Album Description

Sacramento-based blues, swing and jump masters Little Charlie & The Nightcats have much in common with their feline counterparts. They take great (musical) leaps and always land on their feet, they’re constantly on the prowl (gigging all over the world), and, with all of the various styles of music they play, they seem to have many lives.Their new CD, NINE LIVES, is the ninth album of their remarkable career.

It’s been over 30 years since world-class musicians guitarist Little Charlie Baty and harmonicist/vocalist/songwriter Rick Estrin first teamed up and took hard Chicago blues, jump, Texas swing and jazz and mixed it with rockabilly, proto-rock’n’roll, jumping jive, bebop and Estrin’s sharply original lyrics, creating a sound one critic described as "Charlie Christian playing in Little Walter’s band." Their utter mastery of American roots music is fueled by Baty’s jaw-dropping guitar acrobatics and driven by Estrin’s captivating original songs, cutting vocals and brilliant harmonica playing. The new CD, NINE LIVES, features 13 original songs—including three smoking instrumentals—and showcases the band’s constantly growing repertoire and chops. ... Read more

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Chester Burnett's ferocious growl was a staple of Chicago's electric-blues heyday. This 20-song compilation ranges from his 1951 debut "Moanin' at Midnight" with Willie Johnson on guitar to 1964's "Killing Floor" with Buddy Guy on guitar. His scratchy, sawed-off vocal approach and his energetic harmonica grace original classics such as "How Many More Years" and "Smokestack Lightnin'." By 1960, he became, along with Muddy Waters, the foremost interpreter of Willie Dixon's songs, lending his coarse voice to legendary Dixon cuts such as "Wang Dang Doodle," "Back Door Man," "Spoonful," "The Red Rooster," and "I Ain't Superstitious." Wolf's style was based on primal raw power, and he ranks among the genre's most distinctive performers. --Marc Greilsamer ... Read more

Reviews (26)

essential
Howlin' Wolf was already in his forties when he arrived in Chicago in the winter of 1953 and started recording for the Chess label. He quickly became Muddy Waters main and only rival on the city's club scene. With his six foot three, weighing well over 300 pounds, he had the stage presence of a mountain. Or perhaps a volcano is a better word, as he would regularly erupt, fall to his knees and howl at the moon. All his Chess recordings are essential listening for any serious blues lover, but if I had to pick one song to represent the Wolf in an anthology of the best American music from the 20th century, my choice would probably be Smokestack Lightnin'.

It's a simple song, just a few chords in a row actually, but it might be one of the greatest recordings ever recorded by a recording artist. I kid you not. Just as the Carmina Buruna belongs in the background of a classic, Freudian nightmare. Smokestack Lightnin' is the perfect soundtrack to a wild and sweaty one. It has a swampy feel bundled with images of trains and "little bittie boys". And the voice that sings it is just huge. I mean, the Wolf must have made the people around him feel like insects. It reminds me of the sound of a Harley, if you have the right pair of ears, you will only need to hear it once to remember it for the rest of your live.

The best single-disc overview of an amazing career
If you're only ever going to buy one Howlin' Wolf-album (why? why would you want to to that?), this is the one to get.

Howlin' Wolf recorded some two hundred songs during his long career, and with room for 20 only, some hard choices must have been made by the compilers.
Chester Arthur Burnett, the Howlin' Wolf, stood about 6'4" and weighed close to three hundred pounds in his prime, and his huge, gravelly roar of a voice sounds positively frightening on early cuts like "Moanin' At Midnight" and the clanging, piano-driven boogie of "How Many More Years".

The songwriting credits are shared about equally by the omnipresent Willie Dixon, who plays bass on most of the cuts as well, and the Wolf himself, and "Hidden Charms" features perhaps the greatest guitar solo ever comitted to tape, courtesy of the hugely underestimated Hubert Sumlin, Wolf's right-hand man for more than twenty years.
Other highlights include "Forty-Four", "Smokestack Lightnin'", "The Red Rooster" and the phenomenal "Killing Floor", written by Howlin' Wolf, shamelessly stolen by Led Zeppelin and covered by several others, but never surpassed, and featured here in the ultimate version, sporting an incredibly catchy guitar riff by Hubert Sumlin, and Buddy Guy on acoustic rhythm guitar.

This CD is a corner stone in any serious blues collection, hard-rocking, bone-crunching electric blues, burning with the sheer ferocity of Chester Burnett's incredible voice. There was never anyone like the Wolf, and it doesn't seem likely that there will be.
Oh, and while you're at it, get "His Best vol. II" as well.

His Best Chess
This CD was not what I was looking for. He played one item on the CD that was with the FULL sound, the others I didn't care for. I heard a song by him pertaining to a dope addict. I was told this was it - it was not. It was full and mesmerizing. Please recommend the CD I am looking for.

A unique Voice In The History Of Music
Yes, a totally unique voice in the history of all music. There is no one that sounds like The Wolf. My tastes in music are primarily classical, but the voice and music of this hulk of a man taught me to appreciate the blues.

This is music that can grip you emotionally. The pure rawness of it can even be on the scary side sometimes. No analysis is needed, all you gotta do is listen! What a performer he must have been in person!

A required disc for blues lovers, and might I suggest for all music lovers. Every time I listen to his music, I marvel. Most highly recommended!

Some of the Howlin' Growlin' Wolf's best.
This is a comprehensive collection of some of Howlin' Wolf's best music. The master of gravel voiced, gut bucket blues. A must have if you want to listen to Chicago electric blues....... ... Read more

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It sounds like the beginning of a story: "So, Slowhand and the King of the Blues were riding in a car ..." If this is a musical journey, it's the kind that rolls down long, empty stretches of country highway at 80 miles an hour, with the top down and the stereo blasting. Clapton and King may be more city than country, but this collection has the relaxed, laid-back feel that only comes from a pair of veterans doing what they do best. What they do here is cover 12 classic blues songs, many of them staples of King's repertoire, so the title of this album makes sense. Whether it's the rollicking rock & roll of the title track, or the acoustic shuffle of "Key to the Highway," or the sweet notes of "When My Heart Beats Like a Hammer," a real sense of pleasure comes through on this album, the kind of pleasure one gets from jamming late at night with a good friend. --Genevieve Williams ... Read more

Reviews (325)

