Reviews (12)

Great, sorry, fantastic guitar playing!
The first time I heard Texas Flood, I was struck by the sheer energy that flowed from the album. I had never heard a guitar played like that before, and proberly never will. Even If the lyrics wont impress a literary critic, the quality of guitar playing makes this album part of my all time top ten.

SRV on SACD?
Plenty of people have written reviews of this album. All I wish to comment on is the quality of the SACD transfer.

I compared the SACD to the original (not the re-mastered) CD of this album, which has been in my collection for many, many years. I had both queued up in two separate players: a Sony DVP-S9000ES for the CD and a Sony SCD-E555ES for the SACD. I used the DACs in the players and used an "analog direct" setup to ensure that no further signal processing occurred. Levels were matched closely enough that we couldn't identify a difference.

With most of the program material we couldn't tell the difference between the two disks. The only difference I noticed with any regularity was a slightly increased sharpness of high transient sounds such as rimshots and cymbals. If there was any difference in guitar, vocals, bass, ambience or spaciousness, we couldn't hear it.

There are other albums that I own both a CD and SACD of where I can identify significant differences. In fact, with the multi-channel SACDs that I've listened to, the sound quality is magnificent. This disk just isn't one of them.

That said, this is one of my all-time favorite albums. This is my third copy (LP, CD and SACD) and even after almost twenty years it gets played frequently. I certainly recommend the album, but I'm not sure it is worth getting in SACD.

SACD is excellent, much better than the CD
I respectfully disagree with A Music Fan from Ellensburg, WA USA - listening both on a friend's Marantz player, and my Esoteric transport / DAC combination, there are distinct differences between the CD release and the SACD on both systems. The SACD provides a delicious sense of depth and dynamics, and 'air' on the live tracks, that is lacking on the Redbook release. In addition, the shimmer of cymbals and the attack and release of SRVs guitar work (whether during ferocious or quiet work) is much more detailed and distinct on the SACD - the leading and trailing edges of notes are much easier to discern and follow.

In any case, you can't go wrong with this disc. Highest recommendation!

Come back SRV
There is nothing new left to say about SRV. This album shows off the best of SRV. Most albums have tracks which show his talent and tracks which you classify with 'you could have done better'. This album has no such deficiency.

The Texas Heart Live On
I think this is the better SRV album ever. A great blues/vintage sound with a lot of funny songs. LOVE STRUCK BABY: it's a Chuck Berry-style song, pure Rock 'n' Roll. PRIDE & JOY: pure texas shuffle, funny! TEXAS FLOOD: it's one of the SRV most famous songs, five minute of strong blues, deep and sad. TELL ME: a classic boogie song. TESTIFY: a powerful instrumental! RUDE MOOD: yeah! This is a Wonderful instrumental, great playing with a strong texas shuffle! MARY HAD A LITTLE LAMB: a Buddy Guy tune, again shuffle and again fun. DIRTY POOL: a sad blues, with a clear (stratocaster) sound, it's a "from the heart" tune. I'M CRYIN': similar to Pride And Joy with more ringin' sound. LENNY: do you like jazz? Do you like blues? Do you like Hendrix? Yeah? So you love this wonderful instrumental! The bonus tracks include the live version of Testify and Mary Had A Little Lamb (a lot of energy more), with two others songs. TIN PAN ALLEY: great studio version, a blues stuff similar to Dirty Pool (this track fade out at 7:31). WHAM!: The title is the truth, an aggresive Lonnie Mack song, played live!

This is all... This remastered CD is a MUST HAVE for the Stevie's fan but also for all the blues lover, BUY IT! ... Read more

Reviews (10)

If you love blues or rock, get this album!
Putting an older artist together with younger blood is mostly a gimmick in the record business. The older artist gets an introduction to a new audience, the younger ones get a little reflected glory. But in this case, it is no gimmick, just a lot of terrific musicians who obviously love and respect each other and play beautifully together. John Lee Hooker had one of the most gorgeous, hypnotic voices of all blues singer, and unlike most singers, he did not lose a thing with age. I find his voice one of the most soothing things in the world to listen to (The Healer is a perfect title, HookerÕs voice could heal anything.) And the guest artists on here are incredible. Carlos Santana. Bonnie Raitt. Robert Cray. Los Lobos. George Thorogood. Charlie Musselwhite. In each case, playing with Hooker brings out the best in them. I am not a big Bonnie Raitt fan (I love her early stuff, but not her more recent pop albums), but her duet with Hooker on IÕm In The Mood is just about the bluesiest and deepest I have ever heard her sing. Los Lobos and George Thorogood are as tough as ever. And the Latin tinge that Santana lends to the title song is just gorgeous.
This is a must have album for anyone who loves blues or classic rock.

The historical
Basically from the mid-1970's to the introduction of this fine record, the Blues "died a death"---DISCO was KING, at least up to about 1979--then punk took over.
Great Blues artists were literally scraping an existence...some even had to compromise by doing "funky disco" type nonsense!
(e.g. Johnny "guitar" Watson, Albert King etc...) Most young black artists considered the Blues as being "taboo" ...something that reminded them of nasty, mournful things--blues guitar solos, that tended to go on for half an hour, back in the late 60s/early 70's( Allman bros, Mountain, Ten Years After..etc) were a thing of the past------- Then suddenly, like a phoenix rising fom the ashes, John Lee Hooker went back into a studio and cut THE album that was to pave the way back--opening the door for Robert Cray and Joe Louis Walker..and lots of completely disregarded, talented artists.
I remember the very first time the title track was played on British radio (the very week it came out).
G.L.R Radio sandwiched "The Healer" in between a U2 and Eurythmics track.
The atmospheric intro and Carlos Santana's screaming guitar (which had long been regretably silent)literally stopped everything dead in the radio station.
They didn't know how to follow it!! How can you follow a track like "The Healer"...something so darkly mysterious, earthy, ominous and mystical.
It was done in ONE TAKE...NO REHEARSALS!! Infact Carlos Santana did reveal that this title song commenced well before the studio equipment had even a chance to be set up!! It was completely spontaneous---absolutely unique!
I just wish they would re-release the ABSOLUTELY INCREDIBLE promotional video that went with this track--just Santana coaxing and bending the most expressive notes and J.L. Hooker looking spine-chillingly cool and evil against a smoky black and white tableau.
It made your hair stand on end!!!

A Different Side of Hooker
If you are a fan of the blues and want to add something unique to your collection, this is a good buy. Even if you are not a big fan of John Lee Hooker, you might find that most of the songs on this album are a refreshing "break" away from his traditional music. The album includes guest artists, such as Robert Cray, Charles Musselwhite, George Thorogood, Roy Rogers, Los Lobos, and Canned Heat. My personal favorites are the first two songs on the album, "The Healer" with Santana and "I'm in the Mood" with Bonnie Raitt. I gave it four stars because it did include three songs (not Hooker's best!) that were just John Lee, one of which is a one-chord song. I was told by local record store managers that this album was out of print for awhile, so if you want it, now's the time!

Hooker Rules
If you want pure John Lee Hooker, he has a ton of material. What makes this cd special is the collaborations with an array of top notch musicians. Over coffee and the Sunday paper works best.

