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This four-CD box set remains the absolutely definitive B.B. King collection, with 77 recordings and a biographical book that contains the great singer-guitarist's own remembrances of his decades-long career. It samples every stage of his development, from his days struggling to craft his music in the shadow of influences like T-Bone Walker and Lonnie Johnson to his latter-day pairings with rockers like Bonnie Raitt and Gary Moore. The one constant is his open-hearted singing and the soulful, contemplative solos he squeezes from his beloved guitar Lucille. These discs, of course, embrace all his essential hits, from his first--1951's "Three O'Clock Blues"--to his 1970 smash "The Thrill Is Gone," which took King to the pop charts and made him a household name. If this package is too lavish for the budget, try the excellent Best of B.B. King, Volume 1, which collects many of King's great early works. --Ted Drozdowski ... Read more

Reviews (13)

You Need This Set
I was on the line of whether I just liked B.B. or really liked B.B. After I bought this box set I upgraded to loving B.B. This is one of the greatest collections of tunes I have ever heard. Muddy is still the king of blues in my book but B.B. definitely deserves to wear a crown too.

A Box Set fit for a King
I grew up on His Music thanks to My Family I became aware of Blues Music&also B.B King.this Box Set Highlights His Career Between Him&Lucille.His Voice&Playing are something else no matter what time period.on Guitar for me B.B. King has always had a Sound that no matter where you are in the World you know that it is Him.B.B. King is One of the Baddest Cats Ever to Make Music.His Story telling&VIbe is very Addictive.

"He paid the Cost , To be the Boss"!
I just bought this box set last week and have been enjoying it like no tomorrow. I have many records of the top Blues singers going back to Robert Johnson and Bessie Smith, but I do believe that this is the best "complete" set on one artist! Man can them songs take you back. If I knew that this collection was this good I would of bought it years ago when it first came out (1992). No matter what your Budget is ,if you are really into the Blues you should buy this set - even if it means eating half lunches for a week or two, you won't be sorry. After hearing these tunes "The Thrill is Back"!

A really like it but...
Due to some unfathomable screw-up, the 90 second guitar intro was cut off of Gambler's Blues! This is a great intro and you can find the whole song on the 2-CD Anthology or Classic Live Performances.

This set needs to be remastered and songs added to fill-er-up to near 80 minutes per CD. Though there is already 72-74 minutes per CD, there is enough other good BB to easily add 20 minutes more of music for the 4 CDs.

Fantastic!
BB King is an amazing artist and this box set is a must for whoever can get their hands on it. Now I know where the title Lucille came from for his guitar, which he so eloquently describes for us in the song, just great storytelling. The second disc is simply awesome with a great start with "Going Down Slow," an extremely well done live performance! You can completely imagine exactly what BB is talking about thinking about a young man coming up to Chicago and blowing all of his hard earned money on a good time, and being abandoned by all his "friends" when the money runs out. BB knows the blues, and he sings like he was right next to you during the hardest of those times, and somehow you don't feel so all alone and your problems don't seem as miserable. I can't imagine a more talented performer, he really captures your whole undivided attention. There are simply too many highlights to name, but get this set and find out a great artists' work! And this box set doesn't just take it slow, there are rockers (She's Dynamite), jazzy ballads (try "Don't Get Around Much Anymore"), smokey blues, blazing guitar, cool guitar, the whole gamut. This is entertainment as fine as can be found. Take your time with this set and really get to know it, you'll be really glad you did. ... Read more

Reviews (8)

Elvin's best from 1978, and live
I owned this double-live album back in the 1970's- its great, sort of a live greatest hits as it has the best songs from Elvin's previous studio albums that he recorded during the mid 1970's.
Elvin was guitarist with the Paul Butterfield Blues band in the 1960's. This album is a mix of country and blues. Its great to see they were able to fit the entire album on a single disc- over 70 minutes of music!

sure feels good, feeling good again
saw elvin on sunday 5/19 great live renditions of cuts on this cd
he has new members in the band,but does the numbers exceedingly well, a giant of the blues scene , with a trombone player and new lead guitarist that he does duets with