A superb blues collection from two blues giants
"CLAPTON RULES!" As a huge Clapton fan, I say that a lot. After listening to his newest album, a collaboration with blues legend B.B. King, I'm considering changing that to "CLAPTON AND KING RULE!" Simply put, this is a very good blues album! The album opens with the kickin', blues-rock title track and the magic continues from there. One of my all-time favorite blues songs in particular, "Key to the Highway," makes an appearance on this album. This is a cool, laid-back, acoustic version of the song. (For the BEST version, though, check out the version on the 1970 classic "Layla and Other Assorted Love Songs" by Derek and the Dominos, which clocks in at over 9 minutes!) Another highlight is yet another laid-back, acoustic version of "Worried Life Blues." (Again, the BEST version can be found on Clapton's 1996 "Crossroads 2" 4-CD box set. For those who can't afford the set, it is also available on the 2-CD "Blues" collection, also by Clapton.) But not all the songs are re-done versions of my favorite Clapton tunes; "Help the Poor" can best be described as a "swampy" blues song, kind of like what you'd expect to hear out on the bayou. Excellent! But even at (6? 7?) minutes, it isn't long enough! For me, the album kind of peters out from tracks 9 thru 11 (hence, the 4-out-of-5-star review). While those songs ARE good, I think I need a little more time for them to grow on me. The album ends on a BEAUTIFUL note with the WAY too short "Come Rain or Come Shine." I was truly disappointed when it (and the album) ended! To sum, this is a very good blues album, released by two of the greatest blues-guitar legends. Clapton is a longtime "friend" of mine, but I hadn't really listened to much B.B. King. I think that's about to change as a result of this album. I hope you, the reviewer/listener make a new discovery or two as a result of listening to this jewel.

Two Master Produce a Contemporary Blues Gem !
Ok, I'm a tad biased as I'm a huge Clapton fan (heck, he's still "god" in my book). The disc shows how to giants in the guitar world can show restraint and taste by sharing guitar and vocals. Clapton's tone is so sweet, pure strat and BB, well, he's the best at those short, jabs and staccoto licks. The playing is never over the top, which is a good thing, but adding the true bite or smooth emotion each song deserves. This album combines old blues gems like "Ten Long Years" & "When My Heart Beats Like a Hammer", with Derek and the Dominoes "Key to the Highway" (done acoustic, a real treat) along with a few contemporary R&B covers penned by Doyle Bramhill II "Marry You" and "I Wanna Be" (Doyle also plays rhythm guitar on this disc...he's gotta be smiling !).

Texas blues great Jimmie Vaughan adds a few biting solos to "Help the Poor". The backing band is also very tight and some of the finest around...Andy F. Low (guitars, EC's sideman) Nathan East (bass), Steve Gadd (drums), Joe Sample (piano) and Tim Carmon (B3 Organ.

The overall feel of this is "good time" blues, bouncing rhythms and the two blues guitar masters having fun. It's not the heavy sound of EC's "From the Cradle", but more like BB's "Blues on the Bayou".

A great cd that will no doubt win a Grammy and delight millions of blues fans (not to mention guitar players, like me).

Super summer driving tunes like the title track or "Marry You" will have their melodies locked into you head for days.

Not the second coming, but a nice listen while it lasts
This album opens with a great rendition of John Hiatt's 1983 rocker "Riding With The King", which has very little to do with blues, but who cares...B.B. King is entitled to a bit of a break now and again, I suppose!

There is a lot of genuine blues here as well, however, and the eight-minute "Three O'Clock Blues" burns with long and (usually) excellent guitar solos from both men. Other highlights include a good rendition of Big Bill Broonzy's "Key To The Highway", a song which Clapton has recorded again and again for over 30 years, a nice, acoustic "Worried Life Blues", a seven-minute version of King's own "When My Heart Beats Like A Hammer", and the best song on the album, a delightfully swinging "Help The Poor", Charles Singleton's 60s classic.

There are some clunkers here..."Marry You" and "I Wanna Be" are a couple of bland, repetitive dime-a-dozen rock songs, and the novelty-like "Days Of Old" isn't destined for classic-status either, but most of the album works really well, although a whole handful of weak songs are too many.
It's not the grittiest blues record I've ever heard (or the bluesiest), but it's a nice listen while it lasts.
3 3/4 stars. Good enough.

Riding with the King (...and his grovelling apprentice)
Hmm, so big anticipation for this record and it lived up to it, i guess. It starts strong with Riding with the King, and immediately shows who's in charge here - BB's in control. For Clapton this is a chance for direct comparison to his hero. Listening you get the impression that he's going all out to impress but even on BB's average days he'd still lose.

Nevertheless, there are some outstanding blues on this album. The Big Bill Broonzy favourite, Key to the Highway, previously covered by both men, shows a rare acoustic treat on BB's behalf and seems to be a favourite with previous reviewers. The seven minute reworking on 3'o clock Blues is awesome as well; it features some great BB vocals and delicate guitar work by both men. My favourite track however is Days of Old. An up tempo Chicago blues, it shows a comfort between the two that perhaps is lacking on some of the slower tunes where Clapton flags.

Low lights are Help the Poor (see BB's Live at the Regal for a better version) and I Wanna Be which doesn't really seem to fit in with the blues genre. Overall, had Clapton not been quite so in awe of his recording partner here a better effect would have been acheived (even his liner notes seem rather incoherent compared to B's.) Having said this, for an introduction to the blues and BB King for fans of Clapton's rock legacy, this album is a good place to start. It shows what the two legends love to do and despite weak moments it is genuine and proves that Pop Idol is not the be all and end all of 21st century music.

Inspired music from two Greats
Okay. I have just purchased the new Eric Clapton's CD called Me and Mr. Johson. And boy, did I dislike that CD for its lack of inspiration.

I wrote a review of it. Gave it a 3 star.

Then I got to thinking... when has EC made some decent music in the past ten or so years? Well one recording is THIS ONE.

This recording has passion, great singing, and some fantastic interplay between two guitar players.

I totally enjoy every song, and perhaps the presence of BB KING EC found that he must be on good, inspired behavior since he does not sleep walk through this recording like he seemingly did on some others.

Another great recording to grab onto, From The Cradle. Perhaps the best EC release in 20 years. ... Read more

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One of the best recordings in Chess Records' 50th Anniverary series is the first of two bookend Muddy Waters collections, His Best 1947-55. Documenting Waters's most creatively and commercially successful years at Aristocrat/Chess, this CD begins with his formative years and ends with Waters at his peak. So you're in for a lot of terrific bottleneck slide guitar work as well as electric Chicago blues. What's to criticize? Superb remasterings of "I Can't Be Satisfied," "Rollin' and Tumblin'," "I'm Ready," and "Mannish Boy" are simply beyond reproach. With simple bass accompaniment from Ernest "Big" Crawford, Waters's bottleneck tracks are spare, haunting and, quite frankly, perfect country blues. And listening to Waters, Little Walter, Willie Dixon, and Jimmy Rogers piece together (and perfect very quickly) the classic Chicago sound is pure blues epiphany. At the very least, this collection shows you why Waters's rollicking stop-time classics like "Mannish Boy" and "I'm Your Hoochie Coochie Man" have sparked endless imitations over the years--and why nobody has played them better since. --Ken Hohman ... Read more

Reviews (18)

ESSENTIAL EVEN FOR NON BLUES LOVER
These are the songs that the BRITISH INVASION groups played to death in the sixties;here's your chance to hear the originals in this wonderful collection.In fact to be frank,this can be the only blues record you ever need when your friends want to hear that kind of music.Just for the record ,let's enumerate which songs were recorded by the likes of THE ROLLING STONES(I CAN'T BE SATISFIED,I JUST WANT TO MAKE LOVE TO YOU,MANNISH BOY);CREAM(ROLLIN AND TUMBLIN,I'M READY)and THEM(BABY PLEASE DON'T GO)and this is only a partial list.MUDDY WATERS was more than anybody else the best performer of the CHICAGO blues.If you like it, you can go with the follow up which completes this anthology perfectly.

this is the one !
I was looking for the definitive Muddy Waters CD, and I found it here. The best songs from his best period with the best musicians. To me this is a CD that will always be heard. All 20 songs are masterpieces but I could single out "I'm Ready", "Mannish Boy", "can't be Satisfied" for their outstanding quality. Little Walter was an amazing Harmonica player who was at his best playing with Muddy Waters. His piercing solos gives the music here an edge I found nowhere else. The sound is very good, and the number of song (20) lets you enjoy the music thoroughly without being abraptly cut. This is a CD for the "deserted island" list.

