Amazon.com

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

Reviews (12)

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

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

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

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

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

Reviews (1)

Classic Basie swing.
This cd is pretty darn good. At first I was turned off by the decision to include "New York Voices" on the album. I'm not much of a vocal jazz fan, but after a few times listening to the cd, I have really grown to enjoy NYV. The basie band, of course, swings like crazy. They sound wonderful! I had a chance to see the band live the same year this album came out. What a treat to see Grover Mitchell and the gang live. Wow, they were smokin. My favorite track on this disc is "Buggin'". Great trumpet solo. Get this disc if you like the new Basie Orchestra led my Grover Mitchell. ... Read more

Reviews (2)

If you want to buy a Siegal Schwall CD buy this one
I haven't heard any other albums by them, but this one is smoking. You get 7 minutes of blues healing with upbeat harp and guitar jams in "I Don't Want You To Be My Girl," and another 7 minutes in "Hush, Hush," hee hee hee. Not that "Leavin'" should be overlooked because it is only 3 minutes long - that song smokes too. Yep, this is a good CD to help forget some woman. The CD ends with the best version of "Got My Mojo Working" that I have ever heard.

Great album from a great band!
A great live album by a fun and talented band, luckily brought back together and recorded. Jim Schwall and Corky Seigel front a talented and honest band that puts out down home music the way it's supposed to be played. ... Read more

Amazon.com

Because he was a black man with an acoustic guitar, Ted Hawkins often falls into the blues category, but this description ignores prominent elements of his music. A better description comes from writer Peter Guralnick, who called it simply a "rural adaptation of contemporary soul music." In his "rural soul," Hawkins incorporates the direct approach of Delta blues, the resignation of country music, the honest and idiosyncratic lyrics of folk, the hope of gospel, and the rich and tender vocals of soul. On this 1994 live album, Hawkins's urgent guitar strumming and infectious singing captivates and connects with the audience--after all, playing solo in front of a crowd is where Hawkins had the most practice, after years of Venice Beach busking. "All I Have to Offer You Is Me" was a hit for Charley Pride, country music's most celebrated African American performer. Hawkins renders a gripping a cappella version of John Fogerty's "Long as I Can See the Light," and his reading of Webb Pierce's honky-tonk staple "There Stands the Glass" is a perfect example of the emotional investment in whatever he sings. Even a simple testament to love like the original "Groovy Little Things" becomes a moving, spiritual moment. --Marc Greilsamer ... Read more

Reviews (7)

JUST A MAN & HIS GUITAR...AND THAT GREAT VOICE!
This is a great live album by one of the best voices in blues..uh soul...uh r&b...pop. And there's the rub. This was a man you couldn't put a label to. Which is why he remained a starving artist almost until the day he died. Which was way too soon for this great of a live entertainer. Hawkins could make his voice do just about anything. A very versatile singer who could run through a gamut of emotions in just one song. One of the best examples of this is his wonderful acappella version of John Fogerty's "As Long As I See The Light". This song alone is worth the price of admission here. Although he leaves a few of my faves off here, most notably "Happy Hour" and "Who Got My Natural Comb", he still gives us some of his most memorable like "Watch Your Step", "Revenge Of The Scorpio", and "Biloxi". The sound quality on this cd is excellent. It was recorded in 3 different venues. I especially liked the 3 songs he does in the Wisconsin University Auditorium, where you get the echo affect from his larger than life voice. The man could sing. It didn't matter if he was walking the sands of Venice Beach with his guitar, or playing a big room, Ted Hawkins always sounded like he was giving it all. There isn't anything slick or fancy here. Just a man and his guitar. This is a wonderful last hurrah from one of the most soulful singers ever.