John Lee Hooker The Master of the Blues
It"s been well over ten years since this cd was recorded. It is still is one of my favorites.The first track the Healer with Carlos Santana still sends chills up my spine. The rest is filled with great old Hooker tunes. ... Read more

Reviews (3)

Fine, but not as good as their first
This is a reprise of the wonderfully successful first album these two did together. It is worth having not only for their obvious enjoyment working together, but for the terrific job in "Let The Good Times Roll".

Otherwise, this is not as good as the first effort, which I thought had much more wide range of songs. Make that your first purchase of these two.

A party!
BB and Bobby throw a great party here, beginning with Let the Good Times Roll. The beauty of this record, as with "BB and Bobby -- Together for the First Time Live" is the spontaneity of the live recording. Bobby tries to persuade BB to play some requests, a fan gets up on stage -- the fun of this record could never happen in the studio.

A very good value
I enjoyed all but two of the tracks on the original cassette I bought some time ago. An excellent version of both "Let the good times roll" and "The thrill is gone". ... Read more

Album Description

Full title - Martin Scorsese Presents The Blues. From thePBS series produced by filmmaker Martin Scorsese, thisrelease features 16 tracks including 6 live versions andthe previously unreleased 'Leave My Girl Alone'. Sony.2003. ... Read more

Reviews (6)

SRV
I haven't had much exposure to Stevie up until I got this CD for my birthday last November. I didn't even like the blues that much. In fact, from hearing only Texas Floods and The Sky Is Crying, I thought he was black. That's how little I knew about this man. I was almost three when he died, and had missed the SRV craze.
But WOW. Stevie Ray Vaughan is now my idle, thanks to this CD, and I plan on majoring in music theory or composition, then heading south to play the blues. This CD changed my life by exposing me to SRV and a whole new style of music.

MARTIN SCORSESE THE BLUES
Martin Scorsese The Blues: Stevie Ray Vaughan is a great way to start your SRV collection. This CD spans SRV's whole career including some of my favorites Pride And Joy, Texas Flood, Come On Pt.3, and Leave My Girl Alone. You can save alot of money and buy this on amazon for $10.99. I enjoyed this CD alot its a great complination of all SRV's greatest recordings of all time. So enjoy!

It's Still SRV, but not enough new material
Everything you can find on this CD somewhere else, except Mary Had A Little Lamb(which I haven't heard yet). Get the El Mocambo DVD, that is the best SRV live!!! This is good music becuase its SRV, but why distribute another CD with the same music. Its not like SRV has many albums. You can buy 5 or 6 albums and you have the whole SRV collection. Don't waste you're time with this CD if you have the original recordings or are familiar with his live material. Go get the El Mocambo DVD, it will blow you're mind.

4 1/2 stars.....a very good single-disc compilation
Not as thorough as "The Essential Stevie Ray Vaughan", but much better than the flawed "Greatest Hits" CD, this installment in the "Martin Scorsese Presents The Blues"-series focuses on Stevie Ray Vaughan the bluesman rather than Stevie Ray Vaughan the blues-rocker.

Almost all of these songs are blues tunes, and since this is called "Martin Scorsese Presents The Blues", that's how it should be.
It features Stevie Ray's (generally excellent) covers of classic 50s and 60s blues tune like Hound Dog Taylor's "Give Me Back My Wig", Otis Rush's "All Your Love (I Miss Loving)", Buddy Guy's "Leave My Girl Alone", and Elmore James' legendary slow burner "The Sky is Crying".
But it's not all covers; several songs are SRV originals, and almost every one of them ranks among Stevie Ray Vaughan's best self-penned material: The slow blues "Texas Flood", "Dirty Pool" and "Ain't Gone 'N' Give Up On Love" are here, as is the swaggering boogie of "Pride and Joy", and the fiery, up-tempo "Empty Arms". I would have liked to see "I'm Cryin'" inluded as well, but that's certainly a minor complaint, and we get a cover of Hank Ballard's "Look At Little Sister", a rare "Hug You, Squeeze You", and the smouldering instrumental "Slide Thing" instead.

This is a very, very fine and varied look at Stevie Ray Vaughan at his bluesiest. It doesn't match "The Essential Stevie Ray Vaughan" as far as career overviews go, but it blows "Greatest Hits" out of the water.

"Obscure Stevie Ray Vaughan Tracks & Some Hits"
This is basically a collection of tracks covering Stevie Ray Vaughan's entire career during the 1980's. Starting off with some live tracks from 1980, and ending with a track from his last studio album "In Step (1989)." Some big hits are also featured, including "Pride & Joy", "Texas Flood", "Ain't Gone 'n' Give Up on Love (live)", "Mary Had a Little Lamb (live)", and "The Sky is Crying (live)." For a mere $10, this CD offers lot's of great songs, but most if not all of them have been previously released on SRV's other albums that followed his tragic death in 1990. I still think that "Voodoo Chile" & "Life Without You" should have been on this collection instead of "Give Me Back My Wig" & "Empty Arms." I strongly suggest the Greatest Hits albums released a few years before this, as well as last year's "Essential Collection." ... Read more

Reviews (3)

Millennium Blues Party brings the party to life
Whether you are a seasoned veteran or a new blues lover, this CD brings your listening pleasure to new peaks. This collection of nearly 80 minutes of blues tunes effectively brings together some of today's stars (Clapton, Cray) with past blues legends (Waters, Hooker).

If you're looking for some mood background music or some tunes to be a hit of the party...you need not look any further because Millennium Blues Party is your answer. Fact is...I'm not sure you can find a better mix of blues artists elsewhere!

MILLENNIUM BLUES
A GOOD VARIETY OF SOME OF THE BEST BLUES ON 1 CD DON'T PASS THIS ONE UP IT'S JUST AWSOME!! HI MOM.

The Best Of The Rhino Millennium Series
This series of CDs is not as bad as it sounds. This particular CD makes a fine introduction to the blues and is probably the finest of the group. It contains cuts from the best blues artists such as Muddy Waters, BB, and Albert King and also mixes in more recent artists such as Kenny Wayne Shepherd, Stevie Ray, and George Thorogood. As they said in the Blues Brothers, I suggest that you buy as many blues records as you can. This CD will certainly whet your appetite for more blues. ... Read more

Amazon.com

There are a few musicians more deserving of a tribute than the late Junior Kimbrough. There may be bluesmen of greater fame, but the Mississippi native was among the best. Kimbrough's earthy, groove-heavy approach was somewhat akin to that of John Lee Hooker. Not one of the rock artists on this compilation sounds exactly like him, but all capture different aspects of his artistry. Iggy and the Stooges, who toured with Kimbrough, capture his raw sexuality (two versions of "You Better Run"), while Jon Spencer ("Meet Me in the City") and Mark Lanegan ("All Night Long") capture the subtlety of his singing. The strongest track comes from the Black Keys ("My Mind is Ramblin'"), who capture his grungey guitar sound (they've been covering him for years). The other artists are just as successful, even the Fiery Furnaces ("I'm Leaving"), who sound the least like Kimbrough, but capture his indomitable spirit. --Kathleen C. Fennessy ... Read more

Reviews (3)

A real tribute; not an excuse to get musicians more exposure
Not to fear! "Sunday Nights" is tribute album that belies one's fear of tribute albums. It does justice to the songs by not equating "pay homage to" with "handle gingerly".