Blues from heaven
This album blew my mind and is essential listening for any lover of blues, rock or any form of music(interested listeners are requested to also check out Howlin' Wolf 'His Best' CD issued simultaneously by Chess Records).

Nearly 50 odd years later the music sounds as fresh as yesterday. If this isn't where all the rock maestros of later years got their sonic ideas, it should have been.

Great Classic Music
These are the seminal years of the second, the electric wave of Chicago Blues. Muddy Water's collaborations, especially with Willie Dixon here, created the modern Chicago blues which replaced the older acoustic style represented best by Tampa Red and Big Maceo, and by Lil Hardin Armstrong and Lonnie Johnson collaboration.
The older smaller tighter, more person (and it is hard to talk about anything more personal than even the least well prepared Muddy sides),blues. The performances are breathtaking in their strength. You know this man, and you know more about yourself after you hear this.

Excellent compilation
"Excellent compilation", eh? So why only four stars?
Well, the track selection is really good, bringing together almost all the best of Muddy Waters' rough, muscular blues. Or rather, the best of 1947-55, which is why this is "only" a four star-compilation: It's not a career spanning retrospective, and it doesn't work all that well on its own.

But get this CD along with its companion volume, "His Best: 1956-1964", which also features 20 tracks, and you'll have a really fine career overview, second only to the three-disc "Chess Box" set (and perhaps the 50-track "The Anthology: 1947-1972").

This CD only has one significant flaw: A production error means than a sloppy alternate take of "Hoochie Coochie Man" is included instead of the master. Otherwise, it's just about as fine a compilation as you could wish for, including Muddy's first single, the slashing acoustic slide guitar blues "I Can't Be Satisfied", and tough, electric Chicago classics like "Honey Bee", "I'm Ready", "Trouble No More", and "I Just Want To Make Love To You".
Just remember that this isn't the definitive word on Muddy Waters - he made superb songs after 1955 as well. ... Read more

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A million or so collections, all from different record labels, document this Detroit blues guitarist's influential boogie-woogie career. This 16-song Rhino CD is an excellent starting point, with definitive versions of Hooker's classics "Boom Boom," "Boogie Chillen'," "I'm in the Mood," and "One Bourbon, One Scotch, One Beer." It's interesting to hear the singer's voice progress from a deep, growling slur to the more polished later material, such as his collaboration with slide guitarist Roy Rogers on Robert Johnson's "Terraplane Blues," but he never lost his bottom-line rawness. --Steve Knopper ... Read more

Reviews (11)

The Stuff Legends Are Made Of!
Every once in a while, a budget disc comes along that is surprisingly good. Such is the case with Rhino Records release of "The Very Best of John Lee Hooker." On this release, Rhino combines 16 stand out tracks and some nice liner notes which briefly describe the man as well as the origin of each of the tracks. The selection of songs range from Hooker's signature "Boogie Chillen'" recorded in 1948 through "Terraplane Blues" recorded with slide man Roy Rogers in 1987. This is not a comprehensive collection nor was it ever intended to be. Instead, you get a flavor for a younger John Lee Hooker and his amazing guitar work. The recording quality is excellent especially considering the age of the songs. Well worth the purchase.

16 John Lee Hooker classics all in a row!!!
This great CD from Rhino collects 16 classic tracks from John Lee Hooker's awesome career!!!Includes:Boogie Chillen',Crawling King Snake,Boom Boom,Big Legs,Tight Skirt,Shake It Baby,One Bourbon,One Scotch,One Beer,Terraplane Blues(with Roy Rogers!),and more!!!An awesome collection!!! Two thumbs up!!! Five stars!!! A+

A fine starting place
This single-disc compilation actually does a better job than Rhino's double-disc "The Ultimate Collection (1948-1990)", from which these tracks are taken. It's not a complete career overview, of course, but where "The Ultimate Collection" tries and fails to be definitive, "The Very Best Of John Lee Hooker" doesn't strive to be "ultimate", but only to provide a good introdution to the daunting legacy of the Hook.
And it does a superb job, collecting sixteen of Hooker's best song, including "Boom Boom", "Dimples", "I'm Bad Like Jesse James", "Big Legs, Tight Skirt" and "It Serves You Right To Suffer".
A perfect introduction for the curious.

simply and absolutely Blues
It's the best way to enter the world of the blues and the finest way to realise why the man with the guitar is the one make you feel good everytime you want to relax.It's the combination of that electrical tone and the rough voice that relax you during or after a dificult day.It's simply and absolutely blues.

pioneer of the blues
There is nothing like drawing the shades close, putting on a set of headphones, and listening to a good John Lee Hooker disc. Whether it be something from the late 40's or his newest releases back in 2000 with John Lee Hooker and Friends. That is what was great about this man, he just got better as time went on. To start out, The Very Best of John Lee Hooker is a great way to get into him if you are interested in the blues. You wont be dissapointed. The Classic Boom Boom, One Scotch, One Beer, are great, but the others that you may never heard of are just as good. It serves You Right To Suffer, Burnig Hell, and Crawlin' King Snake are just a couple on this cd that will grab you. I give this disc 5 stars and then some. ... Read more

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Whether she sings string-laden pop ballads, lively soul, or gritty electric blues, James's high-powered, enormously expressive voice displays a knack for passionate blues inflections. Emotionally charged ballads including "At Last" and "All I Could Do is Cry" find James blasting through the orchestra with unearthly wails and moans. "If I Can't Have You," a duet with Harvey Fuqua, drops the orchestra in favor of horn-driven R&B and "Something's Got a Hold On Me" is a gospel-flavored romp reminiscent of Ray Charles. A live version of Jimmy Reed's "Baby, What You Want Me to Do" shows her raunchiest Chicago-blues style, and "In the Basement," with Sugar Pie DeSanto, is a funky workout. Also here are three classics from her soul-drenched 1967 Muscle Shoals sessions.--Marc Greilsamer ... Read more

Reviews (35)

Great selection (but oh those abrupt fade-outs)
There are numerous repackagings of Etta James' Chess recordings and they all have something to recommend them. As an intro to this great singer's work, however, this collection is hard to beat. All her classics, from the elegant "At Last" to the soulfully rocking "Tell Mama" are included here. No doubt some listeners will prefer one side of her musical personality to another, but her versatility is genuine, and it's impossible to imagine her limiting herself to just one genre. A live version of Jimmy Reed's "Baby, What You Want Me To Do" prefigures her more recent forays into rootsier blues. And "All the Way Down," produced by Gabriel Mekler, has all the funk of a Sly & the Family Stone track. Etta can and does do it all. The only problem with this collection--as one other reviewer has pointed out--is the fact that too many tracks come to an abrupt ending. (You can't even really call them fade-outs: they just stop.) Still it's wonderful to have so much great Etta on one disk, that's something of a quibble. Very good, informative liner notes by Peter Grendysa.