GEM of a live album
The guy who said Elvin couldn't sing doesn't have an appreciation for joyous noise delivered straight from the heart. I happen to love Elvin's gritty southern-style drawlin' 'n' twangin' vocals, but if that's not enough for you, Mickey Thomas is also here, as well as the obligatory black female background singers belting out the soulful "Yes Sir's" and "halleluja's" in fine fettle.This album, predominantly recorded in California theater style venues in '76, has it all in Elvin's inimitable style of country, boogie, blues, rock, gospel, and soul, all rolled into one, complete with bold brass, funky keyboards and superb slide and blistering lead guitar, all supported by a solid rhythm section.Included in the selections is a 6+ minute Muddy Water's blues tune, "Brown Bird," masterfully rendered, and a medley including the Sam Cooke blast from the past, "A Change is Gonna Come."This is a definite MUST for Elvin lovers, and for the uninitiated, this good time rock and soul live album rates with the best of them for pure pleasure and near perfect quality.5 Stars all the way!

A Fun Album To Listen To
I first bought this on 8 track in 1978 when it came out. I saw Elvin in concert in 1980 and had a blast. He's a great guitar player and it's displayed throughout this album. Travelin' Shoes, Raisin' Hell, Sure Feels Good, and Struttin' My Stuff are the best songs on this CD. I'm so glad this is back in print on CD because haven't been able to find it for years.

Better late than never...
This CD is a great study not only in Elvin Bishop's song library, but in the awesome sounds which characterized the halcyon days of the early 70's. Whether it be the gratuitous Moog solos on "Rock My Soul", or the "whacka whacka geetars" of "Stealin' Watermelons", these sounds will transport you into an LA club of the early '70s. I was particularly happy with the improvement in the quality of the horn section (F.Y.I- sitting in from Tower of Power...) which were tinny on vinyl. ... Read more

Reviews (5)

Sean Costello is better than Eric Clapton.
What is everyone missing? Sean Costello has got it all. He's got the voice, and the chops! His new album is just a little taste of how well he can cover the soul of the blues. All of his albums are great, he is definitely the next Blues/Soul great!

It's Still The Blues
This is Sean's first major label release and he fills every song with all the excitement and drive his independent releases offer. The new originals show maturity and style, it's his best all around effort to date.

I've got to say, if you don't think this is Blues, then you don't understand the genre. Check Sean and his band live and you'll get it, it's all Blues.

A modern classic!
This is an excellent record from Sean Costello. He's in his mid-20's now and has made some outstanding Chicago blues styled records and a great swinging blues disc (his first one). He's clearly maturing as an artist and this record has roots deep in the blues that he mastered so long ago. But its obvious that he's not stuck for the rest of his life trying recreate the Chess blues style recordings. The songs on this record clearly show that he also bears some influence from soul and R&B artists like Al Green, Sam Cooke, Bill Withers, and others. There are a couple of good blues cuts done only the way that Sean could do them. The originals are excellent and provide us with a glimpse into Costello's life. There is a lot of passion and soul from a great young blues artist. This one's bound to win some serious attention. The production is excellent and has a great warm, full sound like so many great recordings from the 60's and 70's.

But if you're looking for another album of Chicago style blues, this isn't it. Its got a mean streak of soul and R&B mixed into those Chicago blues. A classic album!!!

The other review saying this is pop music is completely off the wall. If you want to know what a young blues artist sounds like who's gone the pop road then check out Johnny Lang's or Kenny Wayne Sheppard's newest disc, total commercial pop-rock-blues.

I highly recommend it!

A Cool New Blues!!!!
I love this new Sean Costello record!
It's a cool hybrid of Soul and Blues. I especially like his version of Simple Twist of Fate (with Levon Helm from The Band on drums) and No Half Steppin' reminds me of a classic Stax song.
A great songwriter and his singing and blues guitar playing remain first rate. I highly recommend it!

Sorry, not my cup of tea...
I was really impatient to receive this CD that I ordered months in advance as soon as it was published on the Amazon's catalogue. The main reason being that I am a big fan of Sean Costello and I own all his previous albums that I rate, without doubts (all of them!) 5 star. Unfortunately for some reason that I cannot understand this one is not a blues album, but a sort of soul-pop-rock (with a hint of blues) - radio friendly, kind of music that is just not my favourite gender. So if you are expecting, as I was, to buy something in line with his previous works, I strongly suggest you should give this CD a listening before buying. Having said that, it could be that soul - pop audience will love this album. Sean playing is still top-notch and I hope that he will come back playing the "blues" very soon. ... Read more