Find new heartfelt versions of Kimbrough tunes that click, in a tasty variety of styles, from Iggy & the Stooges (Tracks 1 & 16), Spiritualized (Track 2), Blues Explosion (Track 3), Heartless Bastards (Track 4), The Black Keys (Track 5), The Fiery Furnaces (Track 6), Pete Yorn (Track 7), Cat Power & Entrance (Track 8), Mark Lanegan (Track 9), Thee Shams (Track 10), Jim White (Track 11), Outrageous Cherry (Track 12), Whitey Kirst (Track 13), Jack Oblivion (Track 14) & The Ponys (Track 15). (Doncha hate it when 'they' only include some of the artists in the tracks list on an album's webpage?)

My favorite tracks are those by Pete Yorn (Who knew he had it in him?), Jim White (Confirms he had it in him), and Spiritualized (Now I know where it came from in him).

Sunday Nights=amazing tribute album!
Junior Kimbrough, who passed away in Mississippi in 1998 at the age of 67, only made six original albums during his life.

He played a weird, droning style of blues that was unlike anything anyone had ever heard before. It was as if the Mississippi Delta blues had taken a journey in time and came out looking backwards at mankind's proto-rhythmic past and forwards to his interstellar future at the same time.

In any event, the artists on "Sunday Nights - The Songs of Junior Kimbrough" are likely better known to most people than Kimbrough is himself. But that's not their fault. Every track on this collection is great (they had awesome source material). Some of the standout tracks are "My Mind is Ramblin'" by The Black Keys, "I'm Leaving" by The Fiery Furnaces, and "All Night Long" by Mark Lanegan.

Iggy and the Stooges, Spiritualized, Blues Explosion, and Pete Yorn also aquite themselves quite well on the album. As a matter of fact, this is the best covers album I've heard since the Roky Erikson tribute album "Where the Pyramid Meets the Eye" in 1991.

I recommend this album wholeheartedly to anyone who enjoys blues, any of the artists mentioned about, or great music in general. Hopefully, if you dig this, you will check out the original albums from the man himself....

Sunday Nights: The Songs of Junior Kimbrough by kevchino.com
I feel there are several things I should confess to before I begin my review. First off, I remember exactly where I was and what I was doing when I found out that Junior Kimbrough had just died, and second the girl I've been seeing, just left me for her old time use-to-be. So I apologize if this one gets a bit personal, but he will always be one of the most under-appreciated musicians of all time...and she's nothing more than a kind hearted girl, who don't mean me no good.

"Sunday Nights: The Songs of Junior Kimbrough" released by Fat Possum Records is an interesting tribute album for several reasons. First off, most people are much more likely to have heard of the artists performing on this album than the man who wrote the songs himself, and most of these artist's work typically reside far away from the blues section of your local record store. The latter makes for some interesting interpretations but as a whole the former doesn't really introduce the music of Junior Kimbrough as it so rightfully deserves (but I suppose most things don't work out and we don't all get what we deserve anyways).

Kimbrough's music, for being traditional blues was always very unique. There was something about the way the man plucked his strings and strained his voice that was, for lack of a better word, pure. What he produced was always so raw and unfiltered, that it was simply perfect. You would never have mistaken him for anybody else and aside from the fact that it was an electric guitar, his music could have been written and recorded in the 30s and would have fit right in next to Big Bill Broonzy, Mississippi John Hurt and the like. There was a whole culture to his style that had slowly disappeared in the modern world of. Yet somehow every Sunday night with all his furniture pulled out onto the front lawn "Juniors Juke Joint" could have applied for some sort of historical landmark or a Ken Burns documentary, had a fire not taken it from us first. This culture or vibe or whatever you want to call it is exactly what's missing from "Sunday Nights". I can't help but feel that anybody who likes any of the bands who've contributed would be better off simply buying one of Junior's albums instead. The liner notes on "Sunday Nights" actually state that if you buy "You Better Run: The Essential Junior Kimbrough" and don't like it, they will refund your money (use it for a shrink or a soul quest of some kind.)

Despite this rather large problem there are a few gems (appropriately unpolished) on "Sunday Nights" that escape this and deserve some recognition. The Black Keys come very close to the low-fi grit of Kimbrough's style with their cover of "My Mind is Rambling". The melody is cleaned up and stands out more, but the soul remains intact. There's also two different versions of "You Better Run" by Iggy and the Stooges (one of the only bands Junior ever toured with) and both have some of that unrefined quality to them. Pete Yorn also contributes an interesting rendition of "I Feel Good Again" that seems to find it's own niche, but again not at all indicative of its namesake. Many of the tracks are not without their charm, so if by chance you are already familiar with Junior Kimbrough and unfamiliar with these bands, you're likely to be intrigued and should walk away happy. However, If you're not familiar with Junior's work, go down that lonesome road and pick up any one of his actual albums. Listen to it on sad days and lonely nights and I promise it will make you a better, more well rounded person, able to deal with hard times, troubles and whatever else comes at ya (and someday she ain't gonna trouble poor me anymore.)

King Morgan ... Read more

Amazon.com

Imagine Redd Foxx with a dirtier mind and a cleaner mouth, and you’ve got a bead on Bobby Rush. The energetic Jackson, Mississippi-based entertainer has been the King of the Chitlin Circuit for years. It’s a title he’s won with vaudevillian instincts, horny showmanship, spot-on ability as a singer, harpman, guitarist, and bandleader, and a knack for writing tunes that brim with playful down-home wit. This set captures the astonishingly youthful and vigorous Rush in concert for the first time in his 50-year career, strutting like a peacock with his bevy of booty-shaking dancers through crowd-pleasers like the lusty "You, You, You" and hits like the double-entendre laden sexual plea "Chicken Heads." Both discs--one a DVD of this show recorded at the Clarksdale, Mississippi club Ground Zero, the other a music-only CD--cover a strong 11-song set. The music disc has two bonus tracks: the Rush favorites "Sue," a playful tale of sexual initiation, and "That Thang," a slinky funk update of Willie Dixon’s classic "Same Thing." If you’ve never seen Rush’s singular and engaging stage shtick live, there’s now no excuse. --Ted Drozdowski ... Read more

Reviews (4)

'Rush' to order
I too first saw Bobby Rush in the PBS series last year, having only heard his name but not his music. His segment was so poignant that I had to get my hands on some of his work. I bought 'Live at Ground Zero' from Amazon last month, and recommend it without reservation. He is an amazing showman, with great soulful vocals, fantastic harp blowing, and some funky guitar licks. He has a fantastic, tight band and you must see his dancers!

Live at Ground Zero
I first saw Bobby Rush on the PBS special on Memphis Blues. If you liked him there, your going to love him here. It was fantastic!! The music was great, starting with SHE'S SO Fine,going through EVIL, 99, many more good ones, and my favorite, Chicken Heads. Bobby can bend those strings!!!
The band was GREAT, the girls were FANTASTIC, and Bobby was full of energy, giving it all he's got. This DVD at Live Ground Zero is a must have, for anyone who likes the Blues and a good time on stage. And the finaly was something special. I am definitely a BOBBY RUSH FAN!!!!!!

