Reviews (3)

Fine latter-day Collins
These performances were recorded shortly before Collins' death in late 1993, but rather than sounding tired, they offer proof that the "Master of the Telecaster" remained a commanding stage presence until the end.

Albert Collins' highly original, percussive guitar playing is still sharp, and his vocals are strong and soulful. He is backed by an excellent band which includes two sax players and a trumpet, and they offer solid backing and the occational soul-revue riff without overwhelming the 60-year old guitarist.

Collins and his band swing on the superb "If You Love Me Like You Say" and the funky "Iceman", and they groove on the eight-minute blues workout "Put The Shoe On The Other Foot".
Other highlights include the rocking "Travelin' South" and the sweaty soul of "Talkin' Woman". And listen to Albert Collins' solo on "Iceman", and his take on T-Bone Walker's classic "T-Bone Shuffle"...Collins played without a pick, and often used a capo high up on the neck of his slightly metallic sounding Telecaster, plucking tinkling, piercingly clear notes from the strings (this was the technique which gave his playing its "icy" tone).

This is a strong collection of some of Collins' best and most accessible latter-day material. It is a great place to start if you're new to the music of Albert Collins, and a must-have if you're a fan.
Definitely recommended.

THIS TRUE MASTER WILL NEVER REALLY DIE !
An album made up of live recordings in 1992 and 1993, this album serves as proof beyond a doubt that Albert Collins was very much on top of his game right up until his final days. Distilled from performances at the Montreux Jazz Festival, Switzerland and two gigs in Rockford, Illinois and Peoria, Illinois, this is a cooking set of hard-hitting blues that could raise the roof ! Bringing some of his most familiar tunes, from "Frosty" to "Iceman" and "Put the shoe on the other foot" to "T-bone shuffle" he totally sweeps the audience off its feet. Crystal-clear recording of the man who shall forever remain The Master of the Telecaster. Recommended listening !

Live with the Iceman
Albert Collins "the Master of the Telecaster" comes out in full force on this CD. It is the first CD I have by Mr. Collins and I bought it after hearing I ain't Drunk on KPFT in Houston Texas. Thanks Mr. V! Albert and the Icebreakers basically blow nearly every bluesman out of the water. Not only is the guitar great and the band great, but it is FUNNY! Who says the blues have to be sad. This is especially touching when you realize that this was his last tour before his tragic death and he knew that his time was almost up, but he still lived it up all the way. My only regret is that I won't be able to see him because he is one of the best entertainers I have ever heard. Yes it comes through that clear on disc. Buy this CD, turn up the radio loud, and don't worry about what your friends say about how lame the blues are because they probably listen to Britney Spears anyway. ... Read more

Amazon.com

Silvertone Records has done a smart job of resurrecting Buddy Guy's career. When the label signed the Chicago blues guitar master in 1990, the 54-year-old legend hadn't had an American release in nine years. Silvertone introduced him to a new audience by having him play duets with such rock-star admirers as Eric Clapton, Mark Knopfler, and Jeff Beck on the 1991 album, Damn Right, I've Got the Blues. In 1996 the label unleashed the hardcore Buddy Guy stretching out on vintage blues numbers in a live setting on Live! The Real Deal. The payoff is not only a terrific blues album but also an album built on the kind of financial foundation that will insure many more to come. --Geoffrey Himes ... Read more

Reviews (15)

Very good. Almost great
Buddy Guy is accompanied by the Saturday Night Live house orchestra on this album, which may only include nine songs, but still clocks in at well over an hour.

Guy's playing is strong and focused almost all the way through, and he gets superb backing from former Chuck Berry-pianist Johnnie Johnson, whose solo on the T-Bone Walker-like "I've Got News For You" is one of several instrumental highlights. Guy plays rhythm and lead guitar equally well (some blues guitarists, like B.B. King, literally can't play a chord), his voice is still powerful in spite of his advancing years, and he plays excellent renditions of "I've Got My Eyes On You", "Damn Right I've Got The Blues", "Let Me Love You Baby", and the Elmore James-single "Talk To Me Baby" in particular.

"Live - The Real Deal" may not be perfect (Guy's slightly erratic vocals are sometimes too low, something which should have been corrected in the mix), but it does show what an excellent guitar player that Buddy Guy is. It also features some of his best songs in good or even great live renditions, and if you're a fan of Chicago blues, you'll probably enjoy this album. If you're a fan of Buddy Guy you're almost sure to.

BUDDY BRINGS BACK THE BLUES
This is a good live album because Buddy Guy for once in concert is playing Buddy Guy, not imitating other guitar players which he annoyingly loves to do. It is also the most traditional blues sound he's done in about 20 years, not counting the duo cd's with Junior Wells. The Saturday Night Live Band keeps right in step on all 9 tracks with some good driving rhythum. There are some roof raising slow numbers like "Sweet Black Angel" and "My Time After Awhile" where you really hear Buddy actually playing the blues like the old days at Chess.

buddy Guy takes the SNL band to blues school
this is an interesting album. I have been a Buddy Guy fan for a long long time and I've seen him live on a few occasions. While I like the sound of the album and it does have some great moments I just don't get the whole SNL band thing. While great technical musicians they just don't know the blues and it is glaringly obvious when one of them attempts a solo. G.E. Smith's weak excuse for a call and response section with Buddy during, "Damn Right I've Got the Blues" sounds like my cat when she is wining about being hungry. Buddy will throw out some amazing guitar line and smith will answer with something that a ten-year-old would play while learning how to bend the strings. Pathetic! the only other soloist who keeps up with Buddy on this album is the amazing Johnny Johnson on piano. the man is just a legend and he does show it here. This album seems to be another attempt to make Buddy palatable to the casual blues fan, (The ones who think Keb' Mo' is a blues artist), in an attempt to widen his audience and from a financial standpoint I can't blame him or his record company. Ih short, if you are a true Buddy Guy fan you'll find this album to sound pretty waterd down so I wouldn't rush out and buy it. If you are someone who is interested in learning about the blues and have heard about Buddy Guy then I would recommend buying this album simply because Buddy's playing is normally very intense and it may scare off someone who is not familiar with his style so start with this one and then build into the real good stuff.

The best!
Buddy Guy's recent (Silvertone) studio albums range from ok to very good, but none really capture Buddy at his best--in concert. Nobody puts on a better show, and this album comes very close to taking you there. I have seen Buddy twice in concert and, while he does use a different band here, I believe this album really captures the spirit, passion and virtuosity of the best blues musician in the world. Fast tunes, slow tunes, quiet, loud--it's all here, and it's all brilliant.