I don't usually gush, but this one rates it
This is one of the 3 or 4 best albums of any genre that I've ever heard. If that sounds like hyperbole, I'm sorry, but Ted Hawkins had it all: emotional directness, great taste in covers, perfect pitch, wonderful playing--he had it all in a way very few musicians do. His interpretive efforts are as strong as any by giants like Otis Redding and Patsy Cline. What clinches it for me is his songwriting: besides being emotionally mature and honest, it's incredibly literate and fresh. I mean, "The Good and the Bad" alone has several classic lines; when you hear him sing that "Sugar is noooooo gooood/Once it's cast among the white sands"--wow. His songs stand right up to his covers: when you can write as well as Jesse Winchester and John Fogerty, well that's sayin' something. I've been a fan since 1986 (Happy Hour): this is his best work, although it leaves a few classics off.

I bought a copy for my father
Finding Ted's final album in a store in Boston on my first US trip, I stood for over an hour, headphones clasped to my head, amazed at the warmth and openness of every track.

My wife and I had seen Ted only once, in Southport, England nearly 10 years ago, but we had never forgotten his music.

I hadn't heard the first song he sang in Southport since that night, but when Ted began Missing Mississippi on track 19, the great paddle wheels of the river turned just like they had done all those years before.

Robeson singing 'the folks I used to know'; Belafonte at Carnegie Hall; surely, Ted's sometimes beautiful, and perhaps more importantly, always honest rendition of his own and others' songs, is a life giving event of equal greatness.

After an hour or so, the CD came to an end. I wiped away a small tear and bought 2 copies - one for my wife and one for my father - it was the least I could do. As a child, our home was filled with the sound of Johnny Cash, Charley Pride and Creedence Clearwater Revival - all reborn in Ted's inspired interpretations.

"I'm gonna have a good time tonight!" And he sure did.
The vintage busker from Venice, California, sits himself on a milk crate and with the support of his guitar he belts out a few memorial street ballads. From his very own compositions, he sings of love, jealousy and the whole damn thing. But what makes this man unique is his aging raspy voice that entices you to listen to this wise old man who has plenty to say. In LADDER OF SUCCESS he hands out his advice on how to make it to the top of the hills. "No matter what you know, you got to know somebody who knows somebody to lend you a helping hand,"and that is the key to the entertainment industry. He also manages to leave a lump in your throat when he bellows out those words of passion, "Baby!" in STRANGE CONVERSATION.

Then you find yourself musing over SORRY YOU'RE SICK, "What do you want from the liquor store? Something sour, something sweet? I'll buy you all your belly will hold, you can be sure you won't suffer no more." Ted Hawkins died in 1995 after recording this last album. His career had just kick started and he had places to go. In BIG THINGS, he tells us that he needs to keep on moving on because he has been fooling around for too long and now it's time to write songs with stories to tell that will live on after his death. And yes, they do live on in this classic album.

Should win him in death fans who never heard him in life
Stripped-down, heartfelt music played to an appreciative club audience. Hawkins was a pure entertainer, and his original compositions are the essence of American folk. ... Read more

Reviews (3)

Excellent CD with a minor reservation
Martin Simpson is an amazing guitar player and a fine singer. This CD shows off his talents by capturing a particularly good live show. His passion for his music really comes through.

The only reservation I would have is that the recording seems to have quite a bit of hiss in the background. I didn't notice it the first several times I heard it, but when listening through headphones it's particularly noticable.

