "Hoodoo Man". The only drawback is that it isn't longer. I keep hoping they will get around to compiling a box set which will contain all of my favorite tracks along with some unissued live and studio recordings. Until then I recommend this set along with the remastered versions of his original albums. It is also worth investigating his early more improvisational work with Taste.

SECOND DISC WORTH THE PRICE
Rory's MUST HAVE live disc still remains IRISH TOUR '74, but the second disc of this set is a close second.

The first disc, a "live in concert" suffers the same fate as the STAGE STRUCK live disc: poor song selection and less than inspired performances. The playing is merely GOOD, but it seems Rory's fires were burning low and he was counting on volume and distortion to take the place of passion. Unfortunately, it didn't. CALLING CARD and COUNTRY MILE are pretty good.

BUT disc two, the IN STUDIO disc... ah, that's a different story all together! Starting with RACE THE BREEZE, this part of the set, recorded between 1971 and 1974 (Rory's peak for me anyway, and excepting WHEN MY BABY SHE LEFT ME (based on SHE CAUGHT THE KATY) recorded in 1986 and also very well done) smokes with the same musical fire that pushed IRISH TOUR'74. The songs are some of the album tracks from Rory's first four solo albums and all are top flight performances. Add the blues of FEEL SO BAD (driven like RACE by a train type rhythym) and HOODOO MAN, this showcases EXACTLY where Rory and his band were in this period. If you get this JUST for the KILLER version of THEY DON'T MAKE THEM LIKE YOU, you won't be disappointed, even when you get to TOREDOWN, the next song.

typical rory !
I'll keep this short and sweet
Both of these CD's would stand up alone as two of the best albums of all time!
Together they showcase Rory's awesome ability & energy on stage and his method of captivating even the smallest audience in the studio.
If you do not own this album, you should spend your last cent on it and listen to it daily!

Excellent
Rory Gallagher excelled on every level, as guitarist, vocalist, and songwriter, and this set reaffirms that fact. This 2-disc set features a both live and studio performances, with an interesting mix of both originals and classic covers of blues classics, and Rory's genius manifests itself throughout. In particular, the live performances show why Rory was one of the most dynamic, talented, and vastly underrated artists of all time. Special thanks are due to Rory's brother Donal, who has done a superb job in making Rory's music available, and keeping the legend alive. This set is a treat for any blues/rock fan seeking some of the best music ever made.

Superb Music From A Guitar Legend
As a devoted long-time fan of Rory Gallagher, I was delighted at the release of this excellent 2-disc set. The live performances are particularly notable, as Rory was always at his best when performing live. The cuts range from classic originals to excellent cover versions of blues standards. I would highly recommend this set to old and new fans alike. This is nothing less than an artistic triumph for one of the greatest musicians of all time. ... Read more

Reviews (3)

Awesome live blues guitar
Albert was at his best live...This is awesome guitar playing and Albert's singing is awesome as well. One listen to this and one realizes that Albert King is truly THE master of the blues guitar. ALL songs are excellent! "Don't throw your love on me so strong" is the VERY BEST BLUES GUITAR PLAYING I've ever heard and that includes SRV, Hendrix and the rest of King's followers. He was the BEST!!! Thursday Night and Live Wire/Blues Power are also MUSTS!!!

Hot Blues!
Albert King recorded this CD on Wednesday June 26, 1968, one day prior to his more popular and better known release, "Thursday Night In San Francisco". This disc represents the first day that Albert performed at the Filmore as the headliner. Prior to that time, he had appeared as the opener for Jimi Hendrix and John Mayall and the Bluesbreakers. Albert's "best" performance that evening, as well as the next day, (according to Stax anyway) was originally released by Stax on the "Live Wire/Blues Power" CD. The songs contained on both, the Wednesday and the Thursday CD were thought to be a cut below and were not included. Fortunately for us, Stax took another look at the material, albeit 22 years later, and released the remainder of the material as it occurred on two separate discs. In order to gain a full understanding as to what occurred on those two nights, King fans should purchase all three of these excellent recordings. As with the other two discs, King's performance is outstanding.