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As the first artist on Chicago's esteemed Alligator imprint (and the reason owner Bruce Iglauer started the company), wild-man slide guitarist Hound Dog Taylor has attained legendary status. His crude, propulsive sound even inspired the label's "Genuine Houserockin' Music" motto. Taylor left behind only two studio releases and a live disc when he died in 1975, but Iglauer has now unearthed more previously unreleased material. Recorded between 1971 and 1975, Release the Hound contains a mix of studio and live material that is every bit the equal of Taylor's existing catalog--and even more raw and primitive. The six-fingered six-stringer explodes through a volatile collection of boogie, blues, and good-time shuffles that makes Elmore James sound like Keb' Mo' in comparison. Hound Dog and his riotous bass-free backing duo of guitar and near-tribal drums were not technical perfectionists, but they could sure fire up a party thanks to Taylor's combustive mix of scorching slide playing and magnetic personality. --Hal Horowitz ... Read more

Reviews (4)

Unreleased and raucous!
I was chomping at the bit when I heard this was going to be released. This new release of vault material contains 3 studio recordings and 11 live tracks. My appetite was whetted by the 2 unissued live tracks from these concerts included on the Hound Dog Taylor Deluxe Edition. For the uninitiated Taylor's band which featured Brewer Phillips on second guitar and Ted Harvey on drums (Levi Warren deputizes for Harvey on 3 tracks)is the blues equivalent of a garage rock band. Hound Dog's combination of a cheap Japanese guitar and his frenetic slide playing is unforgettable. Most of the tracks are live and although the sound may not be up to current standards, it sounds as good as most bootlegs and the energy of the performances makes up for any sound deficiencies. The live tracks are a mixture of outtakes from the live "Beware Of The Dog" album and various radio broadcasts. Among the unissued tracks is the energetic studio instrumental "Phillip's Screwdriver", a cover of Freddie King's "Sen-Sa-Shun" and the Howlin' Wolf tribute "The Dog Meets The Wolf". Taylor wrenches emotion from his cover of Elmore James' "It Hurts Me Too" and Taylor's autobiographical slow blues "Things Don't Work Out Right". Strong versions of Taylor classics like "She's Gone", "Sadie" , "Walking The Ceiling" and "See Me In The Evening/It's Alright" are among the other highlights. Every track whether an original or cover contains the distinctive stamp of the Houserockers. Taylor's slashing slide guitar and infectious sense of humor shine through making this one of the best vault reissues of the year. Highly recommended!

god damn!!! this is raw and furious!!! god bless hound dog..
god bless hound dog taylor. that's all. just god bless his guitar, his voice, his soul and his blues...
I'm a younger blues fan(25) from Chicagoland, and while I'd heard OF Hound Dog Taylor for the longest time, I'd never HEARD Hound Dog Taylor, y'know what I mean?
I read a review in the Illinois Entertainer about this album coming out and they described him as a cross between the blues and punk. That got my attention real quick, as I've also dug on punk rock my whole life...
went out to my local record shop, they had the promo, listened...and holy f&*^% s*^&^!!!! I immediately fell in love!!! It moved me in ways I love to be moved. it touched my heart. I wished to god I had been at the shows on the record. I wished I had gotten to see him play!! why hadn't I known earlier how INCREDIBLE Hound Dog was/is?
Hound Dog's slide is absolutely BLISTERING. his voice is raw and strained. the band(the houserockers), comprised of a drum kit and another guitar(yes, a 3 piece) is unreal. The album cover is a great painting by another favorite musician of mine and Chicago-via-Wales local Jon Langford(ex-Mekons). Inside the album tells some great anecdotal info on Hound Dog and the band and how they played for practically nothing and Hound Dog on a cheap Japanese guitar with a slide made from a brass kitchen table leg! hell yes! Hound Dog is raw and vicious and touxhes your heart all at once. If you dig slide, boogie, roadhouse-juke joint, punk and or blues...hell...just get it and be done with it. get bit by the hound dog and you'll never be the same again...
cheers hound dog

More fun than any of his previous albums...
I was turned on to Hound Dog Taylor by a friend in college. I always liked 'Beware of the Dog' but this album is even more exciting. There are some recording imperfections but chances are , if you're a Hound Dog fan, you're already used to this. Regardless, these performances are riveting and loads of fun. Don't wait on this one!

Another Great Live Album for Hound Dog Fans!
The one thing those who were lucky enough to see Hound Dog Taylor play live all agree with, is that he always put on the best of shows. Like the first live Hound Dog album, "Beware Of The Dog", on this 2004 release, Release the Dog, we can hear Taylor living it up with the audience both before and after he would get into a number, and like on his first live album, you can feel right down to your bones, just how grand he did play live.