A tour de force of finger-style guitar and passionate vocals
It remains a mystery to me how a performer of such powerful and emotional vocal mastery and guitar wizadry can remain in relative obscurity. For those of us who cut our teeth with Neil Young and Bob Dylan, Simpson's synthesis of heart-felt singing and superb guiter work will take us back to a musical age before MTV, when music had to pay its way with depth and emotion. Stylistically, Simpson's guitar and vocal work is most similar to Jorma Kaukonen's, though his vocal range is superior. Simpson throughout his career has penned his share of powerful ballads (on this session represented by the haunting "Dreamtime" and the paeon to peace, "Lilith"), he is at much or more at home as an interpreter of other's work. He has an uncanny ability to ferret out songs of stunning lyrical depth, and to infuse them with passionate vocal interpretation and truly magical, melodic guitar work. This 1994 session finds Martin at his best, with a fine blend of traditional folk songs, powerful intsrumentals (at times it seems hard to believe that all this sound is only one guitar) and originals leaping from the speakers. While there is not a weak moment in the 71 minutes plus of inspired performance, unquestionably the high water mark of the CD is Simpson's rendition of Bob Franke's "Hard Love". This powerful song (unknown to me prior to hearing this recording) shows Simpson at his most passionate best: infusing Franke's deep and powerful lyrics with heart-wrenching emotion, while those lightning fingers lay down a lilting, hauntingly beautiful melodic background. I have re-played this cut over and over since buying the CD. It is infused with the emotion of Bob Dylan's "Simple Twist of Fate" or John Lennon's "Imagine", and the lyrical depth is in the same league. It deserves to be as well-known. Martin Simpson's "Live" is a great introduction to this fine artist. I have to thank a gentleman from Leeds who took the time to introduce me to Simpson's work through his mid-80s album "Sad or High Kickin'" fifteen years ago, and opened up for me yet another musical universe of passionate excellence. As a song writer, I cannot think of another artist I would rather have performing my songs. I cannot recommend Martin Simpson's work highly enough.

Martin Simpson is an amazing guitar player!!
In the days since receiving this CD I've played it again and again. From the opening track to the finish 70 minutes later I find myself asking "how is he making those sounds?" when it is only Simpson and his acoustic guitar - live with no overdubs. His use of alternative tunings and slide guitar make every song interesting. His vocals on songs ranging from the blues to Scottish ayres (sp?) is excellent. In a music world always clammoring for a new "guitar hero" he is truly a master. I highly recommend this disc. ... Read more

Album Description

Fronted by bassman/composer Mike Rivard, Club d’Elf is a revolving supergroup of sorts, with regular guest appearances by a high-flying cast of musicians including on this 2-CD set, Reeves Gabrels (David Bowie, Rolling Stones), Kenwood Dennard (Miles Davis, Sting, Jaco Pastorius), Alain Mallet (Paul Simon), Brahim Fribgane (Peter Gabriel, Morphine), DJ Logic (Project Logic, MMW), Joe Maneri (Paul Bley), and Mat Maneri (Cecil Taylor, William Parker).With more than 146 minutes of music, the new CD, As Above, combines the highlights from a year of performances to create an other-worldly, musical journey. ... Read more

Reviews (2)

Blues Master Without Peer
These discs should go a long way toward solidifying Fred McDowell's reputation as a Delta legend. His playing is fluid, his singing filled with power. I found the second set even better than the first; Fred's chemistry with the audience and the sheer brilliance of his music made for an electric performance. The quality of the recording is superb. Don't miss this one.

Must Have!
Mississippi Fred is among my 5 favorite blues masters of all time. His playing defines blues slide guitar. ''Live at the Gaslight'' finds Fred at the top of his game - it's as if he knew this was going to be his very last recording. He plays his butt off. His singing is intense. This is a great collection of songs. Sound quality is superb - it sounds like Fred is in your living room. This is a great way to relive a show I would give a million dollars to have been at. A double disc full of gems! I would highly recommend this disc... ... Read more

Reviews (1)

Some smokin' jams
Hey, I can't believe there aren't any other reviews out there about this CD. Looks like Merl broke out a magical night from the old vaults. It's got some smokin jams out of Jerry, Merl, and Grisman. Track #3 will throw ya back in a groove. What kills me is they recorded most of the takes live at 3 in the morn. Guess they all had a lil' muse and candy action on that night.Anyhow, you'd be a sucka to let this pick go by. It's a "keeper" for real. ... Read more

