Reviews (22)

Blues rock done right
Jeff Healey was only really well-known for a few years in the fickle popular music landscape, which is a shame. This first album of his has always been a great one in the realm of blues rock.

"Confidence Man", "River Of No Return", and "I Need To Be Loved" are all bluesy highlights. "Nice Problem To Have" is a great, mellow instrumental, while "Hideaway" is a catchier, more uptempo instrumental. "Angel Eyes", a top 10 hit, is a great romantic ballad on the album. "Blue Jean Blues" is moody yet melody-laced, while the title track is a catchy rocker of sorts to end this great album.

It is not a stretch to compare this album to efforts by Eric Clapton and Stevie Ray Vaughn, as other reviewers have done. Kenny Wayne Sheppard also comes to mind a bit, although he is a bit heavier overall. As anyone who knows anything about music knows, the blues is the basis for so many of the best elements of rock and roll music. For sure, they blend exceptionally well on an album like this. This is an overlooked gem, worthy of note for more than the one well-known hit.

It is a great blues rock album.
I think See the Light is a great album. Sure I like "Angel Eyes" like everyone else, but if people think that the whole album revolves around that hit single, they need to listen to the whole album again. All the tunes are great, including the instrumental ones. I like "River of No Return", "Confidence Man", "I Need To Be Loved", and "Don't Let Your Chance Go By". Jeff Healey is a great guitarist and singer, and everyone who is a fan of blues rock, great guitar playing, and excellent musicianship, should make this album their first purchase.

Shame On Radio
Forget this man lays his guitar on his lap and CREATED this style of playing the electric guitar. I know of no other guitar player or have heard of one in the world who plays his electric guitar laying across his lap(If there is, please enlighten me). Forget he's blind. Forget he plays with 2 talented, underrated musicians(a bass player and a drummer - a 3 piece).
Just listen to this music with your eyes closed and if you can't hear and believe this is some of the best music ever written(to be compared with Eric Clapton, Jimi Hendrix, Jimmy Page), you don't have a good ear for music. This cd has it all. Great lyrics, great hooks, great arranging, and timeless music that will stand the test of time, like "the Beatles". Why the "Radio World" stopped playing his music is beyond me. Buy this cd!!

His first and best
Ive heard every guitar player out there and Healey is the best- faster and smoother than Gary Moore, better than Joe Satriani and all the rest. This disc was released after the film Road House where he had a small role and supplied the music- in that film he plays vicious versions of some Cream songs.

Wrong version of "Angel Eyes" on this cd.
If you have the original cd of "See the Light" you will notice that Arista has changed the version of "Angel Eyes" on this version of the cd. They have replaced the original album version with the far insuperior "single" version. I couldn't imagine why they would want to ruin the cd by doing that.

Altogether, that is the only reason that I gave this cd 4 stars. The original album version of "Angel Eyes" contained an incredible solo on the outro that Arista has edited down by fading out the song at least a minute and a half too early. Too bad, that solo contained all of the passion of the song. ... Read more

Reviews (1)

Wonderful fingerstyle guitar
Etta Baker is such a lovely lady who is one of the leading practioners of the Piedmont blues guitar. This, one of the wonderful albums issued in conjunction with the Music Maker Foundation, showcases her fluid picking. The lack of vocals is the only complaint about this release. Otherwise this showcases of her fluid finer picking on a variety of tunes shows why Etta Baker is so highly regarded by fans of acoustic blues. ... Read more

Reviews (4)

The next major blues star!
Albert Cummings is fantastic. This CD is solid from start to finish and gives you a glimpse of how great of a performer Albert is in concert. You don't get that captured on a blues studio recording very often but this is one of those times where that greatness shines through.

Tell everyone to pick up this CD!

Great voice & tone.
There's no awe inspiring warp speed guitar playing on this cd but the tone, vocals and band make it a top 10 in my collection.

Great Blues. Great Buy. Period.
I recently listened to Albert Cummings' new CD, "From the Heart" while I was on my way to Troy, NY to see him perform live at Revolution Hall. I had heard just one track prior to that, "Your Own Way" which is also featured on the CD, and thought that it was a great blues-rock song. The remaining album does not disappoint either, with tracks like "I Got Feelings Too," and "Barrel House Blues."
After one listen, I could certainly see why Stevie Ray Vaughan's band, "Double Trouble" not only wanted to produce this album for Albert, but decided he was a worthy enough guitarist to back him up on the entire CD! The result is a great blues-rock album that sports a tasty mix of toe-tapping rhythms and down-n-dirty blues. Albert Cummings is admittedly heavily influenced by Stevie Ray Vaughan, but the most refreshing quality to both this CD and Albert's playing is his ability to hook you with phrasing reminiscent of SRV, yet at the same time break loose with a style uniquely his own--the signature of any truly great--and original--guitarist.
If Albert Cummings continues to put out discs like "From the Heart" you'll be proud to slide them into your collection, right next to your well-worn copies of great blues albums from SRV, Eric Clapton, and Johnny Winter!

The Future of the Blues?
I just listened to the latest CD from Albert Cummings called From The Heart with Tommy Shannon, Chris Layton, Reese Wymans (Double Trouble). Man it's good. The review I read before I bought it was titled "I have met the future of the blues, and it is Albert Cummings". I won't go that far yet but a few more listens and more CD's like this, I might be there. ... Read more

Reviews (1)

This Is A Great Album!
This is a great album in the west coast and Chicago style blues. The band is the late Hollywood Fat's band (Hollywood Fats = Michael Mann) with Kirk Fletcher on guitar. Al Blake on vocals, harmonica & guitar, Richard Innes on drums, Fred Kaplan piano & organ, Larry Taylor bass. Kirk Fletcher is a superb guitar player and this album is a must have if you like guitar players like Ronnie Earl, Dave Specter, Alex Schultz & Steve Freund! The rest of the guys are as good as it can get! ... Read more

Amazon.com essential recording

Call it three for the price of one. Far from engaging in a guitar-playing shootout, Albert Collins, Robert Cray, and Johnny Copeland work together incredibly well, achieving a kind of musical synergy that's rarely heard. Copeland and Cray handle most of the vocal duties, and Cray's smooth, soul-tinged voice (positively shiver-eliciting on "The Dream," as is Collins's lead guitar work) complements Copeland's growl perfectly. Collins doesn't get to sing as much, but he more than makes up for it with his harmonica on the slow blues "Bring Your Fine Self Home." And of course, all three turn in stellar guitar work, trading solos and rhythm parts with the greatest of ease; Cray was a relative newcomer at the time of this recording, but he more than holds his own. One would be hard pressed to find a better blues collaboration anywhere. --Genevieve Williams ... Read more

Reviews (13)

Educate Me, Please!
Nothing better than a showcase of bluesmen, exemplifying what one man's influence can have on his prodigies. In this case, Johnny Copeland and Robert Cray both owe much of their sound to Collins' style and influence. Collins met Cray while touring through the Northwest, playing a gig at a high school prom. Years later, Cray was out giving his own concerts, and has been recognized as one of blues' brightest young stars.