Some of the earlier reviewers seem distressed that Buddy is teaming up here with the SNL band, rather than playing with his usual smaller group. Well, so what? They bring out a new side in him, and complement him very well. And, they are tremendous musicians. I really enjoyed listening to piano, organ, and sax solos, in addition to Buddy's fantastic guitar work. Everyone obviously had a great time, and they made some truly inspiring music.

Astonishing,historical performance of a genius!!
This is an historical album.A rare opportunity to hear the magical guitar of this great bluesman at his own home the Legend's.Here we have a Buddy Guy with intense,gutural,sensuous voice,a testimony of a genius,that plays like no other,with heartfeelings,and sustained by a great band.This is a cd for those bluesfans,those Buddy's fans!!! ... Read more

Reviews (1)

A Real Trip to the Past
This performance really takes you back. It sounds like you took your own little tape recorder with you that night and captured all the sounds in the theater. The sound on this recording is primitive, but actually quite adequate. There is Dave's gravelly voice, and then the enthusiastic cheering of the crowd. Put it in the stereo and turn up the volume and you can picture being there.

Dave has made a good selection of material, and he even includes some W. C. Fields impressions. I think the songs have aged very well; although they are from an earlier era, they still sound good.

This is a good show. It is only 46 minutes, which is the part I most regret, but a good 46 minutes. Any fan of folk music will want to have this CD, and the price is right. ... Read more

Reviews (7)

Robben Ford Unplugged
Give me more, give me more. Clean and funky.

Wow, he can sing!
Who knew? The quality of Ford's vocals, always a point of controversy, are very high here, particularly on "Don't Let the Sun Catch You Crying" and the unaccompanied "Loving Cup". The acoustic setting suits Ford, as he reveals himself to be an effective singer when he isn't trying to belt or growl or yelp at high volume. This isn't really a bootleg, as all the instruments are professionally recorded and mixed, particularly Tom Brechtlein's intricate (particularly for blues) drumming. Mr. Ford's acoustic guitar is clear as a bell and transmits his electric technique surprisingly well. Nicely done.

Some of the best ensemble playing you'll ever hear
The rapport between Robben, Tom, Bill and Roscoe is very evident on this hot, and way too short set. Tom Brechtlein and Roscoe Beck deserve big, big kudos for their outstanding support of Robben. My favorites are Lovin' Cup (ultra funky guitar figure), Don't Let the Sun Catch You Cryin', and Start it Up. Absolutely some of the best blues playing you'll ever hear.

Great jazzy blues, through & through
This is an overlooked masterpiece! Classy, understated in places, ferocious in others,"Authorized Bootleg" has it all. Ford's vocals are in fine form, but we're really here to hear the guitar, right? The rest of the band cooks as well, and the superb quality of the recording is delightful considering this is acoustic. All I can say is it is one of my all-time favorites.

Very clean cut from Yoshi's in S.F.
I personally enjoyed many of the songs on this CD. Especially 'Cheverolet' and 'Tired of Talkin'. If you like this you should try an earlier CD entitled: "Firecracker." ... Read more

Reviews (7)

Alan Haynes is the most impressive guitarist I've heard live
Why doesn't Amazon have Alan Hayne's "Live at the Big Easy" album? I want to hear him by himself! I was in Austin for a conference, and accidentally wandered into Joe's Generic Bar on 6th Street, and was totally blown away by Alan Haynes! Apparently, he's better known in Europe than in his home country (the U.S.), and that's a real shame for us. I can't ever remember being so impressed, and I would have been just as impressed if he had been playing Carnegie Hall, and I had paid $50 for tickets.

Not Much Better Than This
Jim Suhler is good but Alan Haynes is great!... Check out the Red Guitar he has, it was Stevie Ray's on the Albert King Record- IN Sessions. Alan has been playing since he was 8 years old and is tremendous. Buy this CD and go check him out at Joe's Generic Bar on 6th Street in Austin (every tuesday night!). He will rock your world!!

buy now
their shows are really this good!buy now you won't be disappointed

good drink'n music
my title speaks for itself............these two guys gotta get together more often........if you play this though; you should warn your neighbors

Blues at it's best
This is the best blues from Texas I've heard in a while. When will these guys get together again? I am living in Australia right now and I miss real BLUES music. Stores over here don't sell it. These guys are great! ... Read more

Reviews (4)

Ditto what all the guys said!
I really can't top the first three reviews. They said it all. I will add that I was glad to see a version of "God Will", since I love that song. Hearing it sung by Tracy, who has been my favorite singer since I first heard her back in Madison, Wisconsin, in college, was a real thrill.
I was glad to see the arrangments taking a bit of a back seat to her voice on this CD, allowing her "blues belter" vocals to come to the foreground. The slower than usual tempos on some cuts also helped to highlight Tracy's incredible vocal talent.
I agree with James, if you have a chance to see her live, don't miss it. She can stand three feet away from the microphone when singing, and still blow you right out of the room with the power of her voice.
Buy it...you won't regret it.

Missing Out On This CD Is A Crime!
Devotees of singer Tracy Nelson (and I certainly number myself among them) have been waiting for years for an official 'live' release from this phenomenal artist. Tracy has released 21 albums prior to this release, all of which have their wonderful moments and some are downright clasics(including 2001's independently released EBONY & IRONY, as well as I FEEL SO GOOD, and MOVE ON from the 1990s (both on Rounder Records), and several re-releases from her early days in the 60s and 70s). It's all great stuff, but even folks who love her studio work have been known to come out of one her concerts utterly astonished. It's almost as though even the best studio settings cannot do this astonishingly powerful singer justice.

I've always said that if I were a waiter in a club where Tracy Nelson was performing, I'd probably be fired before the night was through. Because I'd doubtless just stand there stock still, tray in hand and jaw dropped to my chest (if not the floor) in a state of complete awe.

So at last, we have the live album that many of us have been awaiting for the last two decades or longer. It's probably a cliche to say that it was "worth the wait," but in fact, it was.
This release is the work of a mature artist, one still very much in control of her instrument, but also whose artistry and vision has only deepened over the years. She wrote her signature song, the classic "Down So Low" when she was in her early twenties--a remarkable feat for someone so young--but the version included on this recording seems to come from an even deeper place. She sings every song on this record with conviction and authority, but nowhere is it more evident than on "Down So Low" and on Memphis Slim's blues classic "Mother Earth"--both of which she recorded for the first time in 1968.

Tracy has assembled a crackerjack band for this recording. She does not always work with a horn section, but when she does, the results are nearly always stellar. The horns give her that extra oomph and send her already soaring vocals into the stratosphere. And she has found a great setting and a more than enthusiastic audience in that Tennessee prison. This is an audience starved for music, and even if they had no idea who Tracy was beforehand, they respond eagerly and gratefully to what they soon realize is a truly first rate performance.