Amazon.com

In the decade following Stevie Ray Vaughan’s passing in 1990, hordes of guitarists savaged their instruments in rank emulation of the Texan. These days, have mercy, the vast majority of those firebrands have faded away, leaving the hot blues-rock guitar field largely to slide specialist Dave Hole. Not that this Aussie is some SRV-fixated holdout, mind you. Rather, he was scalding his strings as far back as the '70s, initially getting noticed on this side of the world in the early '90s. On his first concert album ever, Hole proves that his musical intelligence and his emotional honesty are as formidable as his technical skills. "Demolition Man" lives up to its title, as does "Short Fuse Blues." "Take Me to Chicago" is so good it suggests he spent his formative years in the outback studying under some Aussie Elmore James. Hole can chill too, wringing sweet truths out of "Berwick Road." --Frank-John Hadley ... Read more

Reviews (4)

Sizzling, Electrifying, Astounding.
Finally, the live one has hit the racks. As one of the most prolific bluesmen in Australia, Dave Hole has gained a large following with his unique method of playing slide guitar "upside down". Hole effortlessly punches through the 12-bar progression, flying over his fretboard like a hummingbird on amphetamines. The album was recorded over three separate dates in 2002: July 26 at House of Blues Chicago, July 27 at Chord on Blues in St. Charles, and December 17 at The Charles Hotel in Perth, Australia. The transitions from key to key and erratic volume changes provide an accurate glimpse of the onstage furor that Dave Hole Projects through his guitar. The album includes technically perfect covers of Purple Haze by Jimi Hendrix, and Bullfrog Blues by Canned Heat.His band consists of Roy Daniel on Bass, J Mattes & Ric Eastman on Drums, and Bob Patient on Keyboards. Brett Lemke

WOW!
Reckless, gritty, unforgettable.Dave Hole, Australian for Blues.

Great from beginning to end!
I thought Dave Hole and Johnny Winter were the two greatest living electric blues guitarists, but with this album Dave Hole has shown a range that leaves Winter behind and places him beside the late Roy Buchanan on the pinnacle. The playing here is simply incredible and you have to hear it to believe it. We've heard all these songs before on his six previous albums, but some of the performances here transcend those. So if you want to hear the real thing, electric blues far eclipsing that of the overrated Stevie Ray Vaughan, grab The Live One right away and hold on to your hat!

Pure Explosion!
Dave Hole is a hard rockin' blues man from Australia.If you haven't heard Hole yet, be prepared for no holds barred grating slide guitar not unlike that played by Eric Sardinas.No subtleties here, just chalkboard grating, hair raising, nerve crunchingslide guitar. Hole slows down slightly for his cover of "How Long?" and "Berwick Road" but that's about it.The rest is all pedal to the metal.The cover's of Hendrix' "Purple Haze" and the 12 minute "Bullfrog Blues", done best by Rory Gallagher with his band Taste, are interesting at best.If you like to "rawk", this is your CD. ... Read more

Reviews (2)

An overlooked classic?
This live album captures a pair of legends at their best. Sonny and Terry fueded through their long careers but perhaps those very emotions fueled their amazing energy on these tracks. If you in any sense consider yourself a fan of the blues, you *must* own this album.

Best line:
(Tie)
"Have to take your Christmas in your overalls"
"Rocks was my mother and father's pillows"
"Hooray, Hooray, this woman is killing me"

Best guitar:
"I Feel Alright Now"

Best Harmonica:
"Born To Live The Blues"

Best Sonny "Whoop":
All of them ;)

Tune That Is Impossible Not To Get Stuck In Your Head:
"Keep On Walking"
(Well, actually just about every track)

Curious factoids for the Brownie McGhee fan -- Brownie in his later years had a bit of an acting career. Brownie played Toots Sweet in Angel Heart and appeared and played some wonderful guitar on an otherwise truly dreadful episode of Family Ties.