Not only a Drag Queen, but a tremendously gifted singer!
Etta James was born, Joshua James Etters, in Atlanta, Georgia on May 23, 1930. The world now knows him as Etta James, the soulful and powerful voice behind the legendary "background song", AT LAST. When I first heard this beautiful song I was watching television in my Manhattan apartment. It was, as I recall, a commercial for Jaguar Motors. I leaned forward in my chair, stared at my TV and said, "WOW!" It was then and there that I set out to learn all I could about the overweight, poor little farmer's son who grew up to be one of the world's greatest female impersonators...a true drag diva before the word and genre was fashionable. This CD says it all. Lean back and imagine that you are driving your '62 Buick to the Jersey Shore... Kennedy's is President and..."LIFE IS LIKE A SONG".

Miss Peaches Stands Apart From The Crowd
When songwriters Harry Warren and Mack Gordon had their composition At Last become the B-side to the 1942 Glenn Miller # 1 hit (I've Got A Gal In) Kalamazoo, they probably thought they had died and gone to Heaven. Especially when it too charted at a respectable # 14 with Ray Eberle doing the vocals. A decade later they struck paydirt again when the song was resurrected in the movie Orchestra Wives and then taken to # 2 by Ray Anthony & his orchestra.

But the best was yet to come, and when a 23-year-old from Los Angeles by the name of Jamesetta Hawkins decided to record it in 1961 under her stage name Etta James, from that point on it became HER song. It may not have done as well on the pop charts as the earlier versions [# 47] but it did become a # 2 R&B and is, by any standard, the best version of that enduring love song.

Her career had actually commenced in 1955 when, at age 17, she recorded an "answer" song to the 1954 # 1 R&B hit Work With Me Annie by The Midnighters [Hank Ballard and crew]. Also known as Roll With Me Henry, and with Richard Berry providing the bass male vocal, it too reached # 1 R&B early in 1955 as The Wallflower as by Etta James and "The Peaches" [hence the later nickname]. That same year Georgia Gibbs would have a # 1 pop with it as Dance With Me Henry.

Later that year she would have her second hit single when Good Rockin' Daddy climbed to # 8 R&B with the backing of The Dreamers, a group that included the great Jesse Belvin, and Maxwell Davis & His Orchestra.

Personal problems then set in, and Etta would be off the charts until early 1960 when she returned with the stirring ballad All I Could Do Was Cry, which scored on both the R&B [# 2] and pop [# 33] charts. And from there right through to 1976 she would be seldom off the charts, racking up another 27 R&B hits and putting 26 more on the pop charts.

This CD gives you the best of those along with nine pages of liner notes by Peter Grendysa of Words On Music Ltd., a partial discography of the contents [no chart information], and two more nice photographs of Etta, who was inducted into the R&R Hall of Fame in 1993.

Just 65 years old, Etta is still wowing them in personal appearances. This is a must-have compilation for any true R&B fan.

The place to start
This is the bare essentials. For those wishing to sample Etta James Hawkins' classic period at Chess Records without going for the box set anthology, this single-disc is the perfect purchase.

Featuring 20 of the tracks that appear on the double-disc "The Essential Etta James", without anything literally essential left off, this is the one-stop, first-time purchase for those who wish to sample Etta's mixture of soul, R&B, blues and, well, pop.
4 1/2 stars. There is no better starting place than this.

Etta rocks!!
This Cd is great.Etta can really wail out a tune and put so much emotion into every song.All the songs on this disc are great.I highly recommend it. ... Read more

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While it kicked considerable butt to see Robert Plant reunite with his old Led Zeppelin sidekick Jimmy Page, we all knew he would rather put on his skintight "Nurses Do It Better" T-shirt than have to sing "Kashmir" one more time. Over the last few years, the man perplexingly called Percy by his close friends immersed himself in his massive collection of '60s psych-folk records, put together a new band, and made a gorgeous solo album. Comprising mostly lush readings of little-known hits, it includes a heartbreaking take of Tim Buckley's "Song to the Siren," a supremely affecting run-through of Bob Dylan's "One More Cup of Coffee," and, best of all, a rarefied version of Tim Rose's "Morning Dew." And his version of the Youngbloods' "Darkness, Darkness" is the sexiest thing this side of Jeff Buckley's "Everybody Here Wants You." --Aidin Vaziri ... Read more

Reviews (76)

Plant gets the Led out
Dreamland is fast becoming my favorite album in years. It has the occasional feel of The Principle of Moments and Shaken 'n Stirred, but is still new and exciting. I was in from the first notes of Funny In My Mind, a great, fast-paced blues tune set off with a touch of zydeco. He has taken soulful possession of the old classic, Morning Dew. And I'm sure the song is happy with the arrangement. One More Cup of Coffee, Song to the Siren, Darkness Darkness and Red Dress are full of surprises and all of them very pleasant. His arrangement of Hey Joe is strange and wonderful, almost [Asian], but also a bit futuristic. And for the Zeppelin fans, there is Skip's Song, which is reminiscent of some of the good old tunes from the good old days. Altogether, I would give this album a sky full of stars because it is obviously a labor of love. I am curious about one thing, however, and that is the meaning of the cryptic words printed on the liner. Elvish? There are a lot of consonants involved. I'm sure someone will enlighten me eventually.

Robert Plant covers the 60s folk scene
Some aging classic rockers whose muses are not currently tending to them are smart enough to realize it (although evidently not many). A number of these artists responded by recording collections of cover songs while waiting for inspiration to return. While these releases are certainly not ambiguous and almost never on par with the said artists' top work, they are definitely better than hearing one's favorites stumbling at composing new originals. Bob Dylan, for example, followed 1990's mediocre Under the Red Sky, with two admirable collections of traditional folk songs, 1992's Good as I Been to You and 1993's World Gone Wrong. Metallica, who gravely upset fans with their MTV-conforming 1996 and 1997 albums, Load and Reload, regained some esteem with their 1998 covers album, Garage Inc. Paul McCartney concluded a decade of baffling creative decisions with 1999's Run Devil Run, a very fun collection of fifties pop songs. Robert Plant, who has not been heard from since Walking Into Clarksdale, his ploddingly boring 1998 collaboration with his former Led Zeppelin band-mate Jimmy Page, is the latest veteran rocker to release an album of (mostly) covers, this year's Dreamland.