The selection of material could not have been better. Aside from the two early classics mentioned above, there are new versions of songs from throughout Tracy's lengthy career. She opens with a "I Need All the Help I Can Get," originally recorded in the 90s for Rounder. It's a rousing opener and sets the tone nicely. She follows with a song that she has never actually released on record, although she has been known to perform it live before, Patsy Cline's classic "Walkin' After Midnight." Tracy is one of the few singer's who can take on a Patsy Cline number and successfully make it her own. (Eat your heart out, LeAnn and k.d.) So in the space of two songs, she demonstrates her astonishing range and versatility. She follows up with another new track, Lyle Lovett's "God Will," a song which fits her voice perfectly and which demonstrates that she did not leave all sense of irony back with the last record's "ebony."

Her powerful r&b shouters never cease to astound, and stand up to repeated plays. But those repeated plays will also demonstrate the subtlety with which she approaches the ballads included here. Her phrasing on "God Will" and on "Tennessee Blues," first recorded in 1972 or '73, is controlled, disciplined and intelligently executed. She could teach a master class--provided she could find students worthy of her time.

Tracks that will be more or less familiar to fans are given new life in their live versions. Songs like the recent "Got A New Truck" and 1974's "After The Fire Is Gone" were originally recorded as duets (and remarkable ones they were too; the former having been a joint effort with another great lady, Marcia Ball, and the latter a collaboration with the legendary Willie Nelson--who is, by the way, NO RELATION), and as good as the originals were, it's great to hear Tracy tackle them as solo numbers. Nearly all previously recorded tracks have been revamped in ways that fans will find interesting, if not illuminating.

Nearly every review of Tracy Nelson's recorded work or of her live performances includes the observation that it's a downright shame that she is not better known. That's another cliche that's become hard to avoid when talking about this great singer. From everything I know about her, I don't think she particularly cares about reaching superstar status. She is first and foremost, an artist. But like many of her devoted fans, I still am eager to spread the word to as many receptive souls as possible. I figure it's doing them a favor.

Tracy Rocks The Jail House
When the hell is the public ever going to catch on to this woman? Most of the record stores I've visited have only had one or two copies in stock. That is an absolute sin. In her 35 year recording career, this is Tracy Nelson's 21st release - 22nd, if you count the Best of Tracy Nelson / Mother Earth - yet for some reason, she is not a household word. (Well, I could give you lots of reasons, but don't get me started). Established superstars (such as Willie Nelson, Linda Ronstadt and James Taylor, to name just a few) have praised her for years as "one of the best voices around" and "a singers singer". She has a powerful, expressive voice, demonstrating a talent that is almost superhuman, but inexplicably, she remains a secret. Her music is known only to music insiders, and a few lucky fans, who seem to number only in the thousands, instead of the millions she deserves.

For her first live album, recorded before inmates in the West Tennessee Detention Center, Tracy revisits two of her old standards from her first Mother Earth album - Down So Low (her self-penned theme song) and Mother Earth, an wonderful blues reflection on mortality written by Memphis Slim, from which her old band took their name. Esquire magazine once called Down So Low, "the saddest song ever written". Down So Low has been recorded by Linda Ronstadt, Etta James and Maria Muldaur (among others). It has never received a stronger treatment than it does here. Her legendary vocal prowess has only improved over the years, and her reputation as singing powerhouse is well supported by this release. This version of Down So Low compares quite favorably with the original, which she recorded in 1968, proving that she still has it. How many singers can re-record the same song after 35 years and sound better than ever doing it? I can't easily think of a single one.

The venue has an impressive effect on the selections. For anyone who has ever been to jail, or if you are a family member, or the loved one of a prisoner / ex-prisoner, some of these songs will take on a heartbreaking intimacy that is almost too personal to bear. When Tracy sings her theme song, Down So Low, suddenly, for me, it is no longer a song of unrequited love; instead I hear my own mother wailing in anguish at the first arrest of my older brother ("When you went away, I cried for so long...").

I have been privileged to hear Tracy live many times, the experience of which no record can ever fully convey - her voice is just too powerful. Before I even read the notes, I looked at the track listing and saw Tennessee Blues, and my first thought was, "I've never heard her do that live. That's an old one". Almost reflexively, I started to run the lyrics through my head, and a chill ran down my spine. "If I had my way, I'd leave here today, I'd leave in a hurry..." the song starts. Instantly, images of those inmates flooded my mind, smiles and maybe a few tears on their contented faces. All of a sudden, the identification they must have experienced with that lyric and the stark reality of their situation came pouring out of the words right at me, and the song took on a new, heartbreaking, yet comforting profundity. I can see those inmates in their drab uniforms (no matter what color, prison garb is drab), nodding their heads and agreeing 1000% with the sentiment behind the song. "A place I could use... a place I could lose those Tennessee Blues". Wow. Tennessee Prison. Tennessee Blues.

Tracy doesn't stop there. She has finally committed to record her version of Walkin' After Midnight, made famous by the late Patsy Cline. Tracy's rendition owes nothing to Patsy; as few singers can, she manages to make it her own without dredging up comparison to Patsy, or detracting at all from the memory of the original.

She also revisits some of her best stuff with new verve, including her self-penned (with assistance from Marcia Ball) Got A New Truck (a song I confess I loathed until this reading - but I'm not into autos) and a solo version of the duet for which she and Willie Nelson received a Grammy for Best Country Duo in 1974, After The Fire Is Gone. She has lost none of her incredible voice, and seems to improve with age, like fine marijuana.

Added to this wonderful mix of Blues, R & B and Country (and ALL her albums are a wonderful mix of Blues, R & B and Country, with just a smidge of Country-Blues influenced Rock to round it all out) is a thoroughly original arrangement / cover of Lyle Lovett's lyrically ironic God Will, which may just be the most understated and effective track on the whole album, since it suits her style perfectly and offers her fans choice to add to their list of favorite Tracy Nelson tunes.

Since acquiring my copy last week, I have played this album no less than two dozen times. It gets fresher and more creative with each listen. If you are familiar with Tracy at all, you will not hesitate to acquire this release. If you're not, I can think of few better introductions to her craft - notably her 1969 classic Country album (Mother Earth Presents Tracy Nelson Country - Mercury Records - available on a Reprise CD) or her 1978 masterpiece Homemade Songs (Flying Fish Records - available on a CD also containing her complete second Flying Fish issue, Come See About Me). Try her out soon - you will not be sorry. Submitted June 22, 2003.

Live From Cell Block D
First of all - let's get one thing straight. Tracy Nelson can do no wrong. That said, this is an incredible live album, which was a long time in coming.