Buy This Album!
Without a doubt the finest blues recording of its genre. After hearing the 2nd track, "Born To Live The Blues", I took my harmonica player aside, left the rest of our band and started to pursue acoustic blues exclusively. Sonny and Brownie's combination of musicianship and emotion is evident in every tune, but never distracts you from the joy of listening. Be careful, this album is highly addictive! ... Read more

Reviews (6)

Good live Muddy from Chess
Chess records only recorded Howlin' Wolf live a single time, and late in his career at that, and the label's other main attractions never got a live album. But Muddy Waters was luckier, and this 1971 album was the third full-length concert recording of his career.

Cut in the summer of 1971 at Mr. Kelly's, a Chicago club on the Near North Side, "Muddy Waters Live (at Mr. Kelly's)" finds Muddy in fine form, working with his excellent early-70s band which included Joe "Pinetop" Perkins (piano), drummer Willie "Big Eyes" Smith, bassist Calvin "Fuzz" Jones, and guitarists Samuel Lawhorn and James "Pee Wee" Madison. The masterful James Cotton blows the harp on three songs, but on the remaining nine songs it is 21-year-old Paul Oscher playing the fine, muscular harmonica parts.

The album opens with a slightly lackluster "Country Boy"-knockoff called "What Is That She Got" and a rendition of Jimmy Reed's "You Don't Have To Go" (which doesn't sound _quite_ right without Reed's drawling vocals). But it gets better: the slow blues "Strange Woman" is a bit monotonous, but then comes a swinging "Blow Wind Blow" with some great playing by Pinetop Perkins and Paul Oscher, a good "Country Boy" (the real one!), the excellent instrumental "Mudcat", and a gritty "She's Nineteen Years Old". Also, this version of "Stormy Monday Blues" is significantly better than the one on "Muddy 'Mississippi' Waters Live" and the Just A Memory label's live Muddy-album "Hoochie Coochie Man".

Still, this album doesn't quite match the power and boldness of some of Muddy's other live albums...the band is excellent, and the performance is confident and professional, but the track list is weaker than on most other live albums, and Muddy lacks a little bit of fire as well. And better versions of songs like "Nine Below Zero" and "Long Distance Call" can easily be found (check out albums like "Muddy Waters At Newport", "Mojo: The Live Collection", "Chicago 1979", "Muddy 'Missippi' Waters Live" and "The Lost Tapes").
Still, this is not a bad album by any stretch of the imagination, and certainly worth a listen. It is the only live Muddy album to feature Paul Oscher (who is a great harpist, even though he mostly plays the guitar these days), and these renditions of "Mudcat", "C.C. Woman", "Blow Wind Blow", T-Bone Walker's "Stormy Monday Blues", and John Lee Hooker's "Boom Boom" deserve to be heard.

BLUESCAT
5 STARS IS NOT ENOUGH FOR THIS CD. EXCELLENT ;EXCELLENT MUDDY AND PINETOP;JAMES COTTON AND PAUL OSCHER AND I'M NOT FOR SURE BIG EYED WILLIE SMITH ON DRUMS.SEARCH FOR THIS LIKE LOST TREACHER;IF FOUND YOU WILL BE HAPPY!

"Live blues at equal to Newport."
I have been a big fan of the "Live at Newport" cd. This is later period Muddy, but just as intense. Anyone who likes classic blues played live, this is the cd to get.

A great night for the blues
I bought this album on vinyl when it first came out and still listen to it very regularly. In addition to Muddy's great vocals and some nifty guitar playing by Sammy Lawhorn, the harp playing of Paul Oscher is simply amazing. Paul toured a lot with Muddy's band in those days and had a big, nasty, rough tone that really pushed the sound of the Waters band. He never got the kind of notice, I believe, that some of Muddy's other harpists received, but he was a good one. This album smokes and Oscher's the one who lights things up,

Guitar and Harmonica at its finest
Not only does Muddy Waters prove that he is the master of the blues but there is an added bonus of being able to hear James Cotton blow some of the sweetest harp on record. The whole band seems to gel just right to create the ultimate blues/lounge experience. If I was stranded on a desert island, this is the only album I would need. ... Read more