Dreamland consists mainly of songs from the American folk-rock scene of the nineteen-sixties. This is no new territory for Mr. Plant whose live repertoire has always included a few nods to Spirit, Love and Moby Grape. He understands the sonic textures and emotional atmospheres that make these songs tick and that is evident on each of Dreamland's ontarget renditions. He delivers a subtle, lush and ominous take on The Youngblood's "Darkness, Darkness," a gently lulling performance of Tim Buckley's "Song to the Siren," an excellent, epic and urgent-sounding version of Bob Dylan's "One More Cup of Coffee" and a forceful and combative performance of Skip Spence's' chilling account of his self-destruction, "Skip's Song." The decision to write only scarcely (The album contains just two originals) was a good one for Mr. Plant, only because it clearly allowed him to focus more on vocals and instrumentation. On Dreamland, his vocals are delightfully airy and emotive and the instrumentation is always completely appropriate, warm and encompassing (without ever becoming mushy) on the dreamier songs and twinkling and eerie (without ever becoming sluggish) on the downbeaten ones. Dreamland is obviously a well-planned and proficiently constructed LP. Mr. Plant had likely maintained a thorough understanding of these tunes for years and knew precisely what he wanted when it came time to record them. Likewise, Dreamland is a pleasure to listen to. As mentioned earlier, such latter-day cover collections from classic rockers are unlikely to be great, but they often do make for very pleasing listening experiences. Dreamland is one of the most enjoyable to date.

This CD is one of his best solo efforts in MANY years!
The music is rich in sound and makes you want to wear headphones at night with no distractions. I recently started playing all my older Plant CDs and then found this one at the store and was BLOWN AWAY. Yes it's mainly cover songs but the production values are well worth the listen, and he does justice to Dylan's One More Cup of Coffee from the Desire album (my fave Dylan album). Morning Dew is a sad but beautifully done song, and Plant's interpretation of Hey Joe is quite different from the one we're used to ala Hendrix but if listened to on its own merits it is still very good, relying more on Plant's voice to build it up with the music mainly keeping the beat and rhythm until the lengthy bridge section then it goes very Led Zeppelin. All in all an excellent CD well worth taking time away from everyone and dusting off that big old set of headphones you may have laying around somewhere.

Surviving the Peak . . .
Robert Plant continues to climb by building his own stairway upon Monsalvat! The air's very thin and the climb strewn with failed expeditions. Few endevors outside of the very best classical music can bring about such an emotional upheaval. Pure grace glides from the speakers and takes you on a journey to distant realms.

I agree the disc centers on death, but it is the celebration of a life well lived, not the regrets of unfulfilled potential. I caught the Austin City Limits repeat several months ago and was so engaged, it never occurred to me to make a copy until after the credits had roled. So be it, a sacred event is only intensified by it's passing.

They say that genius fades with time, but there's always exceptions. Here's one of them.

Sibilance and harshness ruin terrific content
This is a review of Robert Plant's "Dreamland" CD, which I purchased after watching Plant's performance during the Nobel Peace Prize Concert.

A lot has already been said about the content of this CD and I am equally positive about it. What has me bewildered is the recording quality - the entire CD is overly bright. I mean, bright to the point of harshness that makes it painful to listen to. I have to turn the treble down quite a bit and it still can't compensate for the brightness and excessive sibilance in Plant's vocals (without upsetting the tonal balance).

My audio system is reasonably high-end. I have also tried this CD on two other music systems, with similar results. I am tempted to pursue the matter with the recording company but hold no illusions that something will come of it.

A shame, really, given how much I like Plant's performance. ... Read more

Amazon.com

Every few years, an acoustic guitar player decides he wants to be the next Robert Johnson and endears himself to the blues world--Rory Block, John Hammond Jr., and Taj Mahal have crossed this road in the past. Veteran backup guitarist Kevin "Keb' Mo'" Moore has the freshest approach to pulling it off, turning Johnson's devil-obsessed classics "Come on in My Kitchen" and "Kindhearted Woman Blues" into friendly folk music on this 1994 debut. Unlike many of the great bluesmen, the personable Moore doesn't aspire to be evil or even rebellious; he writes terrific songs (most notably the opening "Every Morning" and "Dirty Low Down and Bad") and performs them with talent and charisma. --Steve Knopper ... Read more

Reviews (48)

Blues the way I like it....
This is a very enjoyable disc. I learned of Keb Mo' from the "Austin City Limits: Big Blues Extravaganza" CD. He plays "Tell Everybody I Know" on that compilation. I liked it so much I bought this CD. His folky, blues sound is very refreshing to the typical blues that I have heard. The music on this CD runs from the light and fun of "Tell Everybody I Know", to the serious "Victims of Comfort", to the lonely "Anybody Seen My Girl". Even when he does a traditional blues tune("Am I Wrong"), it's got a brightness to it that you don't see in other blues music. The sound quality is superb, and the music is even better.

Enjoy!

Superb country-blues debut
Though Mo' released an earlier R&B-flavored album under his birth name, Kevin Moore, this delta-inspired acoustic-blues release is really his artistic debut. Playing guitar, banjo, and harmonica, Mo' shows a heavy influence from Robert Johnson (whose "Come On In My Kitchen" and "Kindhearted Woman Blues" he covers alongside eleven originals). At the same time, he displays a playful, gregarious side that brings to mind Taj Mahal (with a touch of Bobby McFerrin and Lyle Lovett), and expands his songs to encompass modern folk and jazz ideas.

Mo's expressive singing and penetrating lyrics are highlighted on spare ballads, backed by the sharp fingerpicked twang of steel strings and the harmonica's mournful wail. Mid-tempo tracks retain the acoustic innocence even as the band kicks up the energy with backing organ, bass and drums. The result is an album steeped in classic blues but not enslaved by it; a recording that finds new avenues for the blues without losing any sense of its history.

Mo Better
There's something about acoustic blues, the idea of playing on a street corner deep in the Delta, running a bottle over a National Steel. Keb' Mo' is one of the best acoustic blues players today. Sometimes it's just him and his guitar, other times he's backed by drums and keyboards. Moore's playing is full and you rarely notice that there is no one else playing but him. His solo guitar work brings visions of Robert Johnson, and he pays tribute to the Master with two of his cuts. The rest of the tracks are penned by Moore with some collaboration from others.