I'm sure jokes will be told about singing to a 'captive' audience, but it takes a true talent to be able to get away with singing a song in a jail entitled "Send Me to the 'Lectric Chair".

Other highlights are her own "Down So Low" "Tennessee Blues" and "After the Fire is Gone". Actually, as is true of every Tracy Nelson album, there is not a bad song in the bunch. Listen to "God Will" or "Mother Earth" and try not to be moved.

Bottom line, buy this CD - you won't be sorry. And while you're at it, spread the word. Forget about all the flavors of the month - Tracy Nelson is a force to be reckoned with. ... Read more

Album Description

The greatest living chromatic harmonica player, tears it up at BB King's in Memphis. ... Read more

Reviews (6)

A superiaor rockin' blues band
Well this band Rod Piazza and the mighty flyers, have mroe in common with boogie beboppin' swing, then blues, but this genere is now being referred to as "Rockin' blues", and Piazza a talented harmoica player, who really makes his harp rock and wail, does rock good enough to attract a rockabilly crowd following. Honey Piazza(Rod's wife), is the real treasure of the band, adding boogie woogie rockin' piano riffs, that are out of thsi world. a great cd, a rockin blues band, and yes you can dance rockabilly style to this band!!!

Almost like being there
I have seen this group perform twice at an intimate club in Mishawaka, IN. They are awesome. Words cannot describe how they get the joint jumping. I am looking forward to seeing them again. I see they are due to return to Mishawaka and also play at Buddy Guy's in Chicago. I will definetly be there. This CD captures as well as is possible how great they sound. I have played it over and over and still get goosebumps when I hear Rod blowing that harp and Honey slamming out a boogie.
If you cannot see them live, get this CD. If you have seen them live you must have this CD.

Awesome Awesome Awesome
I used to play this CD all the time until it was stolen from my car (along with many other CD's). I have been looking for it ever since and am very happy to have found it. Play this anytime you need to be energized!

The best live blues album
I got the cd from a friend of mine. The first time I heard it I was in love. What a sound, what a style!! This man makes a crowd go wild!!!, even on cd!!

Amazing Live! performance.
I saw him at Biscuit & Blues, San Francisco... and his harp playing is really amazing, diatonic and chromatic. He even used a cordless mic and played around the hall! His wife boogie style piano solos were incredible. I purchased this CD there (and a modified harp mic) and it returns me back to those moments everytime I listen to it, five stars!!! ... Read more

Album Description

French remastered mid-price reissue of 1958 album. Packaged in a digipak. ... Read more

Reviews (1)

Awesome !!1
If one is interested in the early Ray Charles jazz years this is a wonderful example. The album abounds with demonstrations of his virtuosity on piano, and that of other musicians in his large band. Check out Blues Waltz!! A good listen! We won't see his like again. ... Read more

Amazon.com

Tommy Castro is the kind of guy who makes you think, "hard-workin' man." There's no frills or flash on Live at the Fillmore, but one gets the sense that Castro could do that stuff if he wanted to--he just has the good taste to refrain. That's all right; as it is, Castro and his band are so hot, you can practically hear the music sweat. Judging by the song titles, which include "Lucky in Love," "Can't Keep a Good Man Down," and "Sex Machine," one might get the impression that Castro's got only one thing on his mind, but few musicians can approach the same topic in such a myriad of ways. Besides, Live at the Fillmore also includes a stunning version of the soul-blues ballad "Just a Man," which shows that Castro is as capable of tenderness as he is of full-throttle blues rock. Wholly satisfying. --Genevieve Williams ... Read more

Reviews (12)

Tommy Castro is the Man!
I have been one of the fortunate people to have seen Tommy 13 years ago with other bands like Nightcry. In small clubs inSan Jose, where I once lived. He was great then and he and his band are awesome now. I recently got the pleasure of seeing him in Nashville and let-me-tell you, the band was tight, the tunes were right and a full house enjoyed every minute of it.Not only can the man sing agreat song but he can playa mean guitar to boot. Herewe have fire, ambition, talent and charm all comin' full force. Totally understated and humble in appearance is a band of amazing proportions. "Live at the Fillmore", is one of the best "live" performances to be recorded, ever. Flawlessand energetic. The content including "Like An Angel", "I Got To Change", "Just A Man", "Right As Rain","Nasty Habits", "Lucky In Love", "Can't Keep A Good Man Down" all showcase Tommy's writing abilities, as well as his signature guitar work. Don't let anyone tell you that Tommy can't standwith the best of them. He is a natural, born to play the blues. Be sure to see this band.

Some blues but more rock
Living in the bay area, I heard of Tommy Castro but never really listened to his music. This is my first cd of his and I love it. Straight ahead blues/rock with a tight band and good material. I plan to check out some of this other recordings.

must agree with mr nelson
This cd seems to not quite get it.Tommy is a fantastic blues guitar player.He has made great cd`s in exception to the rule and right as rain,but those were in the blues mode.I don`t want to hear a talent like this just trying to make you boogie,come on this guy is a great guitar player.Tommy please,stick to the blues.

ignore bruce nelson's review
you can't separate the power of blues and the spirit of soul...and trust me, every lick of tommy's guitar and every shriek or whisper of his raspy soulful voice, will knock you off your feet, and if your booty ain't shaking by the end of the first track, i suggest you have cpr administered immeaditely...buy this cd...you wont regret it one second...better yet see the band live..you will walk away a firm believer...that they are the real deal

Kickin' Feel Good Boogie-Woogie Blues
Tommy Castro rocks. He sings like Delbert & plays guitar like Buddy & Stevie. If you listen to this in you car, be careful to watch your odometer because the uptempo boogie-woogie blues will have you speeding in no time. ... Read more

Album Description

This live recording of the Ford Brothers - Robben Ford, along with brothers Patrick and Mark - was made in 2002 following the success of the Ford Blues Band's career best-selling titles A TRIBUTE TO PAUL BUTTERFIELD and IN MEMORY OF MICHAEL BLOOMFIELD.This release features highlights from their live performance captured for the PBS television series Sierra Center Stage, recorded at the Sierra Nevada Brewery in Chico, California.

Each of the brothers contributed songs.Tired of Talkin' is a Robben Ford shuffle that is anything but tired.Patrick contributes the joyful funk groove of Another Fine Day and Mark's Up From The Streets is a song he wrote for John Lee Hooker. ... Read more

Reviews (1)

Great Blues, Bad Arrangement
This is another excellent outing by the Fords and their family blues band. I really enjoyed Patrick's last CD (minus Robben and Mark but Volker Strifler on guitar and Andy Just on harp are great) called "Another Fine Day".