Reviews (1)

just taste it
In my opinoin this is really a wonderfull job, he used to play harmonica amazingly, whit much taste and a lot of technique. There is a kind of complicity between guitar and harmonica that i rarely identified in someone else. the only pity is the quality of registration that surely is not the best ... Read more

Amazon.com

Few blues partnerships were ever as successful and satisfying as the union of Sonny Terry's down-home harmonica work and Brownie McGhee's polished guitar lines. This generous, 18-tune live session catches the late acoustic blues brothers in their physical prime and at their musical best, rolling through an energetic set of conversational blues with casual virtuosity and seemingly telepathic interplay. Terry, a stone-cold traditionalist, contributes a raw-boned, backwoods feel with his heavily textured singing and harp solos while the modern McGhee's smooth vocals and clean picking provide a perfectly compatible counterpoint and complement. Either artist could carry the show by himself, but when the divergent styles musically intertwine they create a wonderful blues synthesis unlike any other the blues has known. The dynamic duo jumps right in with a reconfigured rendition of "Sittin' on Top of the World" and doesn't let up until the end. With Terry whooping and hollering between harp breaks and McGhee opening songs with comic asides the session is an unusually personable one. It's all undeniably authentic and eminently enjoyable, as well as positive blues proof that on very rare and fortunate occasions the whole is much greater than just the sum of the two parts. --Michael Point ... Read more

Reviews (3)

One of the best Terry/McGhee-albums
A valuable companion to the classic "Sugar Hill" album, this is a great buy for those who treasure Sonny Terry and Brownie McGhee's brand of no-nonsense porch-style get-down blues.

The duo performs old warhorses like "One Bourbon, One Scotch, One Beer", "Key To The Highway", and "Careless Love", and they change "Sittin' On Top Of The World" to "Climbin' On Top Of The Hill, which doesn't make it anymore interesting, but even though the material is not always particularly original, the performances are sincere and spirited, and this CD includes great renditions of two of the duo's very best songs, "Walk On" and the classic "I'm A Stranger Here".

The clarity of the recording and the singing is pure as the driven snow, with no distortion or compression, and while "Backwater Blues" doesn't quite match "Sonny Terry & Brownie McGhee At Sugar Hill" or the great, raw "Live At The Penelope Café" album, it has more than enough highlights to make it worth your while.

Sonny Terry & Brownie McGhee/Backwater Blues
This Backwater Blues CD is excellent. Not a bad song on it. These two were truly masters of this style of Blues. My favorite song on this CD is Louise, but I feel this is truly one of the best examples of their work.

From a man who loves the blues:
Friends, you cannot find old-school blues better than Backwater Blues. Sonny & Brownie's strained partnership has produced many excellent recordings, of which I believe this is the best. This album is the way the blues were meant to be played: just the simple, old-style tunes; just two men, two microphones, a guitar, and a harmonica. No fancy electronics, no prettyboy singers, just ol' Backwater Blues. If that's the way you like your blues, then get this album, sit back on a hot summer day, and play it all the way through! ... Read more

Reviews (3)

...they done did somethin real nice here...
the blues is beatiful...

etta and eddie got that smokey, silky, low-lush soul flowin with this...
i've been lissenin to vol. one forever!!! and i could never find this one, but i lucked up into it one day a couple months ago and found it in the basement of some back-alley, burnt-down record shop and ever since then, i keep it with me wherever i go...
this is "instant blues" - jus add bourbon and heartache and you got yourself an event!

Never Better than LIve
It's never better than live and this 1986 recording and its companion finds blues legends Etta James and Eddy "Cleanhead" Vinson at the top of their game at an L.A. blues club. Etta sounds great but don't loose sight of the band, Shugie Otis and Red Holloway, et al. create a groove and Vinson's alto brings it all home. A performance for all time. Not to be missed. Sound quality is excellent.