If it wasn't for new technology, chances are we never would have gotten to hear this album, as the recordings were all very raw, with lots of tape hiss, etc. But most of that has been cleaned up, and we now get to hear a bunch of his songs live that we never before have, and if your a fan, you will be delighted at what you will hear.

The album, like so many of his past studio LPs, blasts off with an explosion from the Dog's guitar, with the Elmore James cover "Wild About You Babe". This live take is better than the one we hear him play on his debut album, and it's the best song on the album. But every live song on here is excellent, the man just had a knack for playing to a crowd! We get to hear him play "Sadie" with fine results, and another James cover, "It Hurts Me Too", is also tops. Then there is the slower number, "Things Don't Work Out Right", which sounds like a rework of his song "Freddie's Blues". It contains different lyrics - with drummer Ted Harvey adding background talk just like he does on "Freddie's Blues", but the music here is a bit more up tempo, with more of Hound Dog's guitar here than what is heard on "Freddie's Blues".

We also get to hear the original drummer for the Houserockers, Levi Warren on three songs, "She's Gone", "It Hurts Me Too", and " The Dog Meets The Wolf" (a tribute to Howling Wolf), which comes from the first live gig that the Hound and his band ever played outside of the Chicago area.

In addition to the live stuff, this LP also contains three studio recordings. Two are alternative takes of "Walking On The Ceiling" - which contains a nice drum solo by Harvey, and "Gonna Send You Back To Georgia", the song that would later metamorphous into "Give Me Back My Wig". The third studio cut is something that was never released before, "Phillips Screwdriver", an instrumental featuring Brewer Phillips playing a fine lead guitar, as Hound Dog lays down a heavy bass line.

The album closes off with an untitled little rap between the Dog and Harvey, which is priceless. What I reviewed here is the pre-released promo album, I only hope that they include this little gem on the official release.

Hound Hog has been gone for almost 30 years now, so hearing anything unreleased from him is cool. But don't expect something along the lines of the compilation, posthumous album "Genuine Houserocking Music", which was an okay album, but not anywhere as good as this one, which is great! What a true joy for all Hound Dog fans! ... Read more

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This reissue of the Boston favorite's 1995 debut clearly highlights her greatest strength: her voice. Susan Tedeschi has been singing since she was 4 years old, and it shows; her voice has the power and control that comes from long experience. If her version of "Hound Dog" doesn't blow the top off of Big Mama Thornton's original, it's still a strong effort, and she's just as good with her own material. The title track--penned by Adrienne Hayes, guitarist for Tedeschi's band--is especially good, as the slow tempo allows Tedeschi to stretch her pipes a bit. Unfortunately, even by the release of Just Won't Burn, Tedeschi's guitar hadn't caught up with her voice, and the discrepancy is even more obvious here--there's a spark, but it doesn't quite catch fire. Still, there's no question that her heart's in the right place, and if her guitar work continues to improve, there'll be no stopping her. --Genevieve Williams ... Read more

Reviews (26)

The makings of a superstar - Better Days!!
I bought Just Won't Burn on a whim at a music store and fell in love with it the same day. I heard this woman named Susan Tedeschi with this remarkable bluesy voice that so reminded me of Bonnie Raitt. And who doesn't love Bonnie Raitt. But I discovered Susan Tedeschi is even better. Her voice has that Janis Joplin edge on tracks like It Hurt So Bad and Rock me Right.

I recently bought Better Days and love this album too though it's not quite as strong as Just Won't Burn. But that's a good thing cause we want our artists to improve with each album. That isn't to say Better Days isn't great. The title track is well written and well sung. It's an amazing ballad-like blues song. I also enjoy Love Never Treats Me Right and Locomotive. I feel the best track on this set, though, is Ain't Nobody's Business. It's pure blues and shows us just how much talent this lady has.

I recommend this to blues fans, Bonnie Raitt fans, Janis Joplin fans, and just fans of artist who really can sing. Susan Tedeschi is a superstar and should continue to get more recognition from the public especially with a bigger record label. She is currently writing and recording songs for her new album. I hope she takes her time. I saw improvement with Just Won't Burn from Better Days. I want to see improvement again. But it's difficult to improve on perfection!!!