This live adventure combines them all and provides a number of upbeat, lively blues tunes. Particular standous are "Lovin' Cup", "Feelin' Disconnected" and "Mellow Down Easy". The others are very good as well.

However, my primary beef is how the tunes are presented. The very first song is Mellow Down Easy and it is obvious from Mark Ford's comments that they are well into their second set. Also, at the end of this first song, you hear him saying that they have to go. I don't wish to say that the recording has to follow the concert set exactly but geesh...at least try to help me feel like I am at a live gig. The rest of the presentation seems disjointed as well. On my copy, "Lovin' Cup" is labeled as #8 but on the CD it just continues right into this song after #7 "Up From the Streets" is completed.

However, despite these problems, this CD has some very good blues music that is played with energy and the tunes are well performed. I highly recommend the music. ... Read more

Amazon.com

Fleet-fingered fretman Monte Montgomery has quietly carved out a name for himself on the competitive Austin music scene as a poll-winning guitar hero and a must-see live act. What's more, on a scene known for blazing Stevie Ray-style Stratocasters, he's done it all with an acoustic guitar! Montgomery's first live effort, a double disc recorded at Fort Worth's palatial performing-arts venue Caravan of Dreams, showcases his guitar prowess and the popular appeal of his live band's propulsive power. Most of the acoustic rock-oriented material comes from Montgomery, as self-penned staples from his live show are interspersed with such favorites as "Wishing Well," "Whirlwind," and "When Will I" from his two studio albums. Montgomery and the band make the most of the live setting, stretching out the songs--five go past 10 minutes--with creative instrumental interplay. Montgomery also successfully mixes in a diverse selection of cover tunes, including a percussion-driven rendition of Fleetwood Mac's "World Turning" and a radically reworked, almost satiric take on Merle Haggard's "Silver Wings." TheHall & Oates hit "Sara Smile" and Dire Straits' "Romeo and Juliet," the latter the 13-minute album closer, also appear in personalized versions spotlighting Montgomery's aggressive acoustic-guitar excellence and his crowd-pleasing personality as a live entertainer. --Michael Point ... Read more

Reviews (14)

Okay recording of one of the best live performers
The recording and production of this cd fails to capture the complexity of Monte and his band. Three guys sound like 6, as carefully woven rhythms grab ahold of you until Monte shakes you up with his guitar work... when you see them live, or listent to a studio album. For some reason, the bass seems to get lost on this recording, and the guitar solos fail to cut through. Still a good cd, but could have been one of the 10 best in my collection.

I can't stop listening to this one.
I've seen Monte live several times, and have all his other albums, and this performance is as great as the sound quality. I really don't know what other folks are talking about, criticizing the mix or the performance.

And I'm sorry there is a dispute regarding the legality of this recording, but I don't get the logic that we should deprive ourselves of this great artist and his music! I just wish he would release more live material...

John

not authorized
Do not buy this cd. It is not authorized by Monte Montgomery!

Buy Monte Montgomery Live New and Approved instead!!!

Legal Schmegal...who cares??
...P>I'm not going to go into a bunch of bull about this or that. This is quality music, from his awesome acoustic to his soulful lyrics. If you appreciate quality, and by the way if that rings your bell...you do, you will appreciate Monte. Just trust me on that (and look at his ratings on all of his other CDs here on Amazon.com...that says something)

I can genuinly say this is my favorite CD.

I am not sure what all the legal stuff is about, but it doesn't affect my ability to listen to good music and you shouldn't ...either.

One of the best!
i must say i don tknow why ohter people review it so low those who gone to the live concerts by monte know that this cd caputures the eccense of his show while it might not be the same as when you actually there seeing monte bust out mind boggling riffs and tricks on the acoutic it is one of my fave cd's because it reminds me of all the shows i go to and its that nostalgia that i liek and everyone else would like even if you havent gone to one and and enjoy his music this album is a musthave for you collection monte is a trully amzing texas artist and so is this cd ... Read more

Reviews (3)

Unknown no more
Thanks to mbernocchi I picked up this CD, and I was pleasantly surprised. Living in Houston I have seen Forsyth's name around town at various venues, however never ventured out to check him out since his music was unknown to me. Man, have I been missing out!! This is truly some of the greatest stuff I have heard in a long time. Although his band has changed since this album, they still go all out. Forsyth has a great voice, plays an awesome harp, and his chops will surely get your attention too. This CD is worth every cent. Buy it!!

A hidden jewel.
If you arrived here a blues "god" must have guided you. This is one of the most unknowns "awesome" blues albums ever published in the history of contemporary music. Guy Forsyth and his band decided to go public for the first time with this live recording and the result couldn't have been better. Within all the debut albums that I know this is by far the most exiting one. Not only you can feel the atmosphere, the electricity, the excitement and the feeling that must have been pervading the venue in which this record was recorded, you can even smell the sweat, the smoke and the alcohol that must have been present in a huge quantity that night in the theatre! The energy that Guy Forsyth and his band unleash throughout their entire performance is almost unbelievable. The band rocks from start to finish in an impressive sequence of original songs penned by Guy himself and covering two blues classics: "19 Years" (a.k.a. "she is nineteen years old") a Jimmy Oden song made famous by Muddy Waters and "Mr. Luck" a Jimmy Reed classic. Guy Forsyth prove here to be, despite his young age, a very mature and strong songwriter, an impressive talented slideplayer and harmonica wizard but most of all a fantastic singer and a true storyteller. While Rich Chilleri on drums and Rob Douglas on bass provide a solid and precise rhythm section, Keith Bradley on guitar share the centre of the stage with Guy Forsyth in a real "guitar" roller coaster that will take your breath away. Guy Forsyth is continuing his carrier releasing very good album (such as "Steak" that I strongly suggest you should check out), however from my point of view this is his best effort so far. Just pick it up, you will never regret it!

One of the best voices I've ever heard
One of the best voices coupled with incredible songwriting, harmonica, and slide playing. Texas blues that not only moves but grooves. Get this along with the other Guy Forsyth CDs. Worth the investment. ... Read more

Album Description

For over 15 years now, CORKY SIEGEL’S CHAMBER BLUES has been delighting audiences throughout the U.S. with its unique hybrid of classical chamber music and blues tradition.Blending blues harp and piano with a string quartet and percussion, Chamber Blues is innovative, yet immediately accessible.CORKY SIEGEL’S TRAVELING CHAMBER BLUES SHOW is the first LIVE recording of this extraordinary ensemble.