T-Bone Shuffle is a great example of this particular CD, with each guitarist singing a verse and soloing out before the next one steps up to the plate - and each one drives the ball right out of the park...

An essential CD to have in your blues collection, without a doubt.

Peace Out.

They're into something !
A great CD by 3 blues-giants, this album won a Grammy for the best blues album. Albert Collins had been brought to the very top of contemporary blues through his recordings for the Alligator-label, while Johnny Copeland hadn't quite received the response his talent deserved. Robert Cray was perhaps an odd choice for this group, for when this album was recorded in 1985, he wasn't really the big name he was to become a mere year later. But an inspired choice it turned out to be ! The tunes have been carefully picked to bring out the vast talent these men had. The 3 men take turns playing a solo and singing the vocals. As all 3 have a distinct style, both when it comes to singing as when it comes to playing the guitar, this is a well-varied album, which fans of modern Texas blues should really love !

Brilliant Collaboration
I've been listening to this effort for over a decade and it still sounds good. It's hard to imagine that these guys hadn't worked together for years. Many collaborative efforts come off as contrived. This comes off smooth and natural. The combination of Collins' guitar and Cray's voice on "The Dream" is spine-tingling. "Black Cat Bone" is another favorite.

Two Old Pros and an Upcoming Star
Albert Collins and Johnny Copeland were two of the pioneers of Texas blues, and major influences to the late Stevie Ray Vaughan. These two guys work their magic on this CD, and bring on a young bluesman named Robert Cray. These guys just seem to have fun with this CD, never trying to outdo each other. Great riffs in the leadoff track "T-Bone Shuffle", harmonica on "Bring Your Fine Self Home", lyrics in "Black Cat Bone" (hear Johnny Copeland yelling "Hey Albert!") and the last track "Blackjack" where each does a tremendous guitar solo. Cray, of course, is now a major talent in his own right, and Johnny Copeland lives on in a way in his daughter Shemekia Copeland's music, but here is a playful, low-key yet powerful, piece of work from some of the masters of electric blues. Highly recommended for serious blues fans.

A must have for a guitar fan
These guys are great, and I wish this were a box set. I could listen to this trio for weeks. ... Read more

Amazon.com essential recording

Goin' Back traces a century of Crescent City musical history, starting in the mid-19th century with Louis Moreau Gottschalk, a classical composer influenced by the African chants and slave dances he witnessed in New Orleans' Congo Square. With support from some of the city's most prominent musical pioneers (including Danny Barker, Pete Fountain, and the Neville Brothers), Dr. John breathes new life into the work of Jelly Roll Morton, Louis Armstrong, James Booker, Professor Longhair, Fats Domino, Smiley Lewis, and Huey Piano Smith. From early jazz to junkie blues, Goin' Back covers it all, ranging from well-trod standards ("Basin Street Blues," "Careless Love") to otherwise forgotten jewels ("I Thought I Heard Buddy Bolden Say," "How Come My Dog Don't Bark"). What's most remarkable is how utterly alive and timeless it sounds. --Keith Moerer ... Read more

Reviews (10)

Disappointing, with a few good tracks
I am a fan of blues and roots music who bought this album based on its interesting set list of classic songs and its rave reviews from various sources. Unfortunately, I found the album way overproduced. There is too much bland orchestra, chorus, and strings that smother the life of the songs. A few good tracks are exceptions: "Fess Up" is an affectionate solo piano tribute to Professor Longhair, "Cabbage Head" has amusing lyrics and a smaller combo that doesn't overload the sound, and "I'll Be Glad When You're Dead, You Rascal You" has some good moments where you hear the interplay of individual instruments. But overall I would recommend this album only if you love Dr. John's voice and want to hear what he does with these classic songs. If you love his piano, go for the solo "Dr. John Plays Mac Rebannack." If you want to hear New Orleans blues played with great piano, vocals, and backup band, buy "Crawfish Fiesta" by Professor Longhair. To my ears, "Goin' Back to New Orleans" is overrated.

Dr. John is the coolest!
On this disc, Dr. John covers a bunch of old New Orleans standards and they all sound great. He has home-town guests including the Neville Brothers, Al Hirt, and Pete Fountain. Even the liner notes are cool, as Dr. John gives a little bit of history for each one of the songs. Some of the lyrics are a little funny, and some of the other lyrics must have been the gangsta' rap of their day. Apparently, when there is cheating going on, somebody is going to get cut up. It's mostly just good-time music, though.
Dr. John is the coolest!

Top notch blues album!
I am a fan of delta blues, chicago blues, and New Orleans blues because of Dr. John. This album has incredible blues piano on several tracks - definitely check out "Careless Love" and "Basin Street Blues" to see what I mean. My two favorite songs on this album are "I thought I heard Buddy Bolden Say" and "How Come My Dog Don't Bark When You Come Around?" It's hard to choose favorites on this album because they are all so good! The songs on this album include New Orleans blues favorites that have endured for so long it is not known who originally wrote the song!

Die Beste vom Doctor, das Beste über New Orleans
Nach dem sehr schönen, aber etwas überraschenden ersten Stück kommt es geballt: New Orleans pur. Standards aus Jazz, Blues, Boogie, Creole und Marching Music, und alles in der unverwechselbaren Handschrift von Dr. John. Und zu jedem Stück schreibt Mr. Rebennack im Beiheft eine kleine Geschichte. Man sieht sich um den Jackson Square tanzen, spürt in jedem Akkord das French Quarter und riecht den Mississippi. Diese Liebeserklärung an New Orleans ist mit Abstand das Beste von beiden, dem Doc und der Stadt. Und von beiden gibt es viel Gutes.