Late Show/ Volume 2 (Etta James and Eddie "Cleanhead"Vinson)
This is the best album Etta James has ever recorded. I should know....I own all of hers.....and Cleanhead is at his best. I'd Rather Be A Blind Girl is so raw and uncut and so Etta. I never get tired of listening to this entire CD. I recommend it highly. ... Read more

Reviews (2)

High energy blues with a cool vibe
Ok, so you've just about worn out all your Stevie Ray Vaughn, John Lee Hooker and Muddy Waters CDs....and dang....these guys just aren't coming out with any new blues music anymore. Well, check out this guy Tommy Castro. He's very high energy with outstanding blues guitar and vocal talent and a he's got a blow monkey in the band for bonus points. It all works well together for form a smokin blues vibe.

This is BLUES, not rock!
This guy is one awesome blues guitarist. He is incredibly powerful in his delivery and the guy on Sax in his band has a couple of fantastic covers. He has a wide range of styles but power and soul leap out of his songs and delivery. This is a definite must for Electric Blues or Modern Blues lovers everywhere -- Trust me, you can't go wrong. Just listen to "Exception to the Rule" -- it rocks! ... Read more

Reviews (3)

On Stage Tonight- Baldry's out!
Well Mr. Baldry is selling CD's isn't he. This one has got some really hot licks and vocals. Unfortunatly, it doesn't have the studio version of "Don't try to lay no Boogie Woogie on the King of Rock and Roll". That was the reason I bought the CD. After all, that is the only song some of us old rockers ever heard from Mr Baldry. I still haven't found the studio version. I guess it's toss up. Mr Baldry could sell a lot of CD's with The studio version, or he can promote his new stuff with the tickle on the song list. This CD wasn't quit worth the Bucks, but has some pretty good rifs.

Impersonate Long John and you got a carreer ahead of you
Not knowing much about Long John Baldry, I took a chance when buying this CD. Here's my tip: make sure you've heard a lot of blues (not just the famous classics) before buying a blues CD. Like so many other Blues favorites Baldry's best songs seem so much un-like his other tunes. They are up-beat and have great sing-along lyrics. However, most of the other stuff on BALDRY'S OUT is repetitive, somewhat off-key, and not catchy at all. It's hard to believe since Baldry's voice is so damn powerful and soul-touching. Maybe that's because most of the songs on the album do what the blues do: utilize lots of instruments and use up a lot of time trying lots of things with them. And that's just not what this non-blues fanatic craves. On the up-side Baldry strikes a cord with "It Ain't Easy," and "Midnight in New Orleans," two amazing hits that make great use of lyrics, backround vocals, and, of course, Baldry's voice. For instance there are the lines- "It Ain't Easy to go ahead when.. you're.. going down!!!", and " Driving down Highway 61, thinking Brother Johnson you are the one..." Overall, these two songs, along with parts of "Stormy Monday Blues," and the infamous 9+ minute "Don't Try To Lay No Boogie Woogie On The King of Rock And Roll" make this CD worthwile. And you gotta love that voice...even when singing German to the Hamburg audience.

Baldry Only Gets Better and Better
I have listened to Long John Baldry since I was in high school. Begining with the first time I heard "Don't Lay No Boogie Woogie on the King of Rock and Roll" I was hooked.

Those who have heard, and who hasn't, Eric Clapton and Elton John, have already heard Long John Baldry without their knowing it. The influence which Long John Baldry has had on their music comes out clearly in the riffs and the words.

Long John's music shows the influence of some of the greatest blues players that have been around. The vocals are fantastic. The blend of the songs on this album will take you all over blues territory along with a little jazz.