The CD puts Corky’s creative genius on full display as he and his group refine this new musical genre right in front of their audience’s eyes and ears. It’s a sound renowned writer Studs Turkel describes as "a joyous marriage of classical music and the blues." ... Read more

Amazon.com

This powerhouse set of live recordings from early in Robben Ford's distinguished career boasts solo-laden 10-minute-plus versions of B.B. King's "Sweet Sixteen" and John Lee Hooker's "It's My Own Fault." Ford, who has worked with Joni Mitchell, Miles Davis, and George Harrison, plays surprisingly sweet, agile saxophone on Don Raye's jazz ballad "You Don't Know What Love Is." His voice--if still that of a very young man--is throaty and melodic on the King and Hooker cuts. But it's his guitar that takes centerstage. Owing heaps to electric bluesmen B.B., Otis Rush, Buddy Guy, Albert King, and Mike Bloomfield, Ford's rich tone, deliberate lines, and tuneful bends were world-class even in 1972. --James Rotondi ... Read more

Reviews (9)

A Young Robben Plays It Slow And Simmering
This collection of old live cuts by Robben Ford is the first of two releases on Avenue Jazz's new Vault Classics label (the second is 1999's Sunrise). Recordings were culled from performances at the Ash Grove in Hollywood, and the Golden Bear in Huntington Beach (both in California) back in 1972. At the very green age of 20 or 21, Robben displays unbelievable ability on both guitar and sax. Though he would certainly improve over the years, his mastery of the guitar in particular should be painfully evident to even the most jaded listener. Tone; control; phrasing; technique; it's all there, albeit in its embryonic form.

Though there is one cut that sheds light on Robben's jazz side (You Don't Know What Love Is), the selections on this release focus almost exclusively on Robben playing the blues (thus the title!). Curiously most of the tracks chosen are slow blues. This is certainly not a horrible thing, but it does in my opinion make the pacing lag quite a bit (this is a 60 minute CD and 42 minutes are devoted to slow blues). Also, because this isn't a one off performance, but rather pieces of several performances, Robben starts two of these off with the very same lick (hey, the guy IS human)! All that aside, this is a great opportunity to hear vintage Ford playing live. I absolutely applaud Avenue Jazz for unearthing these gems and hope there're many more to come.

For those of you looking for details, the lineup Robben used was: Paul Nagle on keyboards, Stan Poplin on bass, and Jim Baum on drums. Times on the tracks are: Sweet Sixteen (12:33); You Drive A Hard Bargain (5:42); It's My Own Fault (10:28); You Don't Know What Love Is (8:49); My Time After Awhile (3:34); Raining In My Heart (10:33); and Blue & Lonesome (8:25). For some inexplicable reason, they included this last track on Sunrise as well.

Although the track selection can make this album seem slightly one dimensional at times, it is a great opportunity to hear the raw sounds of a blossoming guitar giant in his formative years. I'd say if you're largely a fan of Robben's blues style, then you'll enjoy this. If you lean more towards his jazz side, then Sunrise will sound more adventurous and varied to you due to a stronger blend of Ford's jazzy/blues mix. Of course if you're REAL smart you'll just buy both. Believe me, you won't be disappointed!

A Quintessential Blues Album
First of all, disregard pfinegan's review. If you like tasteful blues, this is your ticket as a listener and player. I'm a huge Eric Clapton fan, and right about the time I felt I was good enough on the guitar to start tackling some of E.C.s blues tunes, my teacher told me about Robben Ford. I picked up this album and immediately shoved Clapton aside and began learning these tunes. I will admit, some of the songs get a little redundant; they're very long, he uses a lot of the same licks and changes, and just about every song is in the key of C. But these songs are perfect templates for learning the blues. He uses a lot of licks that can be somewhat easily figured out and incorporated into anyone's playing. His playing is just so smooth and tasteful and passionate, some of the songs almost bring me to tears, especially It's My Own Fault. Whether you're a player or just love to listen to the blues, a blues enthusiasts' collection surely wouldn't be complete without this album. This is definitly one of my desert island CDs.

If you had heard it back then
You would have seen it coming. This guy is the most tasteful and enjoyable guitarist to listen to today. This is basic stuff compared to his current work. However, it is still a blast to listen to. I am buying everything by Ford.

A blue guitar lecture
First of all I have to admit that I've always been a Robben Ford fan. Having said that, in my opinion, it is indisputable that this is a fantastic CD.
If you are a blues fan and you like "blue guitar" played the way it should be: intense, passionate and with great feeling; if you think that slow blues are the real deal, do not hesitate and buy this CD! It is going to be your bliss for the foreseeable future.

very underrated guitar slinger
I like to think of Robben Ford as the flip side of Jimi Hendrix. If Jimi hit you like a dump truck full of cement, Robben slices your soul like red hot piano wire. He's always in control, always perfectly phrased. He revs it up and slows it down with perfect precision. The sad thing is that most people like his later stuff with short solos and more cheezy songs. If you listen to a guitar player, why not listen to an album like this, or Robben in the Charles Ford band, where he lets loose? Robben is a blues guitar player. That means he's at the height of his powers playing straight blues like this, *not* cheezy jazz like Tiger Walk. Robben is truly, truly, one of the great all-time blues guitar players, as good as SRV. This is one of the only recordings that proves it. ... Read more

Reviews (5)

A Surprise Discovery
I have a lot of respect for Robben Ford but this CD dazzled me. Recorded in 1972 this work showcases a brilliant performance by a man who must have been all of 21 at the time. Many songs in this collection are filled with jazz chords against which Ford plays a distorted guitar. There is a lot of solid Fender Rhodes work here as well and the combination gives the CD a '70s feel.

When I discovered this CD I expected the Blues that Mr. Ford does so well but instead I found out why Miles Davis hired him. He does some great work in this jazz setting. If you like Robben Ford, like jazz or even better like them both then BUY THIS CD! You'll love it.

Searing Hot Early Ford
This is the companion piece to Avenue Jazz's 1997 release, Discovering The Blues. Tracks for this CD were selected from the same 1972 performances as Discovering the Blues, as well as some from the Marquee Club in London. This collection leans quite a bit more towards Robben's jazzier side, but as always, the blues still runs deep. For my taste, the music here is more interesting and varied then on the previous release. There are slow simmering moments but there are boisterous ones as well. When playing in a more jazz-based framework, the band sounds freer and more adventurous. Ford shows great maturity in his playing that belies his young age. His beautiful tone and flawless technique are always present, but never at the expense of the song. He allows the band alot of breathing room (in particular keyboardist Paul Nagle, who adds a tremendous amount to the performances) and shines when it's his moment in the spotlight. At maybe just 21 years of age he proves to be smooth, soulful, intelligent, and electrifying in every note he plays. To showcase his Saxophone chops, Ford and the band pull off a supercharged version of Miles' Eighty One. Certainly no John Coltrane, Robben nonetheless shows he's amazingly talented, and the Coltrane influence is strongly evident.