Great music, bad production
I love Susan Tedeschi and was thrilled to get a hold of this "pre-fame" CD. It's a great CD too. Full of powerful blues that are more reminiscent of Bonnie Raitt than of Janis Joplin.

The production on this CD is really pretty spotty. The first track "It's Up to You" has a very muddy quality to it and "It Hurts Me Too" is painful to listen to on headphones with the mixing from left to right channels constantly moving. Most of the tracks however, are adequately mixed.

All in all, this is well worth listening to if you're a Tedeschi fan, but her following CD's are far superior to this one. She just keeps getting better.

A good record
Like most people, I fell in love with Susan Tedeschi after hearing "Just Won't Burn". It became the soundtrack of my senior year in high school...so I immediately bought "Better Days", and at first listen, I was disappointed. Nothing seemed to click. It wasn't bad, just okay. I set it aside for a couple months and just recently started listening to it again. I don't know why I didn't love it before! Some of the songs almost have a country feel, like the first track. Most are mellow blues, but they still rock. I can't wait for the new album!

This gal knows how to play the blues!
I first heard Ms. Tedeschi when she opened for B.B. King in his year 2000 tour. What a night! I happen to be a big fan of the blues, and when I heard those performers, I was more than impressed! But Ms. Tedeschi stood out from the rest, because she expresses such a great amount of talent. You can tell that she loves her work! She can really play the blues, and her voice is just the icing on the cake!
It's hard to say which song on this album is my favorite. It's like trying to decide which one of your children you love more. But I will say that her interpretation of "Hound Dog" is not one to be missed. I would also have to say that the instrumental work on "You're On My Hair" is great! Not to mention, she can play a mean slide guitar! (When you hear "Locomotive" you'll know what I mean). I recommend this album to anyone who has a deep respect for the blues, you won't be disappointed!

Better Days
First I heard Susan Tedeschi's CD, Just Won't Burn, and I was hooked, then I went in search of everything she's recorded, and found Better Days. I love it! She rocks you hard, and breaks your heart, and moves your soul. You know how Marilyn Monroe could where a potato sack and still looked great? Well, it doesn't matter what Susan Tedeschi sings, it's all great! She's up there with the big leagues, like Stevie! ... Read more

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The premise behind this compilation is somewhat unusual: classic tracks, yes, but classic tracks recorded by John Lee Hooker... and friends. Charles Brown, Eric Clapton, Ry Cooder, Los Lobos, and Bonnie Raitt are only some of the performers who appear here, and the tracks, selected from recordings made by the prolific guitarist since 1988, show that Hooker hasn't lost his touch. Among the highlights, there's a smokin' duet with Raitt on "I'm in the Mood," a rendition of "Boom Boom" with a guest appearance from Jimmie Vaughan, and a reprise of Hooker's 1956 hit "Dimples" with Los Lobos backing up. Mention must also be made of the lone solo track on this CD, the acoustic "Tupelo," which hearkens to Hooker's Delta blues roots. There are also three previously unreleased tracks, which are probably the real reason to get this compilation. --Genevieve Williams ... Read more

Reviews (13)

Simply said, this album is a must-have for all Hooker fans.
Blues fans will be pleasantly surprised by this recording pairing the master himself with some of the finest musicians alive today. Special mention should be made of "I Cover the Waterfront" and "Don't Look Back" which feature the soulful voice and guitar of Van Morrison, as well as the familiar touch of Carlos Santana in "The Healer". Last, but certainly not least, adorers of Bonnie Raitt will love the playful duet she and Hooker provide in "I'm in the Mood".

BUY THIS CD, lower the lights, crank up the volume, and be swept away. You won't regret it.

A bluesmaster!
The photos of John Lee Hooker,at the booklet inside this cd,show us how old is this man,but no doubtly,his musics are still one of the most beautiful things at the modern blues. This album is marvellous in all the ways.The participation of artists such,Bonnie Raitt,Van Morrison,Ben Harper,Eric Clapton....is a great gift for John Lee Hooker,and all of the bluesfans! The voice of John Lee,is pure,fantastic,and .... eternally!

"Blues"
This 1998 compilation draws from John Lee Hooker's guest star-heavy Virgin/Point Blank albums, mostly ignoring the solid Hooker-songs in favour of the attention-grabbing, star-studded duets featuring Robert Cray, Bonnie Raitt, Eric Clapton, Jimmie Vaughan, Los Lobos (!) etc.