Live at Ground Zero
This is a killer dvd that accurately shows what goes on at a Bobby Rush show. Bobby has done the world a public service by releasing this dvd and cd. It is a definate bargain, and I strongly recommend it for all blues fans. Get your copy now, while you can.

Bobby Rush: An American Original?
Bobby Rush's Live At Ground Zero has a collection of all original tunes performed at a club in Mississippi. Mr. Rush delivers a muti-dimensional show that could lift the spirits of a dead man. The DVD companion is a must see: Mr. Rush compliments his musical and singing talents with an ensemble of beautifal dancers whom bring-to-life the stories in Bobby's songs. These songs' messages manage to lift spirits despite the worst circumstances that life offers, in a unique and genuine way. Bobby Rush's originality transcends geographic boundries, he is simply without parallel. ... Read more

Reviews (11)

imagine life without the blues...
I can't... I've heard Kelly Joe Phelps and my life is changed. If you can imagine a voice, at the same time rugged and soaring, a guitar, at the same time familiar and foreign, you are starting to get it.

But don't take my word for it. Buy the album, hear it for yourself.

When a cd like this comes along...
As a person who has spent 37 years making music my number one passion in life, it is rare when an artist, or an album, moves me and speaks to my soul in such a profound way. But when it happens I do everything in my power to share such a find with anyone and everyone who I think might care. Kelly Joe Phelps, and "Roll Away The Stone", is one of those artists and one of those albums. As a recent student of Delta, Country, and Piedmont style blues, I have had the pleasure of listening to many of the the true GREATS of music... Skip James, Joe Callicott, Brownie McGhee & Sonny Terry, Etta Baker, and the likes...Kelly Joe Phelps is in my opinion an example of a contemporary musician who can capture the feel, soul, and beauty of the blues like I'm certain the Masters intended to be. I have yet to turn anyone on to this cd who hasn't immediately been "hooked" on Kelly Joe. If you don't get goose bumps when you listen to "When The Roll Is Called Up Yonder", you best get someone to check your pulse. When a cd like this comes along...don't miss it. --tripp

For the benefit of the Earth, I hereby espouse my opinion !
I LIKE this album. It is GOOD to listen to. Unlike other modern players who draw on the blues tradition, Kelly Jo sounds fresh and original. It's just my opinion, and RESPECT to the prodigious talent of guys like Ben Harper and Keb Mo', but I fail to get excited when I hear their stuff. Lots of people do though, I guess I'm just looking for something less stylish ?? (don't know if that's quite the right word really). I love that earthy and raw rural sound, especially with a great singer attached. Kelly Jo is very smooth and polished, yet he seems so steeped in the music of rural America that it still sounds completely in step with that rich musical heritage and very original as well. I'm an Australian but nearly all of my favorite music comes from the USA and Canada. I've gotta thank you guys for giving us so much fantastic music (and also chide you for all the icky soda-pop!) :). Steve Earle gave this guy the thumbs up and I'll bet he doesn't get any kick-back for his endorsement. Here's to you Kelly Jo Phelps! May you live long and prosper!

an open heart
this is, by far, one of the most complete, thoughtful, honest, true works ever recorded. if you have feelings, you should listen.

The Blues aren't dead yet
There are very few acoustic blues musicians around who are capable of doing anything other than rehashing Robert Johnson. One modern master who does not fall prey to that criticism is Kelly Joe Phelps.

Compliments of my parents, I grew up listening to Robert Johnson, Son House, Charley Patton, etc. As I got older, I grew bored with pure blues. Blind Willie Johnson, for example, just used the same melody over and over again with different lyrics. I turned to jazz, blues-influenced folk such as John Fahey, and the occasional blues-based rock of modern geniuses like Chris Whitley and Ben Harper. Occasionally, I listen to jam bands like the Allman Brothers or Widespread Panic, but that's about as close to pure I blues as I usually get these days. The only old blues that still holds my attention comes from the odd-balls like Mississippi John Hurt and Skip James. Then I heard Kelly Joe Phelps' "Shine Eyed Mister Zen" and I had to re-evaluate my position. I immediately went out and bought all three of Phelps' albums, and I am currently collecting other albums on which he makes guest appearances (one to note is Tony Furtado's "Roll My Blues Away"- a wonderful blend of blues, folk, bluegrass, and even some Celtic). Phelps plays with such soul, technical skill and integrity that he has restored my faith in blues. I recently realized that the difference between Phelps and the other blues revivalists (aside from Phelps' preternatural skill) is that Phelps stays true to the sound and the feel of blues, but his compositions are structured more like jazz. Kelly Joe Phelps is simply the best. ... Read more

Amazon.com

Unplugged, but electrifying nonetheless, Canada-based blueswoman Sue Foley's first live disc was recorded in one take with a band that hadn't rehearsed the set. Yet, instead of a sloppy, slapdash show, she delivers her most inspired and undoubtedly most intimate album to date. With a sparse three-piece band nimbly following along, Foley digs into personal blues favorites, dusty obscurities, new songs, and even a George Harrison cover. Delta blues, Piedmont-style fingerpicking, boogie-woogie, folk, and even jazz mesh in a set that easily shifts from shyly sensitive to sadly ruminative to unabashedly sexy. Foley's quivering, almost childlike voice perfectly juxtaposes these emotions as she sings with loose-limbed confidence, helping to create an uninhibited feel that jumps out of the grooves. --Hal Horowitz ... Read more

Reviews (5)

More blues and less rock on this one
Marcia is a fine singer who writes many of her own songs, though she is never afraid to record covers where they are suitable. Her albums can be almost relentlessly upbeat, as with Hot tamale baby, but this is generally a much sadder album - more like one would expect from a blues singer.

Marcia still demonstrates her Jerry Lee-ish piano playing here, on the opening Red beans, the third track Down the road and particularly on her cover of Joe Ely's Fingernails, but those are not typical of this particular album.

More typical is the title track, in which Marcia painted her house blue after her man left for good, or St Gabriel, about being sent to prison and later being released with nowhere to go.

This is a fine album that demonstrates Marcia's ability to sing a variety of different types of song.

Marcia Ball is just awesome
I found this one by accident, but it turned out to be a great find. I was in a used CD store and picked up a CD by Luther Allison. It had been repackaged and shrink wrapped. When I popped it into the CD player, out came this very vibrant female voice singing a song that I would later find out is called Red Beans. It caught my attention and in what seemed like no time at all, I was through the entire CD. I played it twice more before I finally managed to find out who this was and print out a list of tracks.

Every track is great and my favorite of the bunch is Fingernails. Since then, I have gotten more Marcia Ball CDs (on purpose!!) and can't say anything negative about her.

PS: I HAVE purchased this CD and I love it even more than I
thought I'd would from hearing her interview and excerpts at the House of Blues. "St. Gabriel" still sings to me, but there is not one bad track on this CD, and will play them all over and over. Not all CDs past that test. Sometimes I'll buy a CD and only like one or two tracks.