The lineup for these gigs was: Paul Nagle on keyboards, Stan Poplin on bass, and Jim Baum on drums. Jimmy Witherspoon also contributed some guest vocals on cuts four and eight. Times on the tracks are: Oh Gee (6:31); Red Rooster (4:25); Eighty One (8:08); Ain't Nobody's Business (3:50); Sunrise (11:28); Blue & Lonesome (8:23) (also appearing on Discovering The Blues); Miss Miss (8:58); and Everyday I Have The Blues (5:26).

This is an incredible opportunity to catch a young Robben Ford stretching out and blazing away live, and I strongly recommend it. It's something every Ford fan should own. Of course, as I said above, this release has more of a jazz vibe to it, so if you're interest is primarily blues you may rate this a bit lower than I would, and I'd suggest checking out Discovering The Blues first. However, I think the energy and adventurous spirit of this music, along with the guitar mastery of Robben Ford, makes this CD a sure thing. Take a chance...

SMOKING
Dam this guy is one talented guitar player! This whole CD burns straight through with a jazz-blues blend that flows smoother then a Michael Jordan jumpshot. The opening instrumental and "Red Rooster" make me want to stop playing the guitar because i know there is no way in hell I'll ever sound like him The whole thing is a gathering of live performances from the 1970's and the music is fast, furious, original, and inspiring. An overall awesome live album.

Great Even Young
This album was recorded when Robben Ford was in his early twenties in a club in L.A. He knew what he was doing even at that young age. His guitar work is a mixture of jazz and blues that will leave you mouth gaping and drooling.

Ford starts off the album with "Oh Gee" a great piece that sets the mood for the entire album. Ford doesn't dominate the entire song, and steps back to let his piano and bass men take solos of their own. Next, he covers "Red Rooster" with a heavy blues feel. There is more to Ford than just great guitar licks. He started out playing the sax three years before he picked up the guitar. He shows us his chops on the horn on Miles Davis' "Eighty One". "Miss Miss" is another of the instrumentals on the album. A great tune. Jimmy Witherspoon jumps in to provide his bluesy voice for "Ain't Nobody's Business" and "Everyday I Have the Blues" trading vocals with Ford and getting great support from the band. .

Rhino records should be congratulated for releasing this great sample of the young Ford. If you're a fan of Ford, guitar, or the blues don't hesitate to check this one out. You won't be disappointed.

THIS IS A BOOTLEG
I know for sure that this is an un-authorized bootleg of a recording that was released without Robben Ford's permission and he recieves no payment or compensation for it's sales. This recording is not legal. ... Read more

Reviews (3)

Three star package
Five stars for the music. It all sounds great, even the radio broadcasts. Plus, I like the variety of the different small groups and the big band. Each disk is wonderful.
Three stars for the package, though.
1 - The title should be "America's #1 BandLEADER". After all, one-and-a-half disks are devoted to small group performances. This is four disks of Basie, not the Basie Band.
2 - This is not the best of Basie, it's the best of the Columbia sessions. Two obvious omissions are the early versions of "One O'Clock Jump" and "Jumpin' at the Woodside". Neither of the later versions here include Lester Young in the band.
3 - Why the cheap shot on the back cover about Benny Goodman? Did the liner note people feel they had to resort to race-baiting in order to praise Count Basie?
4 - Why the cheap shot in the liner notes about the New Testament band? My guess is that if those recordings had been on Columbia, that little quote would have been left out. Again, is it necessary to denigrate Basie's later work in order to praise his earlier material?

Basie's Columbia recordings have never sounded so good!
I've just got this and played the first two discs, so I can't comment on it all, but what I've heard so far is AMAZING! The sound--so shoddy on the '80s "Essential Count Basie" series--is superb, and the music is just beyone belief. The playing is light and forceful at the same time--just great, great stuff. A perfect complement to the 3-CD Decca set. And I can't wait to hear the previously unreleased live stuff on disc 4. The packaging is very attractive and the booklet--make that book--is very detailed and informative. Another classic Orrin Keepnews reissue.

This is the perfect gift for any jazz fan--and you should get one for yourself while you're at it!

Swinging out the Park
I was lucky as a Kid to Hear the Greatness of Count Basie.His way of Playing the Piano&Leading His Band was truly Funky."One o'clock Jump" for instance is a Slamming Groove.I first became how aware of the Groove within a Count Basie Band when I bought Count Basie&Duke Ellington's bands Meet.I notice the difference right off the jump.Duke had a Cool Smoothed out COnservative take while Count was bringing up the Grooves.Count truly knew how to Swing&Groove&this Multi-Set of Discs Captures so many elements&Challenges within His Music&Arrangements as a Band Leader&Player.Count Basie is one of the Greatest Creative Forces Ever in any time period. ... Read more

Reviews (1)

Cate Brothers Live
This album is excellent. The five members of the band are all great musicians. They complement each other and no one tries to hog the stage. The music is a blues/soul/pop combination. This was recorded live at "Chester's", a small club in Fayettville, AR. The best... ... Read more

Amazon.com

Perhaps no musician more defines a city and a sound than ChuckBrown does Washington, D.C. and go-go. At the age of 67, the godfatherof go-go has entertained three generations and still plays to thousandsof fans at least three times a week in the D.C./Maryland/Virginiatriangle. Go-go is the same age as hip-hop, and shares all of its urbanbombast, but it's a live-band thing, and a community thing too. Whendisco DJs threatened to displace cabaret bands in the '70s, Chuckinvented the kinetic, syncopated go-go backbeat and put togethercontinuous funkified sets of originals and covers linked by generouscrowd shout-outs and sizzling percussive breakdowns. This recent set,featuring appearances by Trouble Funk and Rare Essence luminaries, hasit all: Chuck's exquisite baritone, brilliant musicianship, go-gofiedhip-hop, blues and jazz, and breakbeats you can fit a trailer into. Ifyou don't know anything about go-go or Chuck, Your Game...Live AtThe 9:30 Club might the best introduction you're ever likely tohear. It's definitely one of the best records of 2001. Special bonus:the multimedia enhancements include two videos that put you right inthe middle of all the go-go action. --Jeff Chang ... Read more

Reviews (17)