If you want to go off into blues heaven then I highly recommend this album. ... Read more

Reviews (3)

Albert King's Only Stadium Rock Concert
Well Albert Nelson King stands as one of the most innovative Blues players ever. He was great at Talking Blues (hear him at the beginning of this CD!) and took the Blues Bend to new levels. This set recorded at the famous Wattstax Concert features extended sets from two of his previously released concerts: Wattstax (a 2-CD set only sporadically available) and at Montreaux, at which "Stormy Monday" had been previously released on a now out of print Stax LP with Little Milton and Chico Hamilton.

This CD is a great introduction to King's live style and the differences in his tone and dynamics. I personally love his Wattstax set the best. He never sounded like this before. He has an unknown backing band which I curiously think includes Micheal Toles and Willie "Too Tall" Hall (who played in the Blue Brothers Band) from his last period at Stax Records. He has no horns but still has a fat sound.

The set is great with "Matchbox" showcasing his great Talking Blues abilities "I'm here to hold up the Blues end!". The highlight of this for me is the old King Reords tune "Got to Be Some Changes Made". This is worth the price of the whole CD. It is perhaps the best live track Albert ever did! This blows away even Hendrix on "Red House". The other great track here is "Angel Of Mercy" which features the whole tune (it was editied in the original Wattstax release!). Most people wouldn't realize that this is the only time a Blues artist played at a stadium (L.A. Col.), well, B.B. played in Zaire at the Ali-Foreman fight!! This was in the US. King also once played with the Memphis Symphony too!

The second part of this CD contains the REST of the Montreaux set released as "Blues At Sunrise". It also has the whole version of Stormy Monday which was partly perviously released. A highlight of this set is his version of "Breaking Up Somebody's Home". Great playing! This was a great band with a horn section and Don Kinsey on the second guitar "that's my grandson!!!" He said that also of Little Jimmy King when I saw him in Australia in 1990.

This is a must have live blues CD. Get it with "Live Wire, Blues Power", "Blues At Sunrise" and "Albert Live". All of these performances have different tone, dynamics, phrasing and soul. A great overview of the adaptability and range of wonderful Blues Music.

Yet another one!
There are numerous live albums out there by the late, great Albert King, including the classic "Live Wire/Blues Power" and the recently restored "Blues From The Road".
This one gathers tracks from two different performances, including two versions of "Match Box Blues".

The sound is not stellar, considering that the tapes have been remastered, but it is good enough, and Albert King is consistently good almost all the way through (although his take on Howlin' Wolf's "Killing Floor" pales next to the mighty Wolf's own original). "I'll Play The Blues For You", "Match Box Blues", and "Got To Be Some Changes Made" are among the highlights.

This is not a truly necessary addition to your Albert King-collection, but it's got its charms. Serious fans will want this one in their collection.
3½ stars.

An excellent live Albert King CD
A fantastic live recording of Albert King at a classic time in his caree ... Read more

Amazon.com

Louisiana-born Lonnie Brooks is an underrated blues great, capable of dishing out swamp-rock, bittersweet melodies, and fire- breathing rave-ups. The pyrotechnics won out in this 1987 live performance, recorded at B.L.U.E.S. Etcetera on his adopted home turf, Chicago. Brooks's "Two-Headed Man" and his take on Freddie King's "Hideaway"--which bookend the CD--find him plying slick, screaming string-bends and gutsy vocals that mix back-road gravel with down-home charm. It's the latter that makes numbers like "Got Me By the Tail" and "Eyeballin'" such colorful, appealing stories. They reveal Lonnie's still-vital country roots. At times the band plays with the velocity--and ferocity--of a guided missile. But Brooks is always at the controls. --Ted Drozdowski ... Read more

Reviews (1)

Happy Louisiana Blues!
One of the most happy blues albums,this one recorded at a Chicagoan Club,reveals all of the magic of Lonnie's gutural voice and his really fast way to play guitar.The best sets are "One More Shot" and the sensational version of "Hideaway",plus the emotional"In the Dark"! You will really buy this one,and of course..... ....never will be the same! ... Read more