Enjoy, enjoy, enjoy.

Awesome Blues: Especially St. Gabriel moves me to my toes..
St. Gabriel should be the poster song for battered wives... and all the other songs are wonderful too. Heard her songs at the House of Blues website ... and craved some more. I shall buy this one here and also Gator too. Recommend her for anyone who loves the Blues!

First experience with Marcia
I first heard Marcia Ball wailing out a song on the radio when I was traveling through Glenwood Springs Colorado several years ago. The beat and lyrics of 'I keep my fingernails long so they click when I play the piano' captivated me so much , I rushed to a phone and called the local radio station to find out who the artist was. That day I purchased this album and have been a fan since. Her unique cajun style and excellant intrumental accompaniment will have you tapping your foot to her music. Enjoy! ... Read more

Amazon.com

Performed for a tiny audience at the renowned Pachyderm Studio in 1998, this CD is the best example of what Indigenous sound like live. While their national debut Things We Do is an excellent introduction to their music, their live shows are far above and beyond any studio recording in terms of energy and performance, as the entire band frequently takes off into 10-minute jams to mind-blowing effect. Live at Pachyderm Studio provides a taste of that, including extended versions of several previously recorded songs, as well as previously unavailable material. An item of special interest is the cover of Hendrix's "Red House"; the guitarist's influence on Indigenous frontman Mato Nanji is undeniable. The production on this album is so clear, putting it in the stereo and cranking it up might be almost as good as hearing them live. This band is addictive, and Live at Pachyderm Studio is the perfect fix. --Genevieve Williams ... Read more

Reviews (34)

I Am Addicted!
This is the CD that Indigenous fans have been calling for. The CD was recorded during the band's recording of "Things We Do' for a small studio audience. The CD represents the raw energy of the entire band. Granted, Mato is just amazing with his guitar work but so is the rest of the band. The sound quality of Pachyderm Studios also shows in this CD.

If you like SRV, Hendrix, Led Zep, Jimmy Thackery, Collective Soul, or any rockin' blues this is the CD to get! The song "I wonder why" along with "Red House" showcase the talent of this band!

One of the fieriest rocking Blues album that I have heard!
Mato Nanji's blistering soulful licks are incredible. For just 25 years old, man this guy packs the spirits of many blues legends in his fingers.

With his Sister on drums and brother and cousin rounding up the percussion section, this is one tight awesome band.

I got a chance to see Indigenous on The BB King Blues Festival, in Dalton Georgia 9-23-99

The put on a great show, it was almost a letdown when KWS and BB King came on. I was wanting more Indigenous.

Mato's and Indigenous version of "Red House" by Hendrix is the best that I have ever heard. It conjures up Jimmy, SRV, and all the best Blues Guitarist all in one package, and goes one step further. Mato's blistering licks and incredible tone from his Fender Vibro King amp and Fender Stratocaster will satisfy any Guitarist.

Anyone wanting a Great Blues LIVE CD get this CD! Besides being great musicians, these Native Americans are for real, hailing from South Dakota, they are also very involved in the rights of Native Americans. This is something we could all be involved in as well.

I can only imagine what the future promises for Indigenous. But with CD's out as great as this early in their career, we can only hope of many, many great CD's by this band.

mire mimics
I listen to the mp3 here, and believed the words of praise by other reviews and bought this CD.
The production is bad. The music and vocal tracks are flatten together. Its sounds like a gray mush. The guy sounds like SRV and sings like him too. They just don't play with the same heart and soul.

This CD mimics a great guitarist. .
I was sadly disappointed.

GREAT LIVE BLUES / ROCK CD
This is a tour de force for INDIGENOUS and specifically MATO NANJI. Great playing, good songs, great recording. I bought THINGS WE DO a while back and was debating whether the 4 new tracks alone would make buying this CD worthwhile. Don't hesitate as even the make over the other songs receive in a live
environment make them a new experience and RED HOUSE alone is worth the price. Not since HENDRIX and SRV has a guitarist sounded like this in a live gig. For my liking he sounds a little to close to his heros and needs to develope further into a style that will be recognisable as his. He has the talent and a lot of time on his side. This would be 5 stars were it not for the similar tone and style of SRV and HENDRIX.

Blues at its best
Mato is a guitar GOD. He truly ranks up there with the best of the best, such as Clapton, Beck and Page.
Just awesome! ... Read more

Reviews (3)

Brilliant!
This album tells the age old story of the old man and the boy. Or, more accurately, the gifted teacher and his brilliant student. The teacher knows the boy is better than he is (or ever was), but is not at all intimidated by that fact. He encourages the boy to reach his full potential and continue the blues tradition. The student has way too much respect and admiration to ever consider embarrassing his mentor, so he has to tone his playing down just a bit. The resulting balance is perfection -- Albert's thick, full Flying V leads intermixed with Stevie Ray's searing Stratocaster solos and plenty of great rhythm parts by both. If you like the electric guitar you MUST own this album. Play it LOUD and play it OFTEN!

The Blues Session
Something happened in December 1983 in CHCH studies in Hamilton, Ontario.

Blues Guitar at it's best: Powerful yet restrained, deep, potent, progressing with the session. Maybe even blues, therefore guitar, at it's best, although some may quibble with that.

At times, Stevie holds back, perhaps out of respect, perhaps out of humility. However, this is not weak playing; it's the most powerful kind, because it is at the edge of explosion and control, held under check with virtuosity. Albert's playing is the kind that only decades in the company of the blues can create.

Together, it is more than the sum of its parts.

The CD is an interesting compilation of dialogue and music, with operatic power. Some of the dialog fades into the music, first covertly and overtly, and then remerges as the playing continues, sometimes in vocals and sometimes in strumming. Distant respect and acknowledgement becomes palpable, immediate respect, both for each other.

They never played together again. This was the one and only time. They are both gone now; Stevie Ray Vaughan died in 1990, Albert King in 1992.

"A title for your review"
Word has it that Albert "King" Nelson didn't know the man with whom his manager had arranged for him to play on the night of December 6, 1983.
29-year-old Stevie Ray Vaughan had released the succesful (and superb) "Texas Flood" earlier that year, but the name Vaughan didn't mean anything to Albert King.
He did recognize Stevie Ray however, knowing him as "Little Stevie", a kid from Texas who had attended numerous of his concerts, occationally even sitting in with him when he (King) passed through Austin.

At first, Stevie Ray Vaughan seems a little bit in awe of the legendary 60-year-old bluesman, not wanting to interfere with his playing (it is almost two minutes into "Stormy Monday" before Vaughan's guitar can be heard for the first time). But once he gets going, the concert evolves into one of the best jam sessions you'll ever hear.

Backed by Albert King's world-class touring band, the two guitarists lay down tight, muscular versions of some of King's best songs, as well as a blistering six-minute rendition of Stevie Ray Vaughan's "Pride And Joy", and a rollicking cover of Tampa Red's "Don't Lie To Me".
There is more great guitar playing here than most artists record in a liftetime, but the jamming never gets out of hand or trails off into meaningless shredding. "In Session" never evolves (devolves?) into a mere cutting contest; instead the two musicians complement each other beautifully, somehow managing not to tread on each other's toes when soloing.

Bits of dialogue between King and Stevie Ray Vaughan has been preserved on this release, and the sound is superb, crisp and clear. For fans of either guitarist, this album is more than just worth a listen, it is a record that sounds as fresh and exciting on each subsequent listen as does the first time through. ... Read more

Reviews (4)

They're all here
The reviewer who said that SRV was not on this set obviously did not read the liner notes, which indicate that SRV played on the Lonnie Mack tracks from the Strikes Like Lightening sessions. The other artists the reviewer stated that were not there ARE, but are not the featured artist on the tracks.

I bought this set, and the 25th, when they came out and was really wowed by what I heard. Houndog Taylor is my favorite, followed closely by Koko Taylor and Albert "Master of the Telecaster" Collins. There is some really fine musicianship, great feel, and real respect for the blues displayed on this set.
Higly recommended.

Some good old blues
Amazon keeps inter-mixing the reviews for the 'Alligator Records 20th Anniversary Collection' album and the similarly named 'Alligator Records 20th Anniversary tour' album. So I will include a review of both here to set the record straight.

The 'Collection' album is by far superior to the 'tour' album. The collection has many artists on show and offers a bit of everything. The best tracks are AC Reed's 'These blues are killing me' with SRV brilliant on guitar, Little Charlie and the Nightcats with 'Rain', Roy Buchanan's classic 'Drowning on dry land', Koko Taylor with 'That's why i'm crying', Katie Webster with 'Pussycat Moan', Son Seal with 'Going back home' and Hound Dog Taylor and the classic 'Give me back my wig'. The album is uneven as you would expect for a label show case but well worth it as a introduction to a variety of blues styles and artists.

The 1993 20th aniversary tour album has only Li' Ed, (the late) Kattie Wester, Elvin Bishop, Lonnie Brooks and Koko Taylor. The album does typify Alligator records music that by my definition is mostly reasonable blues without being great. This live album has plenty of energy and is listenable, but fails to scale the heights I expect of the blues.

I discovered most of my favorite blues artists from this CD
Alligator records has some serious talent on it's label. Many of them are big names that you will recognize if you have been into blues for very long. I have tried samplers from other blues record labels and have been very disappointed with the mediocre talent on their label. Usually there are only one or two people -out of fourteen or fifteen - that stand out on other blues samplers. You will recognize that the vast majority of artists on Alligator Records are true talents - even if you don't like their style. This album is definitely worth the investment.

good,better,best
Alligator has compiled a very good collection of its artists on this CD. It has Iceman , SRV , KOKo , Son Seals, Johnny Winter and many other of the best of the blues. If you buy it, find some storage for the rest of your collection, because you won't remember who they are. ... Read more

Reviews (11)

300 POUNDS OF TROUBLE
Tremendously talented guitar player I first saw at the Texas Blues Festival in 1995. This relativly unknown at the time blues rocker from the east coast came on stage that day and proceeded to blow away every big name Texas blues act. After that live show I immediatly went out and picked up this album. Don't mistake the rapper looking Chubby on the cover and the word Booty in the title. This is the blues, and in my opinion it still remains the best blues rock album of the 90's. This album has some of the tastiest guitar licks in it that I've heard in a long time. Combine that with some great songwriting, and witty and cutting lyrics, it makes for a true blues rock lover's delight that's sure to frost your cake. There are 12 originals and 3 covers here. Some of the best guitar work comes on the cover of Willie Dixon's slow blues burner "Same Old Blues", which eventually builds up to a fierce guitar frenzy that'll have ya pushing the repeat button. Another great song here is "Sweet Goddess Of Love And Beer", which has an almost southern rock feel to it. I also like the slow blues ballad "Trouble", where Popa shows his soulful side and proves he's a pretty darn good singer in the Otis Redding vein when he slows it down. Excellent songwriting here too. Popa plucks a little bit from all types of music. He shows us his funky side on "Lookin' Back", and "Stoop Down Baby", and another favorite of mine "Healing In Her Hands". This is a great on the edge, progressive blues album that, like Stevie Ray Vaughan's music, will hold up very well with time. I've got everything that Popa Chubby has released since this album, and I can tell you he always puts out quality records. I'd have to say though, so far this is his masterpiece. Very highly recommended!

you need this CD
This is the single most exciting and enjoyable disc I've added to my collection in over 10 years--it's packed full of stand out tunes. If this is the shape of the new New York Blues, the future looks really bright. This disc gives a grade A rhythm section performance--these guys are tight enough to hold water and cut a groove deep enough to swim in. Palace of the King drives like no tomorrow with fabulous Hammond organ work to complement Popa's blistering guitar. Do Anything That You Want Me to Do with its tight bass/guitar/keys unison parts is perfection. I Was Lookin Back is another rhythmic tour de force with surprises around every corner. Stoop Down lays a smooth groove. And Same Old Blues takes a slow blues form and transforms it into something exceedingly powerful. Buy this disc.

fun from the fat boy
Never having heard CHUBBY, I ordered this CD after reading a number of write ups. All were positive so a disappointment could easily have arrived, allas not so. Great BLUES/ROCK from a relatively unknown guitarist. Not the best blues CD in my collection but up there and sure to get a lot of play and provide a lot of pleasure. I will order more CHUBBY asap.

By Far the Fat Guy's BEST CD
Blistering in your face guitar work that still oozes with soul. I've got several of Chubby's CDs, and this one is hands down the best. Heavy doses of funk rhythms add energy to this "blues with an attitude." By the way, if you like this CD, dig up Left Hand Brand by the Gales Brothers...

Buy Hit the High Hard One instead
'Hit the High Hard One' is a brilliant live rock/blues album. This studio album of many of the same tracks unfortunately does not come close. A good guitarist regardless, but this album lacks the skill or excitement and occasionally ventures into the vulgar. ... Read more

Reviews (1)

Great American music
Righteous! The Essential Collection offers a savory taste of the Holmes Brothers, a venerable blues trio with a twist. From the first moments of the disc's opening track, "Got Myself Together," you know that this is not your typical "blues" band: the driving funky shuffle of the first verse is cut by a tight, three-part harmony "Yeah!" that proves these guys would be as comfortable in a sweltering Southern gospel revival as in a smoky Chicago club. Throughout this compilation, drawn from the group's four albums recorded for Rounder (In The Spirit, Where It's At, Soul Street, and Promised Land), the Holmes Brothers-Popsy Dixon and brothers Wendell and Sherman Holmes-offer the mature fruits of their decades of collaboration, and demonstrate their ability to move effortlessly between the blues, gospel, funk, soul and country.

Each member of the Holmes Brothers brings unique qualities to the group. Wendell Holmes offers solid, rhythmic guitar work throughout, reminiscent at times of Jimmy Reed (especially in "A New and Improved Me"), and a cracking, rough-edged voice that's both passionate and pained (a perfect blues combination). Sherman Holmes is steadfast on the bass, and gives smoky, slurred vocal lines, featured best in his gospel-tinged "Promised Land." Wendell and Sherman are the songwriters of the group, and their original works and arrangements are featured on eight of the disc's 17 tracks.