Every tune on this album is good. Moore's playing adjusts between strumming, fingerpicking and slide. He also adds in banjo and harmonica, but his great asset is his voice. Smooth and sweat, it lacks the gravel sound we've become accustomed to for the blues, but his voice is perfect for solo guitar, almost as if it matches the sound of the guitar. "Victims of Comfort" is my favorite off the album with his strumming and voice interaction. The song is just him and his guitar, almost slow and sad sounding. "Angelina" throws in drums to keep the beat and Moore's fingers pluck the strings with an upbeat tempo. "Come On In My Kitchen" is the first of the Johnson covers, and he plays with a slide, and belts out some on the harmonica, with a little help from an organ and drums. Another great cut. More of the straight blues shuffle is heard on "Love Blues" again a solo guitar bit.

Each track is good on this album, and proves that Keb' Mo' is a name to be recognized with his unique sound of yesterday. Anyone who likes the original blues players like Johnson, will love this album, as will many people who don't love the blues. Moore's voice is soothing, and his playing has a relaxed feel to it. A pure joy to listen to.

keb mo- magic man
Keb Mo is the magic man of blues. His voice is pure and rich. He awed me at The Fort Lauderdale Blues Festival. I have a band that appreared there as well, Heidi and The El Cats and I went backstage and sat with Keb Mo. He is a fabulous singer. Everyone should buy his records!!!We love you Keb!!!

Keb' Mo': Blues Energy Transducer
As a "strong hearted" listener myself I've come to realize that there are people out there who just don't "get" the soulful essence of a rare performer like Keb' Mo' and there are no words that can explain it to them.
Its gives me much optimism when I realize the Music industry has recognized the God given talent of someone like Keb' Mo' with a grammy award. Usually you expect a commercially exploited sound to win that honor. However, here the intrinsic abliliies of a future blues phenom are noted by the grammy award. A huge step in the right direction for an otherwise shallow tin cup honor.
This CD captures the essence of Keb's voice where that undescribable energy emminates from the soul. For Keb it's an extremely rare feel-good energy that transcends all sound barriers. It originates from the depths of soul and for most blues artist it rarely leaves its imprint on the vocal recordings.
Keb is the exception to the rule, much the way BB King or Muddy Waters carries such a rare gift. However, I feel that some of Keb's more recent recorded CD i.e. "Slow Dow" are more masterfully produced, with all around crisper recording sessions. But as a recognized "debut" CD this album should not be omitted from any serious blues fan's collection. ... Read more

Amazon.com

Jonny Lang cut his debut album in Memphis when he was just 15, and, upon its release in 1996, the guitar prodigy from Minneapolis instantly became one of the leading lights of modern blues. He's a fast and flashy player whose approach rests equally on technical assurance and musical intelligence. Sizing up a dozen songs, he gets a pleasing, razor-sharp sound out of his ax while building excitement in his lead lines--thankfully, he steers clear of cliché and bombast. As a fledging singer, he acts out the lyrics of Ike Turner's age-old shuffle "Matchbox" and his own romantic ballad "Missing Your Love" with surprising poise and believability. Kudos to producer David Z for surrounding Lang with alert, first-rate sidemen and for helping select good material from Turner, Sonny Boy Williamson, Tinsley Ellis, and others. --Frank-John Hadley ... Read more

Reviews (120)

Jonny "Lie To Me" Anytime
When I first heard this CD I could not believe that it was a 15 yr old singing and playing guitar. Jonny's voice and guitar playing is amazing. The CD is great! The more you listen, the more you like. With a mix of songs like "Lie to Me" and "Hit the Ground Running" which are blues based rock songs, to "I Wonder" and "When I Come To You" where you can feel the emotion in his voice. It's amazing to think that this kid could even understand that kind of emotion at his age. Jonny Lang has made me a believer that "age means nothing" when it comes to the blues.

What does age have to do with it anyway?
I recently read through all the reviews, both editorial and customer, and offer the following thoughts. First of all, anyone who believes this kid lacks talent, either as a guitarist or a vocalist, is simply living in an alternate reality. As I read the negative reviews, what came through loud and clear was jealousy. How dare a mere "kid" try to be good?......Well, guess what?.....He is.... The kind of raw power Jonny demonstrates at the tender age of 16 on "Lie To Me" is nothing short of truly amazing. And while it is certainly true that you can hear the influences of bluesmen like Albert King, Albert Collins, and Luther Allison (I don't hear much Stevie) on "Lie To Me", it is also true that his own unique style is emerging. This is most noticable on the tracks, Missing Your Love and When I Come To You. His follow-up release "Wander This World", reaches down into the soul and literally drags the listener through an emotional rolley coaster ride. For the record, he plays a telecaster, not a Strat, a totally different sound. And would everyone PLEASE get off of this thing about his age! For God's sake,...who cares? Everybody's gotta start somewhere. Talent is talent, and the fact that he is so young only makes him that much more special. Think about where he will go with his music in the next 20 or 30 years....... Way to go Jonny! You will be in San Antonio on January 19 at the Majestic Theater, and I can't wait!

He's the Real Thing
This kid is the real deal. A natural talent if there ever was one. The maturity in this album is amazing, since it was recorded when he was only 15-16! Are his guitar solos melodic and well phrased? You bet. Some very nice work in that regard. But for me, the real magic of Jonny is those vocals - tortured, rich, raw, real and - dare I say it? - SEXY. His voice as an instrument is a very sensual sound. I love the blues - but I ADORE the sound of this kid's voice. If I had to take one album to a deserted island, this might be it.

Hey Jonny Lang... please do a dvd?
Just hoping my wish will come to reality.... check the reviews, beg borrow or steal a copy of this cd.... it's awsome..... I'd love to see Mr. Lang do a dvd. Being a father of two very young kids, I don't have the time to breath, yet alone see him in concert..... A dvd would surely be appreciated by more than just myself..... anybody reading this, and agree that the man should do a dvd, please find a way to let Mr. Lang know.

Jonny Lang
Lany is a master 6 string player no doubt. This recording documents the facts. His voice is young and his age leads one to wonder if he has had time to feel that pain. Jonny Lang and the Big Bang is a much better compliation of his abilities. ... Read more

Amazon.com

She's no stranger to the towering highs and lows of the heart, and Etta James's soaring, gospel-tinged pipes match up well with the rigors of unabashed bliss. Happily, the good people at Chess Records recognize this, and they have thoughtfully collected some of the best examples into one tidy record. Kicking off with her classic treatment of "At Last," the collection moves through the lilting strings of "My Dearest Darling" on into the expressive tones of "I Want to Be Loved (But Only by You)" with grace and emotional candor. James can be simultaneously tender and deeply honest and her ability to express the desperate joy that is the soul of love remains one of life's marvelous pleasures. --Matthew Cooke ... Read more

Reviews (11)

Whether you¿re in or out of love, At Last...
If I could have bought it for only one song, it would be "At Last." I've heard it all of my life. I've heard the voice all of my life. I've known the song all of my life... but Etta James, until recently, has been that mysterious and familiar voice whose identity is not mine to know.

I accidentally pushed the wrong button on a bar-room jukebox and heard the song... AGAIN. The luxury of this accident afforded me the privilege of knowing just who this mysterious voice is and I shall admit that AT LAST I know, and it pleases me.

James has this silky, nonchalant voice that sings of love and sometimes heartache. The music would be the best medicine for dear listener who requires sad love songs for the misery-loves-company-of-the-broken-hearted or the very same song for the couple in love. It is versatile entertainment, and very much enjoyable for just the right audience.

the soulful Miss Peaches
Etta James' big, brassy and bold voice sings some great love songs in this bluesy, R & B collection, starting with her 1961 hit of the Warren/Gordon "At Last", which is one of the standouts. Others include another hit from 1961, "Trust in Me", and an earthy, scrumptious duet with Harvey Fuqua (lead and founder of the Moonglows), "If I Can't Have You". I also like her take on the Gershwin brothers' "Someone to Watch Over Me", with Ira's terrific lyrics; I always appreciate his split phrases, like "Although he may not be the man some / girls think of as handsome"

With the exception of "Lovin' Arms" which was recorded in 1974, and the cover of The Association's "Never My Love" (1973), these recordings are from the '60s, but Etta is a classic singer, and never sounds dated. Digitally remastered, they did a good job of the audio quality, with crisp highs and nice depth. there are no liner notes in the foldout insert which only includes a song list, and the total time is 45'48.
Fondly known as Miss Peaches, one wonders if Etta's huge voice, with it's powerful, slightly abrasive top notes, would have become more famous had she not been shadowed and hindered by personal problems; Etta is a major song stylist, appealing to listeners of jazz, R & B, soul, and blues, and this is a fine compilation for fans of this splendid artist.

Soul Stirring
Miss Peaches is her nick name huh? Well her music is certainly sweet. When I purchased this CD a few years ago, I was really in a bluesy state of mind and remembering feeling very mellow and encouraged when listening to Etta's very soulfoul voice. She is so intense on the song Trust in Me and sweet as ever on I Want to Be Loved. Her version of Someone to Watch over me will bring you to tears (it did for me anyway, music is my therapy!). I loved this Cd and have since purchased The Chess Box-a 3cd set of her greatests songs. Wonderful. I love Jamesetta...

Fabulous Etta!
Buy it. Don't even hesitate. Every song is great,
the best. "At Last" gave me chills in 1958 as a young
teenager falling in love for the first time. Now, over
40 years later, I'm still getting chills every time I
listen to it. "How Do You Speak To An Angel" and "Again"
are two more that I have discovered and move me beyond
words. I love this CD!

Etta James a true jazz women....
I have been a fan of miss james for a long time since as far as i can rememeber........
This woman's voice is incredible...her barritone is so sultry and sexy...the way she sings is like velvet it's so smooth and sexy...
Miss james signature song is one of the greatest love songs of all time" AT LAST" beautiful love song...
this album is a collection of love songs that miss james has recording hense the albums name Love songs...
this is a stunning collection...
This is a must for any Etta james fan.. ... Read more

Reviews (7)

Fade-outs detract
Leslie West continues to release gutsy albums. This is no exception. My only gripe, along with the recently released Johnny Winter CD, is why have fade-outs? There is plenty of room on a cd to have powerful endings!

In the Top 3 best blues works
After hearing this CD, you'll be asking "how could they make this CD so inexpensively?" This is w/o a doubt one of the best electric blues albums you'll ever hear. I'm a life long Clapton fan, but Eric can't touch this. I GOT THE BLUES should have been the first track. BORN UNDER A BAD SIGN has just West and his guitar showing all his true inner talent. This is a must have...

Crunch...Bite...Wow
The best blues I have heard from anyone in years, perhaps ever. If you like blues with an attitude, you will not be disappointed. Those humbuckers do crunch and so does Leslie's voice.

Refreshing to hear Leslie in fine form.
What a novel idea here. The great Leslie West knocking off 11 blues standards like only he can. I first listened to this CD on the drive home from work and I didn't want to get out of the car when I got there. At last LW is not put upon to create new music and lyrics for a new release, it's already been done for him with these titles and he's free to let it rip. No wories here about ending up with another cheesey offering such as his last effort "Sea Of Fire." The concept behind this CD is simple and satisfying and I've enjoyed this more than any Mountain or solo effort since the end of the Pappalardi era. Leslie shines with crunching, biting tone enveloping his tasteful riffs. His band on this is smooth and unubtrusive and a real enjojment to listen to as they grind out the backing melodies. I wish he would take this group on the road and hang up the tired Mountain nostalgia act for awhile.

Die For? Hardly. Maybe A Bad Cold Though.....
Leslie pumps out some of his best guitar playing in years. Too bad it's being produced at the hands of Mike Varney. Just like Schenker's "Arachnophobiac" album, this ones sounds like the guitars are plugged straight into the same transistor amp.
Normally you can say, "Yeah, that's Leslie West playing his Les Paul Jr straight thru a Marshall stack" or "That's a Single Coil Strat cranked thru a Fender Twin"; but as with any Varney produced Shrapnel/Blues Bureau release every guitarist sounds the same. As a listener you can't tell what type of guitar rig or amp they're using. There is no "air", openess or tone to any of Varney's productions.
Speakers work by causing vibrations and moving air in real space, there's no sense of any of those physical principals at work here. The sound if very artificial and generic. Liek I've written before, it is "anti-live" in the studio.
The saving grace in this record is West's guitar. Although it's not his classic Les Paul Jr. tone, it's closer to the truth than his playing on Mountain's brutal "Sea Of Fire". West's vocals are also in fine form. For any Leslie West fan this album is a buy. But for any guitarist out there who has listened to the other Varney produced "Shrapnel" & "Blues Bureau" releases this is really "album" by numbers or plug in your favorite guitarist here. BTW, you want great blues guitar? Get the Mayall's 70th birthday album and listen to Mick Taylor, Buddy Whitington & Clapton really play the blues, tone baby! ... Read more

Reviews (1)

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

Reviews (25)

Greatest Blues Album Ever?
Junior Wells isn't my personal favorite as a harpist (Sonny Boy is), but this album is one of my absolute favorites in the blooze. This album is really HOT, with Junior struttin' his stuff with his mates from Chicago, including the one & only Buddy Guy. Buddy really gels with Wells on this album, not by taking solos, but by accompanying him & the actual song being played. His presence really steps up Junior, & brings out the best in him here.

While Junior is a terrific blues harpist & singer, he has a real funky style that resembles James Brown. You can really hear it from the get go in "Snatch back & Hold It". The cover of "You Don't Love Me" from this album will influence a bunch of guys in Macon, GA. a few years later.

I believe this was also one of the earliest "full" blues albums released, rather than a collection of singles from vinyl. Hence, the greatest blues "album" ever recorded. Yes, that is my personal opinion, but the Chicago blues rarely gets better than this. Essential for any blues collection!