A Good Retrospective In Its Own Right...
...as well as a great Dr. John Album. When I bought it, I only knew one song, but I knew it had the best damn version of "Goodnight Irene" I'd ever heard. When I put it on and it played me "Litanie de Saints" I knew it was twenty dollars well spent. There's music for all moods on this album, from a fun rocker "How Come My Dog Don't Bark" to a moody "Goin' Home Tomorrow" to a rollicking "Indian Red" to "Goodnight Irene," which will make you fall in love with the first woman you meet named Irene. ... Read more

Amazon.com

Count Basie's band endured because of its leader's uncanny ability to put together fresh arrangements and strong soloists while maintaining the band's unique devotion to swing; this CD is among the most enduring of the big band recordings of the 1950s. The title tune is present in a justifiably famous rendition, a performance of swaggering swing and passion that was arranged by organist "Wild Bill" Davis. Frank Foster's "Shiny Stockings," now a jazz standard, made its debut here, while Joe Newman's "Midgets" recasts the band as a bop combo. Throughout the recording are terrific solos by trumpeters Thad Jones and Newman and tenor saxophonists Foster and Frank Wess, all basking in the band's glorious swing. --Stuart Broomer ... Read more

Reviews (13)

Sound quality is extraordinary. Basie is Basie!
Basie's "April in Paris" is probably my favorite instrumental. When I saw that it was on a regular cd and also a gold disc I wasn't sure that the gold would be worth the extra bread. Bought the gold and boy is it worth it! The sound reproduction is so accurate that you are with the band in the studio. "April in Paris" rocks with soaring trumpet solos and an arrangement of considerable wit. "Corner Pocket", another Basie standard swings easily, yet also shows the tightness of the Basie ensemble. "Shiny Stockings" and "What Am I Here For" are also sweet, swinging cool tunes. From beginning to end this album is chock full of Basie's coolness, humor and brashness. It's a band that doesn't say excuse me to anybody.

Very difficult to review.
I had a very tough time trying to decide how to rate this. On the one hand, it's something of a jazz classic, and probably the most famous of Basie's albums. On the other hand, the album is not his best. I've owned this album for a while, and although I have more Basie CDs than anything else, I just don't listen to this one that much.

For one thing, only the title track is really essential. I love "Shiny Stockings," but there is a much better version on "Basie in London." Some other favorites ("Corner Pocket," Sweetie Cakes") sound much better on the live "Corner Pocket" album. If you are a big Basie fan, I suggest you check out a few of the live albums, as Basie is ALWAYS better live. If you're a part-time jazz fan, or want an introduction, this may be for you.

To sum it up, I guess I'd say this. If you don't know Basie, this is a good place to start. If you DO know Basie, and still don't have this CD, you probably would be disappointed. I would rate this closer to 3 stars, but it does have appeal to new fans.

Good outtakes
This is one of the few discs where the outtakes are worthwhile. Usually, the differences are minor, and often I have trouble distinguishing one take from another. But here, they reveal Basie's re-working of some of the cuts at a basic level. The three takes of "Magic", for example, display radically different approaches to the piano intro. Of course, even without the outtakes, this is one of the highpoints of Basie's career anyway.

Pure bliss
This is some of the finest Basie in his mid-to-late period.

"One More Once!"
April in Paris is one of those CDs you just never get tired of; like many jazz hallmarks, it invites, insists on repeat play. From the shimmering fountain of brass at the start of the famous "April in Paris" through the last scream of the Neal Hefti's jumping "Dinner with Friends," it's just irresistible fun. Standouts include Basie's trickling notes in the smooth vamp of "Sweetie Cakes;" Thad Jones' and Joe Newman's trumpets on "Corner Pocket" (the former quoting "Cherry Pink and Apple Blossom White," no less!); the conga-lining, hip-slinging pep of "Mambo Inn," in a dynamic arrangement; the dizzying and hilarious melody of "Midgets;" and Frank Foster's bluesy "Magic," which should have become a standard. This, along with the Atomic Swing CD, is Basie New Testament at its best. Enhancing things is the addition of some wonderful alternate takes, which include a less-than-stellar "Midgets," "April in Paris" with a trumpet in front of the band, and count 'em--TWO different takes of "Magic." The fun thing is that there must have been some dispute over the speed, because of the three versions on this disc, each has a distinctly different tempo, decreasing in speed each time. Also, Basie's opening solos become more intricate with each take. No version is better or worse; in fact, they complement each other. The remastered sound on the disc is excellent; the band sounds full, robust, and lively, and the solos fly straight into your face. Verve hit a homer with this one, and it's definitely worth a listen. ... Read more

Reviews (1)

Carlos del Junco - What an awesome album !!
This is a truly great album, and goes way beyond straight ahead blues. Carlos Del Junco is a world champion harp player and winner of many national and international awards. He plays beautifully and brilliantly across all the tracks of this CD. The album is an exciting eclectic mix of blues, jazz , latin, bluegrass,and country and features a great group of musicians in addition to Carlos himself. I had read multiple great reviews of this album before I had chance to hear it myself and the praise is well deserved. Anyone who enjoys virtuoso harmonica playing and blues/jazz based music will love this CD. Highly recommended. ... Read more

Amazon.com

No slide guitarist since Ry Cooder has made his strings shimmer and soar, growl and cry the way Sonny Landreth does. Though his sideman credits extend from a zydeco apprenticeship with Clifton Chenier through his breakthrough association with John Hiatt, Landreth finds a unique musical niche on his own recordings, combining the literacy of a Southern storyteller with the chops of a guitar hero. This belated successor to 1995's South of I-10 evokes the spirit of Landreth's native Louisiana, in the atmospheric narratives of the title cut, "This River," and "Deep South," as well as in the rambunctious rhythms of "The U.S.S. Zydecoldsmobile" and the instrumental "Z. Rider." Hiatt, Jennifer Warnes, and Bonnie Raitt provide cameo vocal support, as Landreth's slide slices through the album's occasional overproduction. --Don McLeese ... Read more

Reviews (26)

I saw this UFO flying up over top of the swamp...
Wow...I have been studying the art of slide guitar for a while. Let's be clear on this, after hearing Levee Town, I am convinced that Sonny Landreth is not even from this planet.

For those of you who have heard Sonny's work previously, this album is a bit more laid back than either Outward Bound or South of I-10, yet the slide work is by far, light years beyond what I have heard from him thus far. For those of you who have never heard him before, be prepared. You'll never hear anything like it again.

The opening track, Levee Town, is highly contagious. A foot tapping number that's very dancable, but make no mistake, Sonny gets right to some aggressive and impressive slide guitar work. U.S.S. Zydecoldsmobile is equally motivating and upbeat. I believe this CD is the closest thing to party music I have heard Sonny release. Throughout the CD he explores folk, contemporary, cajun and blues genres with flair and maturity. I recommend you buy two copies of this CD; you're gonna wear the first one out.

For those of you who might be new to Sonny's work, I have always described him this way...if Ry Cooder was the Eric Clapton of slide guitar, then Sonny Landreth would have most certainly been the Joe Satriani...he's just that good.

This is a great CD!
Sonny has his own unique style of playing slide guitar. His vocals compliment his original songwriting ability.

If you're a music lover of songwriters and you love slide guitar, this is a good Sonny Landreth CD to start with.

other cds in my collection (for comparison) James Taylor, Bonnie Raitt, Keb Mo', Van Morrison and Jimmy Buffett.

So if you like them you'll like Sonny too.

Sonny is the best....
Levee Town is a fantastic record, back to front! 'Love and Glory' has to be one of the prettiest songs you could ever hope to hear.

Levee Town
This is a fantastic CD. While I haven't heard a Sonny Landreth CD that I didn't enjoy, this one probably has the most consistently strong songwriting. "Z. Rider", the opening song in many of Sonny's live performances, is by itself worth the price of the CD. In addition to showcasing his chops on the guitar, it just makes you want to jump up and boogie. While Sonny's musical roots may be the blues, his songs have an infectious joy about them that chase the blues away.

Disappointing
Sonny is a true guitar god, and Outward Bound is a minor masterpiece, which is why I was shocked at how weak the songwriting was on this CD. It's hard to fathom why others rated it so highly. ... Read more

Reviews (5)

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

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

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

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

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

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

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

Reviews (4)

THE REAL CLARENCE CARTER
Of the the many soul artists of the mid-60's, Clarence Carter was underated by many of the northern radio station D.J.'s and program directors. Living in Baltimore at the time Clarence was recording on the 'Fame' label, only 1 station would play his music with any consistancy and that was WANN in Annapolis, Md..
I'm happy to see this album available but miss cuts like;
Funky Fever, Thred the Needle, The Court Room and a few others.
Overall, this album will fill the soul gaps in anyone's collection. Now, if I could only find some original Andre Williams.

One of my favorite CD's
Wow. what a cd. The whole album is full of classic tracks. I play this CD so much. His voice is one of the most amazing that I have ever heard. It blows me away every time I listen to this CD. I wish that he would tour through NY. This CD is a must for anybody who ever remotely likes soul music. Buy this CD. BUY THIS CD NOW!!!!!

Clarence Carter is one of the greatest soul singers
Clarence Carter's work for the Atlantic and Fame labels is my favourite soul music. In my opinion his music from the sixties and early seventies is better than that of Otis Redding, Aretha Franklin or any other southern soul man or woman. I feel that he was greatly under-rated during that era. He had a great voice, catchy tunes, and beautiful horn and guitar work. Many of Carter's greatest songs from that period are on this particular album, and I think that it is a must-have. For those to whom Clarence Carter is new, I advise them to get the following albums as well: This is Clarence Carter, The Dynamic Clarence Carter, Patches, Testifyin', Sixty Minutes with Clarence Carter, Heart Full of Song, Loneliness and Temptation, and the original The Best of Clarence Carter.

Stunnning Stunning Stunning
In the UK he's only known for the execrable "Patches" but Clarence Carter is truly one of soul music's greats. He has a shrewd sense of humour ("I can't see myself" and "I'd rather go blind" are strange song choices for a blind singer) but his writing delivery and SOUL are superb. A must have. ... Read more

Amazon.com's Best of 2001

Mississippi hill country patriarch R.L. Burnside's two previous albums dabbled in remixes and trip-hop experimentation geared to the college-rock market. This is a restorative: pure slide 'n' drone blues caught live in January 2001 at Portland, Oregon's Crystal Ballroom. The 73-year-old is joined by his usual jukehouse band, his drummer and grandson Cedric Burnside and guitarist Kenny Brown, who blow sparks behind Burnside's rich honey-and-molasses voice and chunky six-string affirmations. Every time Burnside hits a note, it's a reminder of both how vital an interpreter of the hypnotic style developed by Fred McDowell he remains and how true electric country blues still sounds in its unvarnished state.

There's an emotional resonance that runs through this music like blood, especially when Burnside plays solo. His all-alone performances of "Walking Blues" and "Bad Luck and Trouble" reveal every nuance of his caw-to-keen singing and the sweet way his slide slices right to the emotional core of a lyric. Burnside's off-color jokes and song-ending punctuations (mostly buoyant "Well, well, wells") also give an inkling of the wild-ass grandpa charisma that makes him so appealing on stage. Burnside has, however, delivered better concerts. At times these tempos seem rushed, which sacrifices some of the subtleties of his vocalizing. But Brown unleashes a rabid slide solo on "Snakedrive" that shoots the tune skyward, and he and Cedric display relentless energy and thrust. All of which proves that, with John Lee Hooker now reclining upstairs, R.L. Burnside is the ruler of this music. --Ted Drozdowski ... Read more

Reviews (15)

The Real Deal!
What a great way to close out a rather dismal year of blues releases and who better to strike the high note than RL Bunside. This CD was recorded live in January 2001 on the West Coast and was not released until late October.

The CD itself does not contain any new material except for the joke told on "He Ain't Your Daddy" however, the performance and sound quality are simply outstanding. Like other reviewer's, I placed this CD in my changer and turned up the volume. It wasn't long after that I selected the single disc play feature and pushed the repeat button. The only thing disappointing about the CD is that it ends far too soon for me even though it is 52+ minutes long. If you have not experienced RL Burnside, I can think of no better place to start.

Welcome NEW YORKER readers to Fat Possum
For everyone who came here from reading the Feb 4 issue of the New Yorker, which had an amazing eleven page article about Fat Possum Records, RL Burnside, T-Model Ford, and others, this is a great CD to start with. Through all of R.L.'s permutations - Remixes on Come On In, the incredibly strong vocal album with modern effects on Wish I Was in Heaven, the very rough rock on Mr Wizard and the acoustic Mississippi Hill Country Blues - It is here - listening to RL play live in front of a crowd in Portland, that most perfectly displays his magic. This record brings RL back full circle to his ground-breaking debut album, Too Bad Jim - no remixes, guest stars or anything more than him and his band, jokes about drinking, and loud, droning blues, that is rarer on this planet than a wilderness born snow leopard. After this, check out Robert Belfour and Junior Kimbrough's first 2 masterpieces, All Night Long and Sad Days, Lonely Nights.
And if you already read the New Yorker article, you shouldn't need much prodding to listen to T-Model Ford's CDs. Welcome to the Deep Blues.

Best blues album... ever.
RL Burnside is making a case for the best bluesman that nobody knows. He's been around forever, but it's only been the last few years that his music has received the recognition that it deserves. He has several outstanding studio albums but the raw power of his music is at its best on this live recording. RL is the blues.

I've listened to all the great live blues recordings... BB, Buddy, Son House, Muddy, you name it. But there's something about Burnside that sets him apart from all of them. He is a truly great musician.

The measure of a great album is how quickly you listen to it a second time. With this one, I didn't take it out of my CD player for a week.

FIERCE BLUES
If music could give you the feeling of being pistol whipped, this album would do it. The guitar here is fierce, aggressive, and wicked. You can't help but to turn this album up really loud as Burnside charges through some very intense soloing on "Jumper on the Line." His voice is raw and perfect for the powerful blues force he brings on this disc. Walking Blues, done a million times by many folks, sounds really amped up, while maintaining the slow dragged out feel and emotion of the song. The album ends with a tremendous jam in "Snake Drive" which displays some fiersome smokin' guitar play and really displays the talent of this band. Great stuff, pure blues power.

Transcendent
First-rate live blues. R.L. Burnside is a true original, laying down a dense, intense, electric Mississippi drone with infinite variations woven through it. It is hard to believe that three performers could generate such a wall of sound (kudos to the engineers, by the way). In fact, on Burnside's mid-concert solos - "Walking Blues" and "Bad Luck and Trouble" - it takes a while to realize there is only one performer. The whole album is wonderful, but the last four cuts are transcendent, featuring Kenny Brown's slide guitar and, and (on the very last cut, by grandson Cedric Burnside) the best, and best-integrated, drum solo I've heard since Keith Moon was alive. A personal favorite is "Miss Maybelle" because of the quirky way Burnside varies tempos. ... Read more

Amazon.com

Recorded in one afternoon in the Holly Springs, Mississippi, hometown of 69-year-old blues great R.L. Burnside, A Ass Pocket of Whiskey documents a single noisy, spirited session with Burnside, his sideman Kenny Brown, and the punk-bred blues reconstructionist trio called the Jon Spencer Blues Explosion. The pairing of JSBE, led by a white Ivy League dropout turned downtown New York scuz who poses as a hard-living blues rocker, and R.L. Burnside, the last of the real down-home badass bluesmen of the Mississippi hills, is strange--perhaps sacrilege to blues purists--but oddly appropriate. And the moments of pure musical chaos caught on this record--both cross-cultural and cross-generational--sound entirely within the realm of both acts.With its unorthodox accompaniment (including wheezy theremin and Spencer's trademark shouts), the album is probably not the most fitting introduction to Burnside. But as the oldest man ever to record for the hip indie-rockers at Matador, no doubt he gladly sacrificed juke-joint obscurity for the chance to appear on MTV's 120 Minutes. --Roni Sarig ... Read more

Reviews (10)

Why don't More people my age listen to this stuff?
First of all I'm only 15 and I am a huge blues fan (talk about Weird) and I Just can't under stand why more people me age arn't into this stuff (Especially Burnside, and this album). Especially since this album isn't really a true blues album (it is catagorized under Rock). Plus it has all the searring guitar tones crued lyrics and raw energy that makes this perfect for kids my age. The're all stuck on the System of a Down and Metallica crap, they just say I must not Know what rock is or something. But really, this is every bit as raw and nasty as the music they listen to. And much, much, much more intresting than all that power cord crap. This album puts bands like System of a Down and Metallica to utter shame!! SO PLEASE, IF YOU ARE MY AGE AND YOU LIKE ROCK GET THIS ALBUM YOU WILL LOVE IT!!!

Here's to R. L. Burnside!
I have only recently started to listen to r.l., but he is quickly becoming one of my favourite bluesmen. Although I don't particularly like the JSBE by themselves, somehow this album really works, with the raw energy they add to burnside's traditional blues style. This album grows on me more and more every time I listen to it. Friends of mine who don't like blues very much seem to love this album. Keep up the good work.

R.L. Got Soul!
I'm a fan of R.L. Burnside. I'm a fan of the Jon Spencer Blues Explosion. I will admit that Jon can be over the top sometimes. Heck, over the top and around the next bend. I don't know if his "pants on fire" blues shouter persona would appeal to everyone. Personally, I just think he's a lot of fun. One thing's for sure, JSBE add some firepower to the down and dirty style of perhaps the greatest living Mississippi hill country blues musician. R.L. will drink your liquor, mess with your wife and point a gun at your head. All in the same evening. This album will having you movin and groovin before your brain even knows what hit you. If it doesn't, check your pulse!

R.L.'s Experiences go on...
What we can say about this experiences of R.L. and other new musicians of our times??Fantastic!! I'm a bluesfan,and i really know something about the history of the blues,his influences,his hard way to become a rythm recognized all over the world.Here in Brazil we are really tasting a same experience with funk music that took all the places,all of the social slices,and this musical style as the blues,come from the underground,at U.S.,they called ghettos,here we call the "favelas(slumbers)"and whatever the funk musics goes,they causes a chaos,discrimination attitudes from a great part of people,etc...etc.. But what we cannot forget is the capacity of this kind of music,to transformate,influenciate,a great number of members of this new generation!And what R.L. did is to recognizes this influences of modern styles and put it together with our great blues,to create a new kind of music that is,undoubtedly a phenomen!!! We are in front of perhaps,one of the great bluesman of ever!!! This man is teaching how we must do,to be in tune with the musical modern tendences of the New Era!!! Great cd,of a great bluesman of the past and new millenium!!!!!!

a half-empty pocket
I must unfortunately add to the low buzz of listeners who believe that JS detracts from this record. On their own, the JSBE is a mildly charming amalgamation worthy of a listen. And their riffing behind RL isn't without some merit - the guitar tones are what they should be. But John's shouting and hollaring get in your way like a drunk in the next row at the Super Bowl. Anything RL does qualifies as an essential purchase but when you add the fact that RL isn't making any money off this record (it never trickles down from Matador), this qualifies as the least essential of all. ... Read more

Reviews (3)

It sounds (a little) like blues, but it's much, much more
While the form is certainly derived from the blues, this is actually as psychedelic as it gets. Even 'Dust My Blues' sounds like it's being telephoned in from the canals of Mars. If you want to compare it with anything in the history of British rock, probably only 'Disraeli Gears' and Mayall's own follow-up, 'Crusade', come close.

If you already own the original 'A Hard Road' and you bought the 'London Blues 1964-1969' collection, you don't need this one, as all but a few of the additional tracks are already in the box set. If you don't have those recordings, however, and you think you know English rock from the sixties, the expanded 'A Hard Road' is essential.

Anyway, whether or not you think it's blues, 'A Hard Road' is one of the most remarkable British recordings of all time, marrying Mayall's eccentric songwriting and powerfully emotive falsetto with Peter Green's spine-tingling guitar. Not a bad rhythm section, either - what happened to Aynsley Dunbar?

The Complete Peter Green/John Mayall Recordings!
This 2 cd remastered and expanded edition of John Mayall's "A Hard Road" is a welcome release. Not only does the reissue contain a remastered version of the excellent "A Hard Road" album but it also contains Mayall/Green collaborations from no less than 5 other albums and EPs as well as some non-lp single A & B sides. Other stellar musicians appearing include later Fleetwood Mac mates bassist John McVie & drummer Mick Fleetwood. Ace drummers Aynsley Dunbar and Keef Hartley are present as well as the great American harmonica player Paul Butterfield. Green's replacement Mick Taylor even shows up on the last track. Peter Green is sometimes given short shift among the other blues/rock guitarists from the U.K during this time period like Eric Clapton, Jeff Beck, Jimmy Page and Alvin Lee. However, Green's B.B. King derived playing while not as flashy as some of the previously mentioned guitarists was always tasteful. The best known tracks from "A Hard Road" include Green's "The Same Way" and "Supernatural". Equally impressive are covers of Freddie King's instrumental "The Stumble" and Willie Cobb's "You Don't Love Me". The complete EP with Paul Butterfield is included with great tracks like "Little By Little". The second disk features mostly single A & B sides and outtakes from the album sessions on the first disk. Green wrenches emotion from the cover of Otis Rush's "So Many Roads" and goes solo for a rendition of J.B. Lenoir's "Alabama Blues". Four tracks on the second disk are recorded as a trio without the aid of leader John Mayall and anticipate Peter Green's work in Fleetwood Mac. Great tracks like "Sitting In The Rain", "Jenny" and "Picture On The Wall" prove to be both haunting and memorable. While Eric Clapton's stint in John Mayall's Bluesbreakers might be more familiar to casual listeners, Mayall's band with Peter Green proves to be just as rewarding. This is one of the better reissues of the past year!

Great Collection Done Right-The Peter Green Years
I had no idea they were reissuing this great, overlooked album until recently. Obviously, this is one of the most essential British Blues albums recorded, as it showcases Peter Green's early talents as a musician. But let's look at the other variables us consumers would be inquiring about.

Remastering wise... in my honest opinion, I really couldn't tell if there was THAT much of a difference. Nothing really jumped out in regards to the audio quality for my ears.

However, in regards to re-packaging, it's all right here for the "Greenie Years" with The Bluesbreakers. I didn't see it mentioned on Amazon, but this is a two cd set that includes the more obscure sides(and some of them are tremendous gems)that were on Looking Back, Thru the Years, & etc (including the sides recorded w/ Paul Butterfield). Whomever was in charge of this project really put in the effort to give the Peter Green fans what they WANTED, as it collects many things into one place. Very, very convenient. A 5 star packaging job.

I do wonder if they are going to do something similar for the Mick Taylor years.... ... Read more

Amazon.co.uk

Born Under a Bad Sign dates back to a time when albums were collections of singles, and when singles, designed for radio and jukebox play, seldom ran more than three and a half minutes. That limitation meant that artists had to make an impact quickly and firmly. In blues, the tendency of songs to go on a bit had to be curbed to produce performances with punch and point. There are few better examples of this process in action than Albert King's 1960s tracks like "Crosscut Saw," "Born Under a Bad Sign," and his story of hot whispers during the hot-wash cycle, "Laundromat Blues." With his thick voice and no-nonsense guitar, King brought absolute blues credibility to the well-made commercial single, and even tracks that were recorded purely for the album, like the aching slow blues "As the Years Go Passing By," became classics. Reissued with the original funky cover art, Born Under a Bad Sign is one of the foundation stones of a blues collection. --Tony Russell ... Read more

Reviews (14)

Greatest Blues Guitar Album Ever?!
If you are reading this review, I'll have to assume you are new to blues and blues guitar in particular. If you weren't, you wouldn't need any convincing by me to pick this classic up right away. BB King may be called the King of the Blues, but Albert King is the player most wished they could sound like. He was Stevie Ray Vaughan's favorite player and the only man Hendrix said he was afraid to share a stage with. Live Wire, Blues Power may feature flashier long extended guitar solos, but this cd, more then any other, is the one I use to answer the question: who is Albert King? I just pop it in the deck and let the opening title track fill the room. Two or three tracks are usually all I need to get any newbie running out for their own copy. With guys like Booker T., Steve Cropper, Donald "Duck" Dunn, and the great Issac Hayes backing Albert up, this thing grooves from begining to end and every track is a gem. This could quite possibly be the single greatest and most important blues album ever recorded. It's so nice to see it available again. Do yourself a favor and make this your next blues guitar cd. While you're at it, pick up Live Wire, Blues Power and I'll Play the Blues for You. You may have just found a new favorite guitar player.

Unbelievably good - great tracks, great sound - true classic
There are perhaps 4 or 5 classic blues albums that all blues fans should own and this is one of them. The album contains definitive versions of many classic blues tracks, such as Born Under a Bad Sign, Crosscut Saw, 'Oh, Pretty Woman', the Hunter (popularized by the rock band Free). ... The sound and tones captured here are excellent (so many recordings loose something when transferred to CD) and Albert's playing show taste and restraint but also fire. Something magic happened when Albert King & Booker T and the MGs (including Steve Cropper)got together.

Most of the tracks have been covered many times over by blues stars including the likes of Eric Clapton, Gary Moore and SRV.
There were a couple of excellent tracks that were new to me (Laundromat Blues and Personal Manager). That said, there are two tracks that seemed dated and which I do not care for: "I almost lost my mind" and "The very though of you" (the liner describes them as "uptown"), but there is more than enough A1+ quality blues here to make that a total non-issue. Quite simply sublime.

The real "KING" of the blues
This is an exceptional blues album from Albert King. It includes such classics as Born under a bad sign, Oh pretty woman, the hunter, and Laundromat blues. Buy this album and listen to Albert's guitar sing and then you will recognize why such greats as stevie ray Vaughan and eric clapton site king as a major influence.

Ranked #499 By Rolling Stone
This is a solid blues album by a man named Albert King and this album dates back to 1967 he also has a cover of Kansas City this album has good instrumentation and good singing.
Lyrics 9/10 Production 10/10 Music 9/10 Style 6/10 Voice 7/10
Overall 41/50 This album is a solid 4 star release

GREAT
I purchased this album on Friday the thirteenth after hearing a few of Albert King's tracks, knowing that I would not be dissapointed.
This album starts off with the great songs: "Born Under A Bad Sign," an anthem to those with bad luck and then continues to give one blues classic after another.
Anybody reading this review probably already knows about Albert King's adept guitar playing and there is really no need to say that much more about it, but I will. In my opinion he is the best of the three kings (Albert, Freddy, and BB). His guitar is very mixed, sometimes he delivers the little riff in between each line and other times he goes all out and plays really fast and powerful solos, other times he is just committed to creating a melody. He did everything that a great guitar player needed to do on this album and surely it will not dissapoint any fan of the blues. ... Read more

Reviews (7)

A Great Way to Discover Robben Ford
Robben Ford has been a figure in Blues guitar for many years but he is not nearly as well-known as I would expect. His is a unique blend of blues flavored with jazz influences. This is Blues with complex chord changes and sophisticated structure. Through it all Robben Ford is the glue that holds it together.

He is a guitarist's guitarist and this is my favorite of his recordings. If you want a CD filled with upbeat blues look no further. If you want to hear the jazzier side of Robben try "Sunrise".

Soooo good!!!
This album is one of the most entertaining and joyful album I ever had the pleasure to listen. It is a splendid sweet blues, fast blues, tender blues album. The line up is stellar Robben, Colaiuta, Ferrante and Roscoe Beck plus some guests for the horn parts. They all together deliver a blues based music that is a joy to hear. There's not a single weak tune in the entire album and Robben plays his trademark blues-fusion licks with phenomenal taste and wonderful time and sound. Robben sings very very well too. I don't understand the critics here. He has a polite voice, very clean, very sweet ... he sings great no doubt about it. He sings from the heart to me, he touches me. The production is very clean too, maybe a little too much, but in the end it is good to hear a very well recorded album sometimes. In the end this is absolutly a musthave for any guitar enthusiast or blues lover. No better, it is a fantastic album a musthave for everyone who has musical taste. Period.

Genuine Bluesman
What an album !! Robben Ford certainly counts as one of the best blues guitarists around. He has that special sound and yet not very well recognized. But those that DO know of him will certainly appreciate the power of this album.

Awesome
Robben Ford is probably one of the best guitarists to ever grace CD plastic. Unfortunately, under recognized as well. His guitar work sounds effortless and right, like he knows the exact notes that need to be played. Notes just seem to flow together when he picks those strings. Very few guitarist have that ability, SRV was the best, but Ford is definitely up there. "Talk to Your Daughter" is one of the guitar classic that everyone who loves guitar must own. It's also one of Ford's crowning achievements.

It's hard to pick a place to begin in discussing this album, it's all so very good. The instrumental "Revelation" is a perfect example of what I was explaining. Sweet notes, good tone, and a sound that is easy on the ear. Ford's cover of Albert King's classic "Born Under a Bad Sign" is simply incredible. He also does great covers of "Ain't Got Nothing But the Blues" from Duke Ellington and "Help the Poor".

For as good as Ford's guitar playing is on this album, his voice isn't. The music on this album cries for a nice deep and gravely voice, and Ford's is thin and in stark counterpoint. In fact, on "Can't Let Her Go" he almost sounds like Kenny Loggins. Fortunately, his voice is decent on "Born Under a Bad Sign" and several other cuts. The incredible guitar work easily makes up for where he lacks in voice. This is a great album to start with if you've never heard Ford before.

Liked it but far from Robben's best
This is a GOOD album, don't get me wrong, and worth buying but the production is a little too slick, and Robben's delivery isn't as bluesy authentic as on other albums. Sounds too much like a ... guy doing blues and is really more of a rock than a blues album. Much, much prefer Robben Ford and the Blue Line or Authorized Bootleg. ... Read more

Album Description

Asian edition of the blues rock act's 2003 live albumincludes two bonus tracks, 'Green Tea' & one unmarked,hidden track. Rock Empire. ... Read more

Reviews (7)

KICKS MAJOR ASS!!! SMOKING SLIDE GUITAR WIZARDRY
THIS CD ROCKS!!!! YOU KNOW EDDIE KRAMER ISN'T GOING TO WASTE HIS TIME PRODUCING SOMEONE WHO ISN'T REVOLUTIONARY,BUT THE ONLY WAY TO SEE ERIC IS LIVE,HE NO DOUBT IS THE HOTTEST PLAYER ON THE PLANET HANDS DOWN!!!! THE PEOPLE THAT WROTE MEDIOCRE REVIEWS HAVE NEVER SEEN HIM PLAY LIVE.THEY WOULD BE APOLOGIZING IN A HEARTBEAT

Cliche Blues album.....Rubbish
This album is too cliche. Its just a very very generic blues album. Boring is the best word that describes his music. I think he's a cool guy but man, come on! This album is just a wannabe and it spits it out in full force.....I would recommend him to do better.

I tried to like it....
After hearing so much about this guy I thought I'd check it out. Unfortunately, I was a bit disappointed. First things first, the songwriting is medicore at best. The lyrics really lack any substance. As far as the electric dobro thing, it's a novel idea: thus, making it a novelty. I can't get over the feeling that this is more of a gimmick than a viable artist. His rhythm section is pretty solid. You don't have to do much with a one regular format all day. And last, this guy's voice just isn't very good. I will say he performs well live. He exudes lots of energy and really knows how to entertain. The production quality is very good, thanks to Eddie Kramer. Not sure why he picked up this project, but....Bottom line, I wouldn't recommend this CD if you're looking for substance, musicality, or well written songs.

Good for a third album "jinx"
In this day and age when some blues-rock acts go soft and fluffy on their third album, Eric has beaten the odds here with a solid effort in Black Pearls. It's not quite as raw and nasty as his first album, but the songs are good. I do wish he would have showed off his masterful slide work more, though. The sound quality is a definite improvement over his second album, which I thought put the drums and bass too much in the background. I guess we have the legendary Eddie Kramer to thank for that, although how hard can it be to get a good mix between three instruments?--Hello! Anyway, good job on this album.

the real deal is here
i have all 3 of erics cds. i had read and heard about him for years. i even had his cd in my hand at one time to buy. i didnt because i wasnt sure if i would like it. so i was going to see him live but i never made it. so i bought his black pearls cd. when the first song kicked in, i was like yes!! hendrix,kravitz,led zep,johnny winter, etc etc. the music i live for just poured out. as each song played i couldnt believe this album was this strong from start to finish. this is my favorite of his 3. if you like more of the blues rock and slide guitar this is for you, if you like more of the traditional blues and slide the first 2cds are for you. if you like or love johnny winter you will be right at home with all 3 cds. buy it and enjoy.eric sardinas plays incredible slide guitar, he is the real deal. ... Read more

Amazon.com's Best of 2000

R.L. Burnside's background is pure Mississippi Delta--he was raised in the hill country and musically trained by quintessential bluesmen like Fred McDowell. But this record, like all his work, is infused with an adventurous spirit, haunted by eerie bits of electronic music and dark, despondent subject matter. The combination sounds irresistibly fresh, and scary as a hellhound on your trail. --Matthew Cooke ... Read more

Reviews (23)

Went to crossroads, returned as funk master...
Well, if you're reading this you know that R.L. Burnside is one bad mutha who can thrash a juke joint like no one else, but did you know he can apparently bump a block party as well? Burnside's latest Fat Possum album amounts to an official bid towards cross-over success. If you heard his last release, Come On In, you can probably guess that the boys at Fat Possum kept the big beats for this one. For better or worse (mostly for the better, fear not), R.l.'s vocals (which are better than ever before) are backed by a murky concoction of smooth beats, funky wah wah guitar, and murky organ swirls. He doesn't play guitar on a single track and Kenny Brown (his white "adopted son") plays only on the classic title track. Nevertheless, I just want everyone to know that underneath all the brooding funk the blues is alive and well. This is the kind of record that Morcheeba wishes they could make but only a cat who's been around for as long as R.L. has could've pulled it off with as much credibility as it has here. I mean the guy's 73 years old! If he chooses to make a record as modern and diverse as this then who's going to stop him? The blues ain't nothin' but dance music, he says. I agree. This record sure ain't the old time religion and the juke joint stomp is a little more slick this time around but that shouldn't matter in the end. This backwards hillbilly, this blues master from the hills of Mississippi, R.L. Burnside has taken a jump so far forward that he often circles back around and passes himself up. He's got mandolins and old acoustic guitars comfortably next to drum loops, samples, and etheral DJ scratches. ...But it's still got the grit of authenticity that clings to the best blues. R.L. sounds confident, his singing is strong, and he's not afraid to boldly expand a musical formula that has laid dormant for one hundred years. The old timers will surely cry foul but this is not mockery. This is a kind of brash, atmospheric blues that makes perfect sense coming when it has.

Burnside Style Saddled With Lame Production
Like Burnside's previous disc, the experimental indie hit "Come On In," "Wish I Was In Heaven Sitting Down" represents a hybrid of Mississippi blues, techno, and white hip-hop. On the new record, though, the techno and hip-hop elements are less pronounced. In fact, the record seems at times an attmpt by the record's producers to appease both those who loved "Come On In" and fans of more orthodox blues stylings who hated it. Ironically, the experiments on the previous album were much more representive of Burnside Style than the mush on the new disc. For one thing, R.L.s real band played(and was sampled from)on "Come On In." For reasons known only to them, the folks at Fat Possum chose to replace R.L's regular cohorts with a crew of studio vets. Burnside's terrific lead guitarist Kenny Brown plays on only one track(the standout title track), and Burnside's guitar isn't heard from at all. While Rick Holmstrom and Smokey Hogg contribute a few tasty licks, they fail-depite their best efforts-to replicate the vicious twin guitar slash and drone style that is Brown and R.L.'s trademark. Also M.I.A. is drummer Cedric Burnside(R.L.s grandson), whose original(though largely unheralded)Dr. Dre-meets-Sam Carr beats are a more potent Hip-Hop/Blues fusion than anything Burnside's producers contribute to the mix of the new record. Some of the stuff on the new record-particularly the sampled vocals that pop up out of nowhere on several tracks-even sounds kind of dorky. On a couple tracks, the producers seem to be trying for an Issac Hayes style R&B Funk feel, but instead create something that belongs on the soundtrack of a 70's porn flick. What redeems this record(and earns for it all three stars given above)is Burnside's vocal performance on the record, which is the strongest of his career. Burnside's singing is more controlled, more subtle, and more powerful than ever before. While quite long in the tooth, R.L. Burnside is just now peaking. He deserves a better showcase for his art than "Wish I Was In Heaven Sitting Down."

Why didn't I find him sooner?
RL Burnside is awesome! When I heard one of his songs on Accuradio.com, a streaming internet radio site and I was hooked. I thought, "I gotta get my hands on that CD!" When I arived home, I couldn't wait to play it. I cranked the volume up loud and had a lil' jam fest! I loved the way he incorporated hip-hop beats with his soulful blues sound! I will definitely be buying more of his albums in the future!

I like it!
I love some of the sound effects that were added to this recording though Fat Possum added 3 bonus tracks done without remixing to try and satisfy everyone no doubt. "Chain of Fools" especially is a must-hear with the rapper effects. On my copy, however, "Black Mattie" (the first bonus track), starts over a minute into the track. Do I have a defective copy or is it supposed to be this way?

A Really "UP" Blues Album (read the review)
Stood absolutely still, riveted to attention when I first heard this CD. Next step was to find the sales clerk so I could buy it!! It is an understatement to say R.L. Burnside sings with emotion, this man KNOWS BLUES, he has LIVEDBLUES, and STILL HAS HOPE ... tinged with an Alabama accent, he sings with a southern drawl, full of the realities of life. The liner booklet says it best (& I quote): "The last genuine performer of raw Mississippi hill country sounds as well as cutting edge crossover artist the blues has had in the past 30 years." Honesty, depth, detail, raw emotions, earthy statements: it's all here & more! Great lyrics, great slide guitar playing,too. "Too Many Ups" one of the tracks, is a play on words: "You gotta look UP to the man ... too many ups, too many ups, too many upside down", "You gotta coer up", "You gotta catch up", "You gotta get paid up", "Too many upside downs". Some other favorites are, the title song, "Wish I was in Heaven Sittin' Down", "Hard Times", and "Chain of Fools".

Let the lyrics of "Nothin' Man" tell his story:
"I never had a chance ... it never was fault MY fault. You can't arrest me. I pay the rent. I never wanted to be a BAAAD person. I wish my mama had loved me. You can't arrest me. It never was MY fault ... I never wanted to be a BAD person." The ambient music contrasts nicely with the words & lyrics, with a shadow of the underside of life - not far off from the truth. This is genuine, visceral music: FAT POSSUM RECORDS have provided us a vehicle to enjoy the music of this living legend of Mississippi blues. They hav