Almost all the duets from "The Healer", "Boom Boom" and "Mr Lucky" are here, the good one ("I Cover The Waterfront" with Van Morrison) and all the mediocre ones.
John Lee Hooker's original versions of these songs are almost all significantly better than these overblown re-recordings, which means (as Stephen Thomas Erlewine said in his review) that this disc is primarily for listeners who like to think they like Hooker, but really just want to hear Eric Clapton wail away.

Super CD
Absolutely a gem no doubt about it. You will not go wrong with this cd.

Some Blues Greatness Here
If you love the electric blues and blues slide guitar, this is a must-have album for your collection. Many of the songs are instantly recognizable blues patterns that have set the style for generations of blues and rock superstars. John Lee Hooker is on a par with B.B. King, Robert Johnson and other classic great blues artists. The repertoire of session musicians from the likes of Carlos Santana, Jimmy Vaughn, Bonnie Raitt, and Eric Clapton are not to be missed. John Lee Hooker set a blues standard - get this album. ... Read more

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The blues world lost a treasure when Luther Allison died in 1997, just as he was finally garnering the recognition he so richly deserved. If there's any question of that, this live album, recorded at the 1995 Chicago Blues Festival and at Buddy Guy's Legends, will dispel any such notion. A performer and songwriter of the first order, Allison had the sort of mastery of his instrument that comes from long experience; whether rolling off licks on the "Gambler's Blues/Sweet Little Angel" medley, or playing extended solos on "All the King's Horses," Allison's on the ball and in control at all times. This album contains mostly newer material previously recorded for Alligator Records, like "Soul Fixin' Man," "Bad Love," "All the King's Horses," and "What Have I Done Wrong?" Overall, this is an excellent memorial to a musician who should be remembered. --Genevieve Williams ... Read more

Reviews (27)

Luther Live @ Chicago Blues Fest
Bluesman Luther Allison grew up on Chicago's west side, learning his chops from such legends as Freddy King, Muddy Waters, Howlin' Wolf and Magic Sam. After several successful records with Delmark and Motown, Allison moved his base of operations to Paris in the early 1980's, and from there he toured and recorded extensively, becoming a blues favorite to European audiences.

Absent from the American blues scene for many years, Allison crossed the Atlantic in 1994 to retake stateside audiences by storm and promote his then-new Alligator Records release, "Soul Fixin' Man." I was one of the lucky ones in the audience when Luther rocked the house @ Buddy Guy's Legends. I was a freelance writer at that time, and my notes of that gig read something like this:

"Around 9:45pm on Friday June 10th, seismic monitoring stations as far south as Joplin, Missouri reported tremors registering as high as 5.1 on the Richter Scale. Small boats on Lake Michigan were swamped by huge waves....politicians, fearing that The End had come, repented and gave spontaneous confessions of perfidy to tabloid reporters....Christians fell to their knees and praised God, shouting "The Rapture is here!"....others cowered like dogs and wept bitterly, knowing themselves damned....and fearing a massive rupture along the New Madrid fault line, the National Guards of Illinois, Iowa and Missouri were nearly mobilized before anyone realized -- it was just Luther Allison tuning up."

It was wall to wall and floor to rafter with stone-drunk blues fans (most of which still hadn't sobered up from the Bluesfest) when Allison and his wrecking crew took the stage, playing with total abandon and whipping the house into a frenzy with two sets that were marked by long winding solos and incendiary guitar work. The fact that Legends still stands after Allison's earth-shaking performance is some kind of tribute to Chicago building codes.

Sitting at the bar taking it all in were Buddy Guy and the father-son double whammy of Lonnie & Ronnie Brooks. There was much speculation in the crowd that one or more might join Allison onstage, but such hopes never materialized -- and Luther didn't seem to need any help anyway, except maybe someone to hose him down every half hour or so.

All too soon, the lights went up, the band stepped down and all that was left to do was to go outside and watch an unidentified taxi driver hose down several panhandlers with a super-soaker watergun....I walked to the bus stop, feeling the last rumbling echoes fade, knowing that, for sure, I had been in the presence of greatness.

This is Luther Allison live, in his element, at the very height of his considerable talent. This recording belongs in any serious blues collection.

God I miss this man!
I can't believe this man is gone. We are fortunate he left us with Live In Chicago. As said in another review, Luther Allison is Blues....he's Rock and Roll...he's Funk...he's Soul. But beyond all else he wraps these all in an unequaled energy and passion. The two performances are quite different due to the venues. He was a master at adapting to the space. The disc from the Chicago Blues Festival is more wide open, the second at Buddy Guy's is more soulful, pointed at reaching deep into his audience. I must second a comment made in a prior review...you will be haunted by the power of Luther Allison. Over the years I never missed a chance to see him live. We'll never be able to see him again...but Live In Chicago is a marvelous set of memories of this masterful artist. I salute the Alligator Records people for bringing it to us.

I Blew My Speakers Listening to Luther !!!!!!!!!!!!!!!!!!!
I'm gonna make this short, I own thousands of cd's and have seen hundreds of live performances over the last 30+ years so I feel qualified to make this statement, Disc One of this 2 cd set is the greatest live performance I have ever heard! I have no doubt about it. Everytime I listen I am reminded of his greatness. Listen to how intense he does "Cherry Red Wine", I just wish I could have been there. Does anyone have a video of this?

One of a Kind!
Luther Allison is one of a kind! You can literally feel the passion Allison put into this perfomance. Solo's like the one in Cherry Red Wine are hard to come by. Allison melts the frets away during this solo. This live performance in Chicago is unique and certainly worth getting. For any Blues, Jazz and Rock fan or any person that appreciates fine music this is a must have for your collection

Wish I was there.
As a blues fan and guitar player I'm constantly looking for CD's to provide inspiration and listening enjoyment, this live performance would bring tears of joy to Hendrix! The tone is great and Luthers fingers are flying, we've lost one of the greats. Number 1 in my collection. ... Read more

Reviews (1)

early and dirty
By far my favorite McClinton album. Stripped down to the basics, his talent shines through much more than in recent releases. Not cluttered up with a load of guest atists. Some great R&B! ... Read more

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The former members of the Detroit alternative rock band Second Self were workingon demos for a new record deal in 1992 when they stumbled across a blind street singer afew blocks from their studio. The young musicians were so struck by the older man'sraspy, booming, soulful voice that they invited him into the studio to record a few tracks.The resultant quintet, Robert Bradley's Blackwater Surprise is named after the veteranbusker and is dominated by his anachronistic, bluesy growl and his eccentric songwriting.Like the late street-singer-turned-major-label artist Ted Hawkins, Bradley is not a bluestraditionalist. He loves the soul music of the '60s and '70s, but the experience of playingthat material on an acoustic guitar on sidewalks created a hybrid sound that's neither oldfolk nor new pop. And when he started writing his own songs in this weird genre, hecame up with arrestingly personal testimony, like his plea to the "Governor" to turn hiselectricity back on before the singer's woman walks out on him. Or his memories of hisyouth "Once Upon a Time" when Marvin Gaye sang and the world was full of dreamsthat slipped through our hands. Because Bradley's bandmates come out of a differenttradition, they avoid the usual R&B clichés. They also provide surprisingly sympathetic,admirably restrained backing to his peculiar vision. --Geoffrey Himes ... Read more

Reviews (31)

Hot, Original Sound
My first introduction to RBBS was their video for "Once Upon a Time" in the spring of 1998. I immediately picked up the CD and have been listening to it ever since. I wouldn't necessarily label this a "mood" CD but it's a sweet album for a bad day. A nice collaboration of blues, rock, soul and r&b, this CD has something for every taste. Personal favorites include "Governor", "After Your Love", "Bellybone" and "For the Night. The lyrics speak of remembering times past, loves long ago and living in this moment. A very nice diversion in a time of musical conformity. Pick it up.

Rootsy Soulful Rock
I saw this group years ago on MTV but forgot their name. Then one day, I remembered and ordered the CD. This hasto be one of my all time favorite albums. The voice and songwriting of Robert Bradley comes straight from the soul. You actually feel like he is putting all he has into each song. His style is bluesy yet has definite soul music influences. The rest of the band are talented as well. The album isn't overproduced and doesn't take away from Bradley's rough yet soulful sound. The standout tracks are "Once Upon A Time" and "California". But the whole album is great.

Blues/Rock fusion at its finest.
Robert Bradley's Blackwater Surprise is just that, a surprise. I first caught RBBS on Mtv a few years ago, when the video for "California" was being played.(Back when Mtv actually played music with out intrusive artist voice-overs or worthless man-on-the-street shout outs taking up 25% of the screen!) I became absolutely enthralled with this music. In this age of rap/rock [copiