Amazon.com

A decade after his tragic, untimely demise, electric-blues legend Stevie Ray Vaughan has left behind a void that remains largely unfilled, despite a number of ballyhooed young pretenders. The guitarist's career was long troubled by personal demons, and this album chronicles those deceptively languorous, slow blues jams where Vaughan did battle with them. The howling, fervent tone he coaxed from his instrument was a product of lessons learned only in the School of Hard Knocks, accompanied by a voice--perhaps the most underrated of Vaughan's talents--that perfectly underscored his tortured gospel. But those who stereotyped Vaughan as a paint-by-numbers bluesman misunderstood the breadth of his lexicon; listen to "Chitlins con Carne" (from the guitarist's posthumous The Sky Is Crying album) here and you'll hear tinges of Wes Montgomery and other jazz inflections. Especially notable are three previously unreleased cuts: a live version of "Texas Flood," a 1985 Montreux Jazz Festival duet-jam of "Tin Pan Alley" with the late Johnny Copeland, and an '84 outtake of Elmore James's "The Sky Is Crying"--plus a 15-minute TV-taping workout with Albert King on the elder legend's "Blues at Sunrise." Raw, passionate, and uncompromising, this is SRV at his gut-wrenching best. --Jerry McCulley ... Read more

Reviews (45)

Stevie Ray - Bigger than Life
Some live albums make it, some don't...and then there are the very few that really stand out. Blues at Sunrise "stands out" with the best. I was a SRV fan from the first time I heard Stevie's explosively raw blues guitar work on the title track to "Texas Flood," and Blues at Sunrise is a collection of SRV's best slow blues guitar work. The first cut, "Ain't Gone 'N' Give Up On Love," a SRV composition, sets the tone for this virtuoso journey through time to some dimly lit, smoke-filled, 2 a.m. whiskey bar in Austin, Tx., and, unlike some albums, this one builds on tension and talent right to the end. Here is a testimony to SRV's head on approach to the blues: he attacks some cuts relentlessly (Leave My Girl Alone) while exhibiting a seasoned subtle touch on others (Tin Pan Alley). Every cut is a bona fide winner. The title track, featuring legendary blues man Albert King, will blow you away - it brings back memories of venues such as the Capital Theater and the Fillmores, where live jamming was refined to an artform that never lost its edge. This album is a must for anyone who likes good, slow, live blues! An all around "five star" album.

One of the greats
There aren't many people who could do what Stevie Ray Vaughn did with a guitar. There's Hendrix, Albert King, and Stevie, who else, you know? This album is packed with the fervid guitar playing Stevie is known best for. If you're just getting into him this is probably the album you'd want to get, it covers almost every aspect of his music.
Old Stevie and Albert King play a classic, Blues at Sunrise, at the very end of the album. In between are songs like Tin Pan Alley, The Sky is Crying, and a blazing live version of Texas Flood, which I think just blows the studio take away. This is such a great album, NOT THE BEST, but definitely worth buying if you're just getting into Stevie or if you've already discovered him and want to hear more. Full of rocking blues, titanic guitar playing and gravely, red hot vocals.

Nothing new, but it's great anyway
Well, I felt a little bit bad about not actually reviewing the album...you can find my original "review" below, where I make myself interesting by pointing out that this is not new material but rather a collection of previously released songs (with the exception of "The Sky Is Crying", an outtake from the "Couldn't Stand The Weather" sessions, but that one also appereared on the similarly titled album of outtakes issued after Vaughan's tragic death, although that was a different take).

So if you're a tried and true SRV fan, you won't find anything new here...a live rendition of "Tin Pan Alley" doesn't really count. But if you only have, say, "Greatest Hits", this album would serve as a nice addition.
It brings together ten slow blues tunes, many of which are among Stevie Ray Vaughan's finest recordings, like the soulful opener "Ain't Gonna Give Up On Love", a swaggering rendition of Guitar Slim's "The Things That I Used To Do", and the smouldering slow burner "Dirty Pool".
The live "Tin Pan Alley" is top-notch as well. Lots of magnificent guitar playing, and an excellent, expressive vocal by Stevie Ray. His playing on "The Sky Is Crying" is equally superb, but if you've ever heard Elmore James' blistering original you'll probably find that Stevie Ray lacks a little bit of vocal power. If you haven't, you won't care one way or the other :o)

Again, longtime fans will find nothing here which they don't already own, but more casual listeners should enjoy "Blues At Sunrise". The quality of the material assembled here is sky-high all the way through, and it is a great testament to Stevie Ray Vaughan's abilities on the guitar. Only reason I'm deducting a star is the fact that this is really just a re-packaging of already issued material. And the liner notes are kinda brief as well.
But the music? Oh yeah, A+ from beginning to end.

sloooow and easy
If you haven't already OD'ed on Little Rave On's post-mortal Hendrixonish blues-on-Reds Texas riff noodling, here's some more. This time it's the slo-o-o-w stuff, the blues as blue
can be, sort of a 'Stevie Ray Vaughan Plays Songs To Swing And Cry By' album. Course, it's all good, not a bad song in the lot, with a couple of originals, plenty of covers (Buddy Guy, Elmore James, Howlin' Wolf), a few unreleased gems (a live workout of Tin Pan Alley, a video version of Texas Flood)and a blistering live fret duet with Albert King on the title track (from last year's In Session album). Good for an hour or so of prolonged and pained soul-healing blues with an overload of apropos opportunities for face-scrinching air guitar theatrics.

Beware!
There is no faulting these wondeful songs.
The only problem is that this is not a "real" album - every cut has been released previously, except for two of the three live tracks, so "Blues At Sunrise" should really be presented as a compilation of Stevie Ray Vaughan's best slow blues numbers.

And as such, it is really too short and too narrow to work as a career retrospective - the double-disc "The Essential Stevie Ray Vaughan And Double Trouble" is a much better place to start.

Or you could just get Vaughan's original four studio albums, and the excellent "Live Alive" and "Live At Montreux"! ... Read more

Amazon.com essential recording

Guitar lovers will flip over this reissue's new bonus tracks: a conversation in which Stevie Ray Vaughan extols the virtues of Jimi Hendrix's playing and then essays them all in a medley of "Little Wing/Third Stone From the Sun." There's also the brief slide-guitar instrumental "Slip Slidin' Slim." What's breathtaking about these and the 10 remastered cuts that were the original 1985 album are the remarkably live amplifier tones. It sounds as though Vaughan's plugged directly into your stereo--especially at the climax of "Little Wing," where his Stratocaster feeds back through a wall of spinning Leslie speakers in a fit of psychedelic bliss. Otherwise, this CD still seems like a creative holding pattern for Vaughan, despite the addition of keyboardist Reese Wynans to broaden his band's palette. Nonetheless, the prophetic "Change It," which foreshadowed Vaughan's recovery from addiction by a year, and his in-concert staples "Ain't Gone 'n' Give Up on Love" and "Life Without You" debut here. --Ted Drozdowski ... Read more

Reviews (24)

Some Badness from Stevie
I love this album for that reason Stevie was and still is such a well loved artist...GUITAR,GUITAR,GUITAR!!! Stevie's playing is blazingly powerfull, and his tone is still that clear, slightly overdriven Stratocaster sound that he did so well (In Step is a great album but I like his earlier tone better). Soul to Soul seems somewhat overloaded with blues shuffles; Lookin' Out the Window, Look at Little Sister, Change It, Empty Arms..but nobody could do a shuffle like Stevie Ray. Change It has to be one of the most powerfull shuffle-based tunes ever recorded, it's not a Texas Flood this time, Stevie's riding a tidal wave! In all seriousness, this album may not be a masterpiece in terms of song integration, but as a collection of singles, it's amazing, ranging from raucous blues rock, jazzy soloing and Hendrix inspired heaviness to funky R&B and slow blues.
The added tracks are interesting. The interview part is rather short, the Hendrix covers of Little Wing and Third Stone from the Sun are great to have, wrong notes and all, but leave little doubt as to why they were unreleased. Same for Slip Slidin' Slim, a slide instrumental that brings to mind blues musicians like Hound Dog Taylor.
There are a few weak spots, Stevie sounds a little off time and a bit short of energy on Come on, (pt. III) ...and Stevie's Hendrix influence can wear a touch thin at times..this is still an artist searching for his voice to some extent. But this album really makes me wish he was still around. There's plenty of Soul on Soul to Soul.

An essential blues-rock album
Stevie Ray Vaughan only lived long enough to release four studio albums and one live (everything else has come out after his tragic death in a 1990 helicopter accident).

This is his third album, originally released in October 1985, and for "Soul To Soul", Stevie Ray Vaughan and Double Trouble abandoned their original trio format and included keyboardist Reese Wynans and (occationally) saxist Joe Sublett.

The music hasn't changed too much, though. It's still a superb blend of blues and rock, and even though Vaughan's guitar is perhaps a little less prominent on some songs, his playing is still masterful.
The material is very strong, with only one or two lesser tunes, and "Soul To Soul" is highlighted by the slow blues ballad "Ain't Gone 'N' Give Up On Love", the swinging "Empty Arms" in 2/4 time, and the terrific rockers "Change It", "Lookin' Out The Window" and "Look At Little Sister" (excellent piano playing on that last one, and a nice saxophone solo as well).

Stevie Ray also covers Howlin' Wolf's "You'll Be Mine", and considering that no-one in the world has yet been able to match the vocal power and ferocious attitude of the Wolf, and probably never will, he does a good job with it, although it's not really one of the highlights of the album.

The three bonus tracks consist of a short interview snippet and two songs. Well, three songs, actually, since Vaughan plays a medley of "Third Stone From The Sun" and Hendrix' "Little Wing".
They're perhaps not quite as interesting as some of the bonus cuts on the other three remastered Stevie Ray Vaughan-albums, but they're not bad by any means, and Vaughan's playing is great as always.

"Soul To Soul" has perhaps the strongest track list of any album released during Stevie Ray Vaughan's all-too-brief lifetime (well, alongside "Texas Flood"), and it is highly recommended to any and all lovers of blues-rock and contemporary blues music.
It rarely gets any better. In fact, it rarely gets quite this good.

A bigger sound with a new member.
With the addition of Reese Wynans on the keyboards the band get a fuller sound & new inspiration. As Reese adds some great keyboard playing to the music it lets Stevie concentrate on his singing a bit more, with very soulful results. Opening with Say What!, an instrumental on which Stevie plays with two wah pedals, the album goes through every song with a renewed passion for the music. Included on this one are songs like Change it & Come on (part III), but all the tracks on the album are great.

The most underrated of SRV's albums...
Many is the time I've heard somebody pick on Soul to Soul. I rememeber when it came out, some critics predicted that Stevie had lost that something that made him so great earlier on. I'd just like to say that they are REALLY wrong. Soul To Soul is a humbler, gentler album than the others, a bit more subdued, but every bit as awesome as In Step or Texas Flood. The songs are traditional but catchy. My personal fave is "Lookin' out the Window", the most underrated song on an underrated album. It's worth noting that this is a great party album too- seriously, put it on in the background sometime, it's perfectly conductive to the part atmosphere. The Bonus tracks and new photos/liner notes round out this excellent package. Ignore some others' advice and pick up Soul To Soul. You won't regret it.

Low point for Stevie--
I don't know whether the drugs were too much at this point or what but this is not the usual SRV album. No blazing solos or speedy riffs that leave you baffled. No tracks stand out overall. This album is not even comparable to Texas Flood or Couldn't Stand the Weather. ... Read more

Reviews (1)

A Howlin' New Release!
Omar's gritty and slightly hollow baritone vocals pay homage to the boogie blues by way of Memphis, TN. The Howlers stay closer to traditional Texas blues rock with roadhouse influences and an open-tuning slide background. Omar & The Howlers remind one of eating good barbecue in the August heat; weaving many traditional tunes by putting a Tennessee spin on the 12-bar. Omar's gruff and intense vocal interpretations will remind one of a more nasal and laid-back version of Bob "The Bear" Hite's recordings with Canned Heat in the mid-late 1970's (The New Age, 1973, Human Condition, 1978, Etc.) The ever-present influence of John Lee Hooker permeates every crevasse of this album in an 11 track front-to-back boogie. Many friends have showed their appreciation for Omar, lending their help for the release of "Boogie Man". With a growing and rotating list of contributors, the Howlers on this album include (but are not limited to) former Frank Zappa Drummer Terry Bozio, Texas guitar veteran Chris Duarte, and vocalist Alejandro Escovedo. Check back to his webpage for tour updates: www.omarandthehowlers.com ... Read more

Reviews (14)

Johnny Winter *IS* rock and roll.
Johnny Winter's "comeback" album from 1973. Johnny is one of the most underrated guitar players that ever picked up a 6-string. While deeply rooted in the blues, Johnny delivers some rippin' stripped-down rock and roll on this album. Production is held to a very minimum of overdubs, and it's basically Johnny with his bass player and drummer. No effects, no slick production tricks, just good old rock and roll. He's one of those rare guys that can just plug the guitar into and amp and rip it up. In addition to his masterful playing, Johnny serves up some of his patented gritty, soulful vocals.

I have worn out two copies of this album, and one or two 8-track copies. This is the fourth time I have bought this, and it's just as fresh as it was in 1973.

If you like simple straight forward rock and roll from a master guitarist, this is a mandatory album for your collection.

Nice
This is a really solid collection of blues-rock, and one of Johnny Winter's most succesful albums.
Lean and mean, excellently produced, this is one of Winter's more rock-oriented CDs, yet he doesn't resort to generic rock n' roll riffing or tired 50s rock covers...the covers are generally well-chosen and well-executed, including the Stones' "Silver Train", on which Winter plays some screaming slide guitar, and a rough and tough rendition of Bob Dylan's "From A Buick 6".

The acoustic country blues "Too Much Seconal" is really nice, and Winter's blues-rock version of Big Bill Broonzy's "Rock Me" is excellent. Johnny Winter plays energetic, fiery lead guitar without trailing off into pointless shredding or hysterical guitar pyrotecnics, and the arrangements are generally very good.

I absolutely l-o-a-t-h-e Rick Derringers moronic "Rock And Roll, Hoochie Coo", and the title track off this album, which also comes from Derringer's pen, isn't excactly an instant classic either. But his other contribution, the rock ballad "Cheap Tequila", is very good, as is Johnny Winter's bluesy version of "Let It Bleed".
And to cap it all off, Winter actually plays a genuine country song, pedal steel and all..."Ain't Nothin' To Me". It's really good as well, to be honest.

A solid album...not one that will ever take the place of "Hotel California" or "Abbey Road" on the hit lists, but a fine, enjoyable listen nevertheless.

Johhnny Winter's Best
After taking a year off to cure a heroin addiction, Johnny Winter came back with his best album ever. STILL ALIVE AND WELL mixes white-hot Texas boogie with cautionary lyrics that tell of survival and could warn people off the trail of any addiction (drugs, alcohol, tobacco, food, etc.). Mentioning highlights is pointless, as STILL ALIVE AND WELL sholud be listened to as a
complete album.

Still Alive & Well
I scared the "U know What" out of my grade 8 class with this album in 1974. ...in short...Johnny gives a tutorial on what you can do with a tortured Gibson Firebird. If you are going to buy one cd by Johnny Winter...this is it!

SMOKIN'!!!
A great album by an extreemly well rounded player. Johnny has many influences and you can hear it on this CD. As others have pointed out this CD is a little more weighted on the rock side of the blues-rock equation that Winters' music is most often described as. Short and sweet...this would have to make the top 20 of best rock&roll albums of all time. If your a guitar player--or just someone who loves guitar--then this is a MUST HAVE!! ... Read more

Amazon.com

Slim Harpo, Dr. John the Night Tripper, Tony Joe White … one can't help but flash on those illustrious practitioners of swamp music, be it blues, rock, or pop, when listening to CC Adcock's latest effort. As with all of the above, Layayette, Louisiana's Adcock makes music that's dense, damp, and malodorous as a Baton Rouge bog. What's so welcome about Lafayette Marquis it that it arrives decades after the heyday of the Excello sound and the rock & roll offspring it inspired, and long after the genre needed a shot in the arm. From the rhythmic opener "Y'all'd Think She'd Be Good 2 Me" through the voodoo creep "Slanoshotz N' Boom-R-Angz" and the gently rolling closer "Between the Lies," Adcock is at home with swamp sounds as a bayou trapper. It helps that he has the connections and inclination to enlist a few savvy vets to help out, including the late producer Jack Nitzsche (the reverberating "Stealin' All Day" is the last track he helmed), but it's pretty clear that Adcock is right at home with these grooves. --Steven Stolder ... Read more

Album Description

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

Reviews (2)

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

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

Amazon.com's Best of 2001

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

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

Reviews (15)

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

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

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

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

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

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

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

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

Amazon.com

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

Reviews (10)

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

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

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

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

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

Amazon.co.uk

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

Reviews (14)

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

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

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

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

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

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

Reviews (7)

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

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

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

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

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

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

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

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

Album Description

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

Reviews (7)

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

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

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

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

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

Amazon.com's Best of 2000

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

Reviews (23)

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

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

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

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

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

Let the lyrics of "Nothin' Man" tell his story:
"I never had a chance ... it never was fault MY fault. You can't arrest me. I pay the rent. I never wanted to be a BAAAD person. I wish my mama had loved me. You can't arrest me. It never was MY fault ... I never wanted to be a BAD person." The ambient music contrasts nicely with the words & lyrics, with a shadow of the underside of life - not far off from the truth. This is genuine, visceral music: FAT POSSUM RECORDS have provided us a vehicle to enjoy the music of this living legend of Mississippi blues. They have a great sense of humor, too. Inside the CD is a card to fill out with demographics, and a block of space, with the instructions: "trace your housekey here" YOU GOTTA LOVE 'EM!
Three "bonus" tracks are included: "Black Mattie" by Robert Balfour (a rather scarry piece of music & lyrics, too), "Pucker Up Buttercup" by Paul Jones, & my favorite of the three, "Laugh to Keep from Cryin'" written & sung by Burnside's ado[pted son, Kenny Brown, a great talent in his own right who has learned & apprenticed with this MASTER OF MISSISSIPPI BLUES, THE LIVING LEGEND! ... Read more

Amazon.com

While Frazey Ford of the Be Good Tanyas spent the year raising her new baby, band mate Trish Klein had time to record a second record with her other group. Like on their first record, Po' Girl takes the Tanyas' kitchen-sink mix of rustic sounds and adds a blues tinge. Musicians have always fused music from different genres, but now a full generation has grown up barely aware of musical boundaries. The age bracket that spawned Po' Girl is equally at home with country, rock, jazz, R&B, hip-hop, and punk. They are even able to seamlessly add a rapper to the half-time country tune "Take the Long Way" without a hint of preciousness—-a rapper that name-checks Patti Smith no less. --Michael Ross ... Read more

Amazon.com

Like 1999's tribute to Gram Parsons, Return of the Grievous Angel, this successful collection revives the tired "tribute" concept and applies it in homage to a key figure in country music. Interpreting songs from across Hank Williams's short and troubled career, a range of high-profile artists use different approaches with equally gratifying results. Tom Petty, Sheryl Crow, and Hank Williams III play familiar songs with traditional arrangements (Ms. Crow's yodel is an eye opener); Beck, Mark Knopfler, and Keb' Mo' stay closer to their own idioms. Keith Richards's reedy vocal makes "You Win Again" all his own, and Bob Dylan, who has only rarely lent his services to these sorts of projects, leads his touring band through a blues shuffle on "I Can't Get You Off of My Mind." The estimable Lost Highway label has assembled an illustrious cast to sing the praises of the artist who inspired its name, and in doing so it has created a far better testament to its musical mindset than can ever be captured in the term Americana. --Rob Stewart ... Read more

Reviews (27)

oh please understand
I never heard 1 single song by Hank Williams. I came across this CD just by browsing the musics shop country collection. I took a listen and skipped the first song by Bob Dylan, sorry but i dont like his voice.. Then came Sheryl Crow yodeling! Wow! So fresh and I loved the lyric..like a tragicomedy. Keb Mo is great blues. Beck...so sweet, a wonderful production...do I hear several old records mixed with todays music? Mark Knopfler and Emmylou Harris sing a perfect country duet...not campy or over the top but quiet and touching. Tom Petty then gives away a rocker that is so country it makes u wanna drive on a highway forever! Keith Richards then does a huge blues track, a highlight on this record. Emmylou again with Mark, very tragic song that makes me shiver. Hank III, what a punk, this guy just has it. Ryan Adams sounds like we all want to be sung too...so sensitive. Lucinda Williams...almost too much pain...the song makes me angry to the person it is addressed to. Finally Johnny Cash makes me cry over the memories about his mother. This CD is a work of art, believe me.

Hank in the 21st Century
Hank Williams' music is still thriving here in the new century. Some great artists have gotten together for this loving tribute to his music. Bob Dylan's expressive snarl rocks happily on "I Can't Get You Off of My Mind." Sheryl Crow's take on "Long Gone Lonesome Blues" is remarkable for how well she does country! Heck, we might have to stick her up there with Patty Loveless & Trish Yearwood! Blues master Keb' Mo's voice caresses the melody with a beautiful fiddle and transforms the classic "I'm So Lonesome I Could Cry" with a reading more wistful than sad. Beck's voice is fragile with a music box arrangement of "Your Cheatin' Heart." Mark Knopfler of Dire Straits fame does a churchlike take on "Lost on the River" with Emmylou on background vocals. One of my favorites is Tom Petty's country rocking on "You're Gonna Change (Or I'm Gonna Leave)." The beauty of the melody really comes out even if the lyric seems somewhat dated in retrospect where you "ball her out at night." Keith Richard's ragged voice is like Stones-go-country on the slow "You Win Again." Emmylou Harris takes lead on the sad lament "Alone & Forsaken." Another favorite of mine is Hank III's uptempo vocal on "I'm A Long Gone Daddy." The great fiddle work is classic and singing must be in his genes! Ryan Adam's "Lovesick Blues" works less well for me. The spare arrangement is fine, but the squeeky voice doesn't carry the melody. Lucinda Williams milks the sad, slow "Cold Cold Heart"; and David Mansfield's gorgeous violin is worth the price of admission. The song-talk style never worked well with me, and although I love Johnny Cash's voice, I'd have preferred a stronger close than this talked "I Dreamed of Mama Last Night." However, the strong points from Dylan, Crow, Petty, & Mo' more than adequately show how important Hank Williams' music continues to be in the 21st century! Don't miss it!

Aweful
Hank Williams is the King of Country. This CD is garbage. Exactly how can you have a Hank Williams tribute with Ryan Adams? Johnny Cash is the only one on this CD that really deserves to be. No one wants to hear Keith Richards butcher one of the greatest all time songs "You Win Again."

How can you have a Hank Williams tribute without Hank Williams Jr? He is the only person who can honestly do justice to Hank's songs. They could have at least had some better modern singers. Try country singers. Toby Keith, George Straight, etc. Not Keb' Mo. Not Ryan Adams.

Stay clear. It is garbage.

I am a huge Hank Williams fan....but
This CD is not very good. I do like Sheryl Crow's version of Long Gone Lonsesome Blues, and Tom Petty's version of "You're Gonna Change." Of course, Johnny Cash is a good choice for tribute. I find it hard to justify leaving Hank Williams Jr. off of here. To be honest I have never heard of Keb' Mo', or Beck.

I would recommend people who have never heard Hank to stay away from this. A lot of it sounds nothing like anything Hank would have done.

A better tribute to the best singer ever would include COUNTRY music stars. That would include Toby Keith, Travis Tritt, Randy Travis, etc.

Apart from Dylan and Cash, not much of a tribute
How hard it must be to cover Hank. Well, it shouldn't be. Dylan is good. Cash is classic. Some others are ok. Not very impressed, though, with the package as a whole. ... Read more

Amazon.com

Raised near the border of Texas and Louisiana, Marcia Ball continues to claim dual citizenship for her music, forging a rollicking roadhouse groove that has never sounded richer or more vital than it does here. With her piano style steeped in the soul of New Orleans, Ball and coproducer Doyle Bramhall enlist the Cajun accordion of Pat Breaux and the bluesy Texas bite of Pat Boyack's guitar and Gary Primich's harmonica on a collection that holds its own with the classics that inspired her. Highlights range from a duet with Delbert McClinton on Allen Toussaint's "You Make It Hard" to the supper-club sophistication of "She's So Innocent" to the album-closing homage to Huey "Piano" Smith, "You Make Me Happy." Though uptempo rhythm & blues dominates the selection, the open-hearted balladry of "Let the Tears Roll Down" and "I Have a Right to Know" brings out the best in Ball. --Don McLeese ... Read more

Reviews (9)

Marcia as good as ever
Marcia has been influenced by many different styles of music, predominately blues and roots rock but also including R+B, country and jazz - even some Cajun. You can find elements of all these in this album though some are more obvious than others. She has never been a prolific recording artist but her albums are all of the highest quality. This wonderful album, mostly of good-time music, shows Marcia singing as good as ever and backed by plenty of great musicians, although she only occasionally shows her dynamic skills on the piano.

The songs are mainly original (often written by Marcia) but also include covers of You make it good (a cover of an Allen Toussaint song featuring Delbert McClinton as duet vocalist), I have the right to know (originally written and recorded by Brenda Burns and also covered by Francine Reed) and I'm coming down with the blues (a Don Covay song from 1960).

Among the original songs, I particularly like Louella (on which Marcia makes more use of her piano than usual for this album), Thibodaux Louisiana (with a touch of Cajun). She's so innocent (an outstanding ballad) and You make me happy (a great song to close the album) - but every song here is brilliant.

If you like great rock music with a variety of other influences, this is for you.

Strong material, variable production
It's refreshing to hear music that's sung and played by a serious musician: Marcia Ball's exciting New Orleans-styled piano and her committed vocals are a happy invitation to an uplifting listening experience. This album sounds like it was recorded...in an actual *recording* studio? Yes, the air is a little tight around the mike, but do I hear a real acoustic piano?
The highlight of the album is "She's So Innocent", a kind of album sub-title, a mello and sombre ballad beautifully rendered by Marcia. This is the quietest slow number here and the most impressive. "I Have The Right To Know" is reminiscent of the best of Percy Sledge, with a dash of Domino (as in Fats). Like many of the selections, however, it runs about one minute too long. The Don Covay co-composition "I'm Coming Down With The Blues" is a great addition. It's a lesser-known slow number and it's soulful throughout.
The best uptempo item is "Fly On The Wall", actually a mid-tempo. The arrangement is perfect with backing vocals well mixed. A contender is the Ball composition "Louella", somewhat reminiscent of Frankie Ford's "Roberta" [aka "Loberta"], a fun lyric about some chick's penchant for making private business public. Must make a nice *set* entry.
"Count The Days" has an entertaining hook, but the arrangement is third-rate. With lyrics presumeably derived from the Presley-related "Milcow Blues Boogie" and a chorus possibly based upon The Beatles "All Together Now" you'd think this track would cook, but the mindless repetition of "...one, two, three..." and the length of the tune leaves one perplexed by a poorly integrated novelty effect. Maybe a fun after hours sing-along but not a number to hold the third position on an album by an esteemed artist.
The CD closes with Marcia's "You Make Me So Happy", an engaging track which directs you right back to Track One. Perhaps by leaving off a few numbers and simplifying a few more the album would really cook. Still a notable effort.
[Marcia is included on the Island Visual Arts video "Let The Good Times Roll - A Film About The Roots Of American Music"].

5 Stars Ain't Enough But It Is All That I Can Do
I am a long term Marcia Ball fan. Her music and piano boogie really energizes me. Recently she appeared in concert locally (Norman OK). I took my two daughters who are in their early 20s and who were not familiar with Ms Ball. They were both mesmerized by the talent and the music of this lady. Any of her CDs are a bargain. All of her stuff is fun. All of her music is hot ... hot ... hot!

"talent in the purest form...Marcia Ball"
Think of boogie woogie, zydeco, piano skills unmatched and a great expressive style...the result is Marcia Ball...memories of past releases come to mind ~ "Hot Tamale Baby", "Gatorhythms", "Blue House", "Let Me Play With Your Poodle" and "Sing It", all on the Rounder label, composer of blues with lyrics pouring straight from the heart...I'm a big, big fan, and this latest release from Alligator Records ~ "Presumed Innocent", spells a winner.

From ballads to New Orleans blues, Marcia keeps them coming straight at you, entire CD is a must have...don't pass this one up...Can't say enough, except...we need more of the same...so spin this, sit back and enjoy, cause' Marcia's so happy when she's with you...you're going to have a ~ BALL!

Total Time: 52:53 on 13 Tracks ~ Alligator Records ALCD-4879 ~ (2001)

Not what I expected, but I like it
I was shopping in the Amaxon's Alligator web site and I saw Marcia Ball, I bought it on a wim. Not hard blues but good, fun rythm and blues. Great stuff. I don't have any others, but I will. Great Piano by Marcia, and great guitar, especially on Thibodaux, Louisiana, A great rocking tune. Delbert McClinton stops by on Scene of the Crime. If you like old fashioned fun Rythm and Blues this is great stuff... ... Read more

Amazon.com

Texas roadhouse veteran Delbert McClinton hit upon his masterful mix of country, blues, and R&B stylings decades ago, but it took the Grammy-winning 2001 release, Nothing Personal, to fully showcase his talents. Room to Breathe, once again benefiting from a diverse selection of original McClinton songs, updates and embellishes the approach with most of the same participants present. McClinton uses his classic blue-eyed-soul voice with full authority and more than a little eclecticism, bouncing through "Blues About You, Baby" with an almost Jerry Lee Lewis boogie feel, while infusing the snaky "Jungle Room" with laid-back nightclub coolness. "Ain't Lost Nothin'," cowritten with producer Gary Nicholson and harp hero Kim Wilson, is the purest blues expression, although the piano-led ballad "Everything I Know About the Blues," a McClinton-Nicholson tune cowritten by Heartbreaker Benmont Tench, also works well. McClinton rocks through "Same Kind of Crazy," gets funky on "The Rub," and even conjures a distant Lynryd Skynyrd echo on the uptempo "Money Honey." Yet his biggest effort is saved for the star-studded sing-along "Lone Star Blues," a tribute to Texas complete with fiddle and pedal steel guitar and featuring an anthemic country chorus from a host of famous McClinton friends and fans.--Michael Point ... Read more

Reviews (14)

Pure McClinton!
"Room To Breathe" follows two really good releases, "One Of The Fortunate Few" and Grammy winner "Personal Best". In a way, it's unfortunate for Delbert that the prior two releases were so good as comparisons to those releases are now inevitable. Simply stated, "Room To Breathe" will not win any awards for best record of the year and does not rise to the level of excellence of the of the prior two discs. All that being said, the disc is not bad. Delbert opens with two upbeat country blues numbers that would have easily fit comfortably on either of the last two releases and then slips into a very interesting Tom Waits like number, "Jungle Room". "Everything I Know About The Blues" is a slow ballad, which seems to be a little out of step with the tempo of the rest of the disc. "Blues About You" is a Jerry Lee Lewis styled blues number. From there you get a good mix of regular McClinton fare until you hit the pitifully slow "Don't Want To Love You" which sounds as though it needs a couple of hounds howling in the background to complete the mood. Delbert turns it on again with "Ain't Lost Nothin'" and "Milk Honey" before ending things with the exceptional jazz flavored "New York City". Not enough oomph for 5 stars but a solid four stars nonetheless.

A little this.. a little that.. a lotta' good!
I am not a big country music fan, nor an R&B fan. I am kinda' a Delbert McClinton fan, but he can tire me quickly. This album, however, is a great mix of a lot of sounds. Track 9, "Don't want to Love You," is a beautiful, sweet, old-fashioned tear-jerker. Here is a portion of the lyrics:

don't wanna' love you any more
if I could I'd close that door
it's not the way it was
and it hurts me way too much
don't wanna' love you any more

don't wanna' love you any more
it's uncertain, that's for sure
it's time to face the fact
that you don't love me back
don't wanna' love you any more

I don't wanna' need you like I need you tonight
dont wanna' want to and live this kind of life
you give me just enough of what I want
to keep me hangin' on
don't wanna' love you any more

It's a pity that Amazon does not offer a clip of this song. No, it does not require any dogs howling in the background; it is not that far country. But I dare you to listen to this song and not be moved by it. It is Delbert's best ballad. Whew! Great stuff!

Great Album
"Don't Want To Love You Anymore" is worth price of album. Starkly simple, elegant, and the saddest love song I've ever heard. (This should have been the single!)

True Confessions
I have to confess something. I made a mistake. Delbert's new CD was released in September. While I always get each of his releases, I put this one on hold because of a professional review, "...on Room to Breathe ... a sense of going through the paces permeates the project. Chord progressions are predictable...not much compositional substance is evident." This guy must be hearing a different CD than the one I get; I'm sorry I waited 5 months!

Delbert McClinton's "Room to Breathe" is an excellent accomplishment. Delbert went through a creative period where he turned out a lot of songs and wa