Live proof that Albert King's blues guitar voice is unique.
This album is typically overlooked by blues fans, even Albert fans, but it's a note-perfect document of how to deliver a live blues performance. Albert has such total control of the blues guitar vernacular unique to him that he can ply a range of emotions through a subtlety of pitch, dynamics, and timing that is probably unmatched. The uninitiated listener mistakes this control for repetitiveness, but the flawlessness of Albert's delivery makes his blues guitar voice undeniably compelling nonetheless. All the evidence is on this record. ... Read more

Amazon.com

Recorded at Wolf Trap in Virginia, Live & Uppity is just what itsounds like: a live performance by the sassiest, most attitudinal blueswomen in thebusiness--and that's saying something. The opening song, "Cold Pizza and Warm Beer,"a halfway-rueful morning-after song, sets the tone for the album; it's going to be a party,with no regrets. And the women of Saffire are funny, too. "You'll Never Get Me out ofYour Mind" is introduced as "a song that I wrote back when I was getting rid of mysecond husband." Songs like "You Can Have My Husband" (a nod to Koko Taylor),"Bitch with a Bad Attitude," "Dump That Chump," and the hilarious, double-entendre- laden "Silver Beaver" are humorous and savvy, with topnotch, energetic performancesfrom all three members. Yet Saffire have their serious side as well, as can be heard on"Lonely Nights," the startlingly tender "Hold Me Close," and the somber "1-800-799- 7233," a song about domestic violence (the number is for the National DomesticViolence Hotline). Though Saffire's sassy, clever humor is a major reason to listen tothem, there's clearly plenty of substance here as well; their songwriting is first-rate, as istheir choice of cover material, and it's all performed with skill and heart. Very highlyrecommended. --Genevieve Williams ... Read more

Reviews (7)

Lovely Golden Girls of Blues !!!
I am their big fan since I was a college student when I first heard their songs. I am glad this album is recorded in Wolf Trap, Virginia, where is my neighborhood and I visit there once in a while for great concerts. That makes me feel even closer and intimate to this live album.

All the songs are so good that I don't think yuou should skip any of them. And their energy is even pure and vivid in the live performance !!

Love These Ladies!!
This CD was given to me by a fabulous blues/boogie musician, and she sure knew what she liked here! This is a wonderful CD, with tunes you'll find yourself singing around the house (and sometimes just little snippets to annoy the men in your lives, ladies)! Love it!

The Best There Is Of The Blues
This album is fabulous and is a must for any blues fan who enjoys listening to the real thing. Being from Chattanooga, the home of Bessie Smith, these ladies make me proud of the Blues Heritage of this town. One of my favorite cuts is "You'll Never Get Me Out Of Your Mind" written and sung by Anne Rabson. "Mr. Insurance Man" sung by Andra Faye makes me want to start selling policies. Gaye Adegoalola wrote and sings "Silver Beaver," one of my other favorites on the album. It makes you want to see it, pet it and and kiss it's cute little nose. There is something on this album for everyone. It's a must for the blues collector.

this is a must .....even it you don't have all their others!
Saw them perform in Annapolis, Md. They sang many of their new recordings, this cd is one of their best. When you have a party..... this is a must!

This will end up as one of your favorites.
These are ladies I'd love to know. An excellent sense of humor and self, as well as a great repetoire of music. ... Read more

Reviews (3)

Fine, but not as good as their first
This is a reprise of the wonderfully successful first album these two did together. It is worth having not only for their obvious enjoyment working together, but for the terrific job in "Let The Good Times Roll".

Otherwise, this is not as good as the first effort, which I thought had much more wide range of songs. Make that your first purchase of these two.

A party!
BB and Bobby throw a great party here, beginning with Let the Good Times Roll. The beauty of this record, as with "BB and Bobby -- Together for the First Time Live" is the spontaneity of the live recording. Bobby tries to persuade BB to play some requests, a fan gets up on stage -- the fun of this record could never happen in the studio.

A very good value
I enjoyed all but two of the tracks on the original cassette I bought some time ago. An excellent version of both "Let the good times roll" and "The thrill is gone". ... Read more