Not my game exactly, but I can't stop playing it
Go-go is D.C.'s indigenous funk, but I'll freely admit that I'm way less familiar with it than I really should be. This realization came upon me with astonishing force upon listening to this record, which is unlike anything else I've ever heard except Chuck's actual live show, which I had to check out after hearing this CD.
The audience for this live show seems to be specially selected people who know every rite of the go-go show and who appreciate the cameos from Jas, Funk, Benny, Andre "Whiteboy" Johnson (some irony there), and other special guest artists from old school go-go luminaries such as Trouble Funk. I hope one day to be well-enough versed in go-go to savor such moments.
Coming to this CD from classical and hip-hop, though, there are priceless moments enough. A horn riff with (electronic piano doubling as) harpsichord under it in the opening "Wind Me Up, Chuck" sounds freaking exactly like the opening ritornello in Bach's second Brandenburg Concerto, but about five million times funkier. Herbie Hancock's "Chameleon" gets a conga-driven workout and some ultrasmooth Chuckster lyrics. "2001 (That'll Work)" again takes a classical work, in this case "Dawn" from Richard Strauss's Also sprach Zarathustra, and funkafies it mercilessly into the go-go strut, producing extra-special glee for anyone who likes historical irony and remembers Strauss's vile late-life racism. "No Diggity," the one hit in the wonder that was Blackstreet, and the Kool Moe Dee classic "Do You Know What Time It Is?" both get slamming covers towards the close of the album, showing that Chuck and his band can cover all the R&B bases they choose to.
But mostly this record is about bold, jazzy brass playing, guitar riffs powerful enough to shake mountains, Chuck's magesterial presence, and the go-go beat powering it all. It's really a wonderful thing, and the only reason I don't play this record more than I do is that I'm worried about becoming inured to its glories.
The fact that the first of like five shout-outs to Silver Spring occurs at 4:26 into the record is purely incidental to my enjoyment of it, by the way.

Chuck Brown still "kickin it"
Chuck Brown the "Godfather" of "Go-Go" has once again proven that live band music is nothing but the truth. This CD has to be the best live "Go-Go" album ever made. For those of us that remember back in the day, Chuck brings back those good memories of the "Chapter" and the "Metro Club." Hey baby "Chuck does give a [care]." Peace

YOUR GAME IS ON
HIS STYLE IS SO HEY WILD,
THE MUSIC MAKES YOU WANT TO SMILE,

GO-GO IS THE REAL BEAT,
THE SOUND MAKES YOU MOVE YOUR FEET.

SOME OF Y'ALL DON'T KNOW
ABOUT THIS MUSIC CALLED GO-GO.

TOO BAD, NOT TOO LATE,
YOU NEED TO FIND OUT, WHILE IT STILL AWAITS.

STEP UP IN DA CLUB;
ASK THE DJ WHAT'S UP.

HE KNOWS ABOUT THIS SYNCOPATED BEAT.
THIS SOUND IS HEARD ALL THROUGH THE STREETS.

SEE YA LATER PEACE OUT.
JUST REMEMBER, GO-GO IS THE REAL STYLE!!!!!

GOGO LAKA

THE REAL GO GO MICKEY
THIS IS THE REAL LIVE GROOVE OF GO GO MUSIC. CHUCK BROWN WILL NEVER BE FORGOTTEN. THE BASS IN HIS VOICE TELLS THE AUDIENCES THAT THIS IS THE CAREER HE HAS BEEN WAITING FOR. THE INSTRUMENTS USED FOR GO GO MUSIC IS OUTSTANDING. I AM A FORMER RESIDENT OF D.C. I AM NOW LIVING IN SUFFOLK, VA, WHICH TO ME IS BAMMA. ANYWAY, CHUCK BROWN, IS THE ONE TRUE GO GO MICKEY. HE IS THE ORIGINGAL GODFATHER OF GO GO. PEACE OUT.

Wind me up Chuck........
Chuck Brown brings Go-Go home where it belongs.....Go-Go is live, Audience-interaction, Conga-smacking, Backbeat-Drumming......if you are ever in DC.....Check out Chuck Brown.....this cd is hot ... Read more

Reviews (2)

One of the most powerful voices ever recorded
You have to know Odetta, and this is the best album for getting to know her -- so there you go!

Odetta has one of the most powerful voices ever recorded. Thank goodness we live in an age when we have recording capability! Just think if she had lived a century earlier -- her voice could not have been immortalized for future generations to witness.

She sings folks songs with conviction, humor, and sheer strength.

And she's actually, in my opinion, a little better as a live performer than a studio one -- somehow her passions really cut loose in front of an audience. No restraint. So this is an excellent album to start with.

Best songs to skip to when you first turn her on: TIMBER, FREEDOM TRILOGY, and JOSHUA FIT THE BATTLE OF JERICHO. Once you listen to those, you'll be properly blown away, and you can go back and get started on the rest of the wonderful album. Let those songs be your incentive!

Odetta is one of the best
Odetta sings with the voice of folk, blues, and the heart. If you own only one album by Odetta get the christmas album with spirituals. Then you will definately want to make this the second CD of Odetta's you have. I have loved this album, cassette, CD for years. Odetta is one of a kind. ... Read more

Reviews (4)

The Master of the Telecaster
Albert toured extensively during this time and the Union Bar in Mpls. was a usual stop. I was lucky to attend these shows and many others featuring Albert and his band.
His shows began with the band warming up with Casey Jones (drums) or A.C. Reed (sax) taking vocals. When the crowd was good and ready, Casey would lead into the instrumental "Frosty". After building up fury, he would announce "Ladies and Gentleman, here for you in Mpls, by way of Houston Texas, The man that cuts so deep he gets into your soul, the master of the Telecaster, Albert Collins!Albert Collins!!" With that, you would hear Albert, but not see him. He'd come into the bar playing, wringing vibrato from his Tele. Albert would then launch into any of his trademark tunes. The songs presented here are a showcase of his talent and what he did night after night.
During "Mind to Travel", Albert would get out the 200 foot guitar cord and wander both rooms of the Union, often stopping to sit at your table, talk, have a drink, and all the while wailing in his unique open-tuned and capoed solo style.
"Cold Cuts" features A.C. Reed helping on vocals, and Johnny B. Gayden's awesome bass solo. He played what we called his "Popeye" solo many times to adoring crowds.
This recording takes you back to the nights when the weather was frigid, the beer frosty and the music searing. A nicer more approachable group of musicians you won't find anywhere.
Please buy this and relive Albert's glory days. You won't be sorry.

Riffs Of Wisdom
Phenomenal and Riveting. Dr. Collins proves that he is the master of the Telecaster, and shreds all night with a sound that is completly out-of-site. Do yourself a favor and add this little gem to your music collection.

Gotta have this one!............
This is another favorite live electric blues recording. Albert absolutely makes that guitar sing. This guy should be at the top or near the top of any list of great eletric guitarists past and present. The only complaint is that there isn't more