But the Holmes Brothers's shining moments come through the vocal work of drummer Popsy Dixon. On "Train Song," the spare piano and bass support a classic soul tenor straight out of a Stax session. He captures the feelings of loss and hope for redemption of the Tom Waits-penned tune ("It was a train that took me away from here/But a train can bring me home"). However, it is his falsetto-sometimes used in a doo wop fashion ("I Surrender All"), sometimes reminiscent of Philip Bailey ("When Something Is Wrong With My Baby")-that brings an extra degree of emotional depth to the group's performances. The highlight of the album is the devastating gospel lament "Don't Spare Your Sword." Dixon's heart-rending vocals, delivered across his range, express his grief over a wasted life of drugs and despair, and cries for both punishment and mercy.

In addition to "Sword," the Holmeses deliver several other traditional gospel performances ("None But The Righteous," "Please Don't Hurt Me," "Walk In The Light"), and even the one or two otherwise ordinary-sounding tunes on this disc are enhanced by the band's three-part gospel harmonies. Other highlights of the album include a rousing version of the jump blues classic "Fannie Mae," a Subdudes-esque "Dashboard Bar," a straight rendering of the chestnut country waltz "There Goes My Everything" (featuring bluegrass goddess Alison Krauss on fiddle), and a sultry, down-tempo, blues-soaked rendering of the Lennon/McCartney classic "And I Love Her."

Since the late 1990s, the Holmes Brothers have gained some well-deserved fame, including an appearance on "The Late Show with David Letterman" and work as Joan Osbourne's backing band during her 1997 tour with Bob Dylan. They have recorded two albums that are not on the Rounder label, and therefore are not included in this collection: Jubilation a 1992 gospel album on Peter Gabriel's Real World label, and the Osbourne-produced Speaking In Tongues, released in 2001 on Alligator Records. While these should also be added to the collection of any discerning blues fan, the heady mix of songs about sinfulness and salvation on Righteous! truly makes this an "essential collection" for lovers of American music. ... Read more

Amazon.com

"The blues is a chair," John Lennon once said of the music's primacy. Yet for many artists the genre often seems more like a straightjacket, one that even a modern legend like Robert Cray has struggled to escape during the course of a multi-Grammy career. But the Georgia veteran has pulled off something of a sly escape trick here, taking the freedom offered by a change in record labels to team with keyboardist, songwriter, and producer Jim Pugh on a slate of performances that are by turns looser, funkier, and more far-ranging in their subject matter. Cray wastes no time in boldly staking out that new turf on the pointed, country-gospel-rooted, antiwar "Survivor." From there Cray immediately makes another jarring turn into the psych-pop of "Up in the Sky," trading his trademark Strat for the rare, distinctive tones of an electric sitar. Even Cray's more familiar blues tack is variously tinged with slippery swamp tones ("Back Door Slam"), slinky Memphis grooves ("Your Pal," featuring the Family Stone horns, and "What You Need"), and the propulsive Caribbean inflections of "Distant Shore." Those more adventurous forays only underscore the elegant drama of "Time Makes Two," where Cray dramatically evokes the blues' holy trinity: a broken heart, soulful voice, and lyrical guitar. --Jerry McCulley ... Read more

Reviews (10)

TWT His Best Yet
Robert Cray and band have recorded some fine CD's over the years, but, with the release of Time Will Tell, they have produced a masterpiece. Doing the production this time by themselves (Jim Pugh and Robert Cray), recording digitally for the first time, and writing all the material themselves (no cover songs or blues classics)RCB have joined the ranks of musical titans.
TWT is the best written, produced, arranged, recorded and performed CD, the band has ever done. Period.
Best Tracks...Survivor, Lotta Lovin', Distant Shore, Your Pal, Back Door Slam.
Robert vocals seem stronger than ever on this disc, which is really saying something, but, what impresses me is his playing. He has never sounded better, whether it's playing a sitar on Up in the Sky, or a blistering solo on Time Makes Two. When I listen to a Robert Cray disc, I like to listen to what he's playing when he's not soloing. I think he is one of the best chord players in the business. Listen to him on Spare Some Love and I Didn't Know, he's a superb rhythm player. When you listen to TWT you will be listening to a true, solid band, not just a guitar god whose being back up by a band. They are a BAND, and Robert is a man content with his ability, his mastery of his instrument.
If you are a long time RCB fan or someone just joining up, you'll love this disc. Honestly there is not a bad track on it (and you can't say that for most CD's released today). Every one is strong and enjoyable.
Check it out for yourself, you'll see. Also catch them when they come to your town. As good as their CD's are, RCB must be heard live to be appreciated.
Enjoy.

Cray At A Crossroads
Robert Cray has never been limited to straight blues. His amalgum of blues, rock, R&B & Memphis soul has served him well since his very bluesy debut WHO'S BEEN TALKIN. The new disc TIME WILL TELL contains no 12-bar shuffles and no straight slow blues cuts. Sure, there's elements of blues in the songs but this is more of a R&B/Rock CD. Cray released two fine Memphis Soul/Blues cds in 1999 & 2001 (TAKE OFF YOUR SHOES & SHOULDA BEEN HOME) that critics loved but they didn't sell quite as well as his earlier records. It seems Cray wants to try some new things on TIME WILL TELL. His guitar playing is very sharp on this outing and the band sounds great, especially on "Back Door Slam" & "Spare Some Love?". He uses a sitar on "Up From The Sky" and he is more outspoken in his lyrics, such as the anti-war sentiments of "Survivor". Some of the songs seem unfinished to me- lacking a memorable melody or groove. I would still recommend this cd- Cray fans will definitely dig it and newcomers might like the slightly altered formula.

The presense of musical history
Robert Cray finds his voice. What a thing to say about a five time Grammy Award winner, that has also had 11 Grammy nominations and untold other awards. But this Blues man really has something to say with his new album. I loved it! In "Time Will Tell." Robert takes a stand about the war and speaks to our hearts in new ways both lyrically and musically, as only his original voice can.

Something new is going on here, with a depth that has the rootsmusicians from history standing up and tipping their hats from heaven, and it is not to be missed. Produced by Robert and his keyboardist Jim Pugh, who also wrote 3 songs on it the album also features guest artists Jerry Martini and Cynthia Robinson (Sly & the Family Stone Horns), Turtle Island String Quartet, Luis Conte, as well
as band members Kevin Hayes and Karl Sevareid.
Support this amazing artist and hear and feel the presence of musical history, and be transported into the future of Blues.

I love this CD!
I did not enjoy Shoulda Been Home, but Time Will Tell has tempered my disappointment. It has thoughtful lyrics and excellent arrangements, and is well-produced. Robert Cray has really extended himself here - with his songwriting and his choice of instruments. He is a master at using his guitar to support his very expressive voice - sometimes his playing is understated but at other times, he uses it to add emphasis and punctuation. It is very hard to classify this CD - is it R&B? is it Rock? I don't know and I don't care - it is awesome!

Standard bearer for excellence in modern culture......
Here in the days of such wantonly disposable offerings from the music industry it is indeed comforting to know that every couple of years the Robert Cray Band will buckle down and put together something that will at the very least be laudable for the effort, intelligence, integrity, musicianship and passion that went into it's creation.
Time Will Tell is no disappointment. This is one of the Cray Band's finest offerings to date. From the menacing shimmer of "Back Door Slam" to the beautiful Hendrix chording in "Lotta
Lovin'" this CD just shines. Thank you, Robert. ... Read more

Reviews (9)

Greatest guitar slinger alive
Buyer beware, this is an all instrumental album-NO VOCALS, but you will hear the greatest guitar player alive. Jimmy plays covers of SRV & Roy Buchanan that are tributes because they're better, Strat/Tele tone to die for!

INSTRUMENTAL MAGIC
I TOO CAN'T GET ENOUGH BLUES INSTRUMENTALS & THIS IS EXCELLANT.
I'M NEW TO THACKERY BUT I CAN'T RECOMMEND HIGH ENOUGH RONNIE EARL'S "I FEEL LIKE GOIN' ON" AND "HEALING TIME" FOR PURE INSTRUMENTAL MAGIC. ...

Instrumental Inspiration!
While this is a compilation from the ex-Nighthawks guitarist's tenure with the Blind Pig label, it effectively works as a showcase for Thackery's diverse influences. The disk also adds a few unissued tracks to the mix. One of the interesting aspects of this disk is that the material is entirely instrumental. While blues guitarists Freddie King and Albert Collins released some great blues instrumental albums in the past there are not many released these days. The approach works here because not only does Thackery get to utilize a variety of styles but it also takes the focus off of his vocals and points it to his great guitar playing (hence the title Guitar). Songs like "Jump For Jerry" and "Burford's Bop" let Thackery exhibit his clean jazzier licks. Tracks like "Apache" and "Sinner Street" bring to mind movie or television theme music. Thackery pulls out all the stops for his take on Roy Buchanan's "Roy's Bluz" and "Jimmy's Rude Mood" is sort of a tribute to Stevie Ray Vaughan. "Hang Up & Drive" and "Last Night" are uptempo burners while the closing "Jimmy's Detroit Boogie" is based on the tasty John Lee Hooker "Boogie Chillun" or for newer blues converts the ZZ Top "La Grange" groove. All in all this "Guitar" compilation proves to be more tasty than some of his releases for Blind Pig. While not strictly blues the release will please fans of excellent guitar playing and instrumental music. Hopefully more blues/rock guitarists will explore this intrumental genre in the future.

A Master
This is one of his best CDs post Nighthawks. He has a diverse groove going is this CD and shows he is a master at his craft. I like the diversity. Other diverse CDs like this are Clapton's Reptile (different than this style but diverse). Maynard Bros. (not well know but huge range of material) and of course, Nighthawks - OPEN ALL NITE.

WOW, ANOTHER MASTER CLASS IN GUITAR PLAYING
This CD,at times, sounds like a best of CD from a record company with a long list of very diverse and talented guitarists on their books. The styles span the A - Z of blues/rock/jazz/swing and some other THACKERY bits. Astounding is the fact that he sounds equaly at home in any of these styles. SINNER STREET is worth the price of admission alone, which gives you 11 bonus tracks that are outstanding. The only guitarist that comes close to this master piece is DENNY FREEMAN's 'TONE FOR MY SINS' which gives similar instrumental interpretations of blues/rock/swing/country styles. THACKERY's playing is a lot more adventurous and the extreme's of his tonal spectrum are further apart than FREEMANS. This is a guitar tour de force that is a must in any guitar lovers collection ... Read more

Amazon.com

After being part of the New Guitar Summit, Jay Geils has made his first solo album. With a recording career that stretches back three-and-a-half decades to the first J. Geils Band album, the guitarist has matured into a solid player, steeped in bebop, jump blues and even western swing. Joined by a varied cast of like-minded players, this set is a wonderful overview of the music that's long been championed by Rhode Island mainstays Scott Hamilton and Roomful of Blues (former members of which appear here). Covering everyone from Benny Goodman to Roland Kirk, this is fine ensemble playing. Geils and his soloing compatriots take their turns in the spotlight with flash-free, thoughtful improvisations throughout. --David Greenberger ... Read more

Reviews (1)

Living Blues Magazine Review of Jay Geils Plays Jazz
JAY GEILS PLAYS JAZZ! (STONY PLAIN) - Familiar to Rock fans; he led the J. Geils Band that sold millions in the 80's. The 90's found him returning to his Blues roots with a series of Bluestime albums. Recently he has focused his attention in pursuit of a lifetime love affair with Jazz guitar. It started with New Guitar Summit--a collaboration with Gerry Beaudoin and Duke Robillard--and now Jay Geils is favoring us with his first ever solo Jazz release. Plays Jazz proves that heart, soul, and talent is an unbeatable combination, as JG revisits the standards that formed the underpinning to his earliest musical awakenings.


No surprise that the leadoff track, Wholly Cats, salutes the pioneering talents of Charlie Chrisian. Holy Cow! A few even pay tribute to the colorful strains of Western Swing: Bob Wills' I Hear You Talking To Me, and a Wills' version of Benny Goodman's Mission To Moscow. Even Blues Walk--an old Clifford Brown tune-features the classy pedal steel guitar of Frankie Blandino. The band just winged it on this one, and as is often the case, it made for a classic end-of-the-session triumph. My Jazz knowledge is probably best characterized as a lack thereof, so Geils' enlightening liner note synopses proved invaluable. Background was provided, not merely into the reasons behind each of the twelve selections, but also into understanding how they were adapted and re-arranged to fit Jay Geils' specific musical sensibilities and approaches. As an example, he chose to keep things very basic--just a 4-piece combo of keyboards, guitar, and rhythm section--on a reading of Peggy Lee's version of I Hear You Talkin' To Me, as well as on Duke Ellington's Solitude; figuring the delicate melodies should be allowed to just speak for themselves. Words that bear repeating! Further evidence of JG's incisive instincts was his choice of Coleman Hawkin's It's The Talk Of The Town as the perfect tune to bump into at some groovy little joint in the wee wee hours. Featuring the esteemed Scott Hamilton on tenor sax, this is a classic Jazz ballad that's best appreciated while sipping on a gin and tonic. Set 'em up Joe! A couple of Bill Dogget's extra-Bluesy sides are welcoming additions: Honey Boy and Hot Ginger. They also afforded Jay Geils the opportunity to pay heartfelt homage to Billy Butler--the quintessentially tasty picker behind Doggett. L.B. Blues is a selection that belongs within the Jazz domain, but Jay Geils superbly conveys the cool Blues sound that kept things ultra-interesting in the late 50's and early 60's. The interplay between Jay's guitar and Greg Piccolo's tenor sax on Roland Kirk's Funk Underneath is sublime, and Al Wilson's liquid tones on the those B-3 ivories put the proverbial icing atop this scrumptious double-layered cake. Jay Geils Plays Jazz reveals a player at the top of his game: a humble and fully engaged music scholar with an intense appreciation of the past, especially those undeniable linkages that conjoin Jazz and Blues. But the bottom line is that Jay Geils swings so very convincingly, and he ensures that tradition is done proud. MP3-

... Read more