Junior Wells' Showcase
I have been hearing about this album for 20 years, but only got it recently. So naturally I compare it with what I have listened to in the past 20 years.
Earlier Wells albums featured a larger group - with horns, piano etc... The sound was heavy and I loved it. This CD has Wells, Buddy Guy on guitar, plus bass and drums. The sound is lighter, and the band goes for jumping, funky kind of blues. Wells' harmonica gets much more room here than it did before.
As a Chicago harpist, I rate Wells second only to Little Walter, but Wells is a better singer ! Wells is a great singer and performer, and deserves the showcase this CD affords him. He was young and fresh, and felt like jumping much more than laying back. As a result, the best tracks are the fast ones - Chilli Con Carne, Snatch It Back etc...
I love Buddy Guy's playing on the CD - he lets Wells have the main stage, and behaves like a true friend and musician - thinking only about the overall result.
To conclude - this is a great blues CD, worth having to any blues fan.

As good as an album can be.
Listening to this album with the lights out puts me "there" more than just about any album I've heard. In a smoky room where musicians and audience are connected. This album is real.

The Greatest
In case there's any confusion, this isn't just the greatest blues album of all time, this is the greatest album of all time. Don't doubt it. It's perfect. As good as it will ever get.

must have blues album
The greatest blues album ever recorded.. A must have!
B.B. King at the Regal has nothin on this, a classic. ... Read more

Amazon.com

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

Reviews (97)

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

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

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

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

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

Respect!

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

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

Reviews (5)

Never Trendy, Always in Style
If he was never a 1950s superstar on par with, say, Elvis Presley, nor has Fats Domino ever really gone out of style. At its best, his music is direct and unpretentious in a way that always sounds fresh. This compilation, part of EMI/Capitol's Crescent City Soul Series, includes all his essential sides, from 1950's "The Fat Man" ("They call me the fat man/Because I weigh 200 pounds") to his 1962 take on Hank Williams' "Jambalaya (On the Bayou)." Pretty much every song is a winner, with the possible exception of "Valley of Tears," which would have worked better without the sappy female chorus. Domino's voice was appealing enough on its own that he didn't need any kind of back-up to get his message across. "It's You I Love," B-side to the same 1957 single, also incorporates background singers, but less extensively and is all the more successful for it. Over the years, Domino's music has gotten a new lease on life through TV shows, like "Happy Days" (Ron Howard's Richie Cunningham had a thing for "Blueberry Hill"), and covers, like Cheap Trick's hard rockin'--yet reverential--cover of "Aint That a Shame" on their bestselling 1979 live album, At Budokan. The CD booklet includes liner notes by John Broven, author of Rhythm & Blues in New Orleans.

A total of 9 #1 Hits for Antoine
If you listen to Johnny Dark on Big 100, the Oldies station in DC,you might hear him say that Antoine "Fats" Domino never had a #1 hit. That's totally false information. Fats hit #1 on Billboards R&B chart a total of 9 times and each one of those 9 #1's is on this great cd. Two of Fats #1's were there for 11 weeks a piece,1955's "Ain't It A Shame" and 1956's "Blue Berry Hill" and both were million sellers. Don't believe everything you hear your local dj says on the air. Check with me first.

Hit After Hit After Hit
You will listen, you will find introspection, you will dance, you will sing inside your heart, you will dance some more. Fats Domino had such an incredible string of hits, you cannot simply describe this album (errr, CD) as anything other than GREAT. The only downside is that a couple of the songs were not of the highest recording quality. Still, what would you expect of such treasures and the technology of the time? A mino trade-off for the collection of music you will get.

This album is essential if you are going to round out your collection of American music.

Classics
Fats Domino's Musical Impact goes way beyond the 50's.alot of that has to do with the range&tone that Fats Domino plays with.yeah "BlueBerry Hill"&"Ain't that a Shame" were big on TV,Films,etc.. but the Music doesn't sound like it's stuck in a time warp you can still do so much with it to this day.His overall Music Depth is Rarely given the Respect it truly deserves.this a CoolSet Highlighting His Impact on Many Styles of Music.

20 Greatest Hits The Way You Originally Heard Them
1. The Fat Man
2. Goin' Home
3. Going To The River
4. Ain't It A Shame (Ain't That A Shame)
5. All By Myself
6. Poor Me
7. I'm In Love Again
8. Blueberry Hill
9. Blue Monday
10. I'm Walkin'
11. It's You I Love
12. Valley Of Tears
13. Whole Lotta Loving
14. I Want To Walk You Home
15. I'm Gonna Be A Wheel Someday
16. Be My Guest
17. Walking To New Orleans
18. My Girl Josephine
19. Let The Four Winds Blow
20. Jambalaya (On The Bayou) ... Read more

Album Description

Robert Randolph is one of the most talented pedal steelguitarists of his generation, picking up comparisons toStevie Ray Vaughan, Duane Allman and Jimi Hendrix. Live AtThe Wetlands is the debut from Randolph and The FamilyBand. Dare Records. 2002. ... Read more

Reviews (40)

Like the sparks from Vulcan's Forge
Remember how music used to be fun to listen to before the incursion of stance and attitude and angst shoved its way to the forefront during the musical hell of the '90s? Well, Robert Randolph makes music fun to listen to again, playing pedal steel like he was Vulcan hammering on his forge intently creating armor for Zeus.

"Live at the Wetlands" is a breathtaking live set is gritty and focused. This magical outing could not have been replicated or captured in a studio. The four-piece ensemble rocks the house with measured, joyous playing. Randolph tears it up on pedal steel like no one else and Ginty flat out wrings the Hammond organ for all its worth. Let's not forgot the crisp, solid drums and bass that anchor and propel each cut, holding the whole jam together.

If you aren't in motion by the time the finale Tears of Joy gets in high gear, then you are not conscious. Randolph and company ascend to another plane, and if you turn up the volume, they will bring you along for the joy ride.

If you liked "The Word" (and who didn't?), you will want to snatch this CD, too. Though there are only six tracks, this recording, like Streetwalker's excellent "Live at the BBC," should be judged on the quality not the quantity.

A Cd you MUST own!
I saw Robert Randolph and his Family Band in Charleston (SC) and Charlotte last winter where they played most of the songs on this CD. This was the most exciting show and the most exciting new music I've heard in some time! The crowd (myself included) was in awe as we watched the most exciting new live act since James Brown, Elvis, or Jimi Hendrix! Brother Randolph makes his steel guitar sing with support form John Ginty, who makes his organ sound if he poured kerosene on it and lit a match and his cousins on bass and drums. I had a friendly chat with Randoplh afterwards and bought this CD. I have to play it sparingly to avoid overplay. "The March" is a very well-crafted jam. "Ted's Jam" is phenomenal, as the bluesy ballad "Pressing My Way." I told Robert Randolph after his Charleston show, "If you guys aren't the next big thing by next year this time, then there is TRULY no justice in this land!" Everyone I've played this CD to loves it! Buy this (and "THE WORD" as an excellent companion piece) and you'll see what I mean. The future of REAL (non-synthetic)