Album Description

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

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

Reviews (1)

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

Amazon.com

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

Reviews (97)

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

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

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

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

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

Respect!

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

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

Amazon.com

The stage of Tennessee jam band festival Bonnaroo is an unlikely setting for the year's most important blues recording, but young firebrands North Mississippi Allstars pulled off a creative coup in June of 2004 with their Hill Country Revue. The concert teamed patriarch R.L. Burnside and his guitarist and rapper sons, the late Othar Turner's fife and drum band, the Black Crowes' Chris Robinson, and eccentric producer-pianist Jim Dickinson, the father of Allstars Luther and Cody Dickinson, with the wiry trio. The historic results handily blend all the racial, geographic, and cultural elements of the genre with adventurous musicality. Burnside is present more for his inspiration than his musical contribution. But his sons carry on the tradition while pushing its borders into hip-hop and six-string psychedelia. If there’s a star here, though, it's guitarist Luther Dickinson, who playfully quotes Duane Allman, Jimi Hendrix, Jimmy Page, and the elder Burnside, and then adds a level of tonal and textural exploration to his performance that makes him a one-man defibrillator for the genre--insurance that the heart of the blues will keep pumping into the future. --Ted Drozdowski ... Read more

Amazon.com essential recording

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

Reviews (28)

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

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

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

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

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

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

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

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

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

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

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

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

Amazon.com essential recording

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

Reviews (27)

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

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

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

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

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

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

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

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

Reviews (13)

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

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

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

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

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

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

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

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

Amazon.com

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

Reviews (14)

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

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

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

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

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

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

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

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

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

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

Amazon.com essential recording

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

Reviews (25)

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

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

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

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

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

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

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

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

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

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

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

Excellent!

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

Album Description

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

Reviews (6)

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

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

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

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

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

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

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

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

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

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

Reviews (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

Album Description

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

Reviews (2)

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

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

Amazon.com

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

Reviews (17)

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

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

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

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

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

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

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

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

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

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

Reviews (7)

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

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

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

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

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

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

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

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

Amazon.com essential recording

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

Reviews (12)

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

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

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

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

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

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

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

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

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

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

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

Reviews (7)

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

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

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

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

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

Amazon.com

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

Reviews (1)

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

Amazon.com essential recording

This visceral live recording from April 1, 1980, was broadcast on radio from the Steamboat 1874 club in Stevie Ray Vaughan's adopted hometown, Austin, Texas. It circulated among collectors, and his manager used some of the tape as a demo before Vaughan was signed to Epic Records by John Hammond. Young Stevie Ray's performance bristles with uncorked energy. Vaughan is caught improvising on raw slide guitar, growling through Otis Rush's "All Your Love (I Miss Loving)," and pushing his fretboard speed and vocal limits on Guitar Slim's "They Call Me Guitar Hurricane." Also offered are unpolished versions of tunes that became fan favorites: "Tin Pan Alley," "Love Struck Baby," and "Tell Me." --Ted Drozdowski ... Read more

Reviews (31)

"Stevie-Rave-On"
This 1980 radio broadcast of the 25-year old Stevie Vaughan (not yet known as Stevie Ray) and his band was only released two years after his death in 1990.
It features Vaughan, drummer Chris Layton and then-bassist Jackie Newhouse tearing through a nine-song set with youthful enthusiasm....three of the songs, including the smoking Elmore James-inspired slide guitar instrumental "Slide Thing", are Stevie Ray Vaughan-originals, the rest are cover versions of classic blues and R&B tunes.

Stevie Ray does a funky rendition of Eddie "Guitar Slim" Jones' "They Call Me Guitar Hurricane", a supremely groovy "All Your Love (I Miss Loving)" (the Otis Rush classic) with some excellent syncopated drumming by Chris Layton, and a very good and very mature take on the slow blues "Tin Pan Alley".

His vocal prowess doesn't quite match that of Elmore James or Howlin' Wolf, obviously, but Stevie Ray still manages to pull off a fine performance of Wolf's "Tell Me", and he and the band swing mightily on Willie Dixon's "Shake For Me", proving (if proof was needed) that Vaughan actually had a powerful and often underrated singing voice.

And you get to hear early versions of his own "Love Struck Baby", the opening track on his debut album three years later, and the wonderful, swinging blues-rocker "I'm Cryin'", which was called "Live Another Day" back in 1980, after the line "(If) I can't love my baby / I can't live another day".

This is a really, really good "live in the studio" album, with only a few SRV originals, but featuring some well-chosen and masterfully executed cover songs. A very worthy addition to Stevie Ray Vaughan's catalogue.

Raw
"In the Beginning" is one of Stevie Vaughan's first recordings from 1980. It was before he used his middle name, and Double Trouble was Chris Layton and Jackie Newhouse who would later be replaced by Tommy Shannon. Stevie's sound is in metamorphosis to what would eventually be heard on the "Texas Flood" album. Here he is raw and full of power, quick and on the verge of moving into stardom. Even in his mid-twenties, Stevie had a presence on the stage, and you can hear his larger than life sound in this early recording.

He opens with the powerful "In the Open", a loud and fast guitar workout. You can hear the ease as he moves around the guitar in the instrumental piece. The notes drip from his fretboard. Moving straight into "Slide Thing" he plays with a slide across the strings in another instrumental track. Definitely a cool piece. A few of his standards appear here for the first time, like "Love Struck Baby" his jump blues which opens "Texas Flood", a tad faster played live. "I'm Crying" closes this album under the title of "Live Another Day". The star of this concert is the heartfelt "Tin Pan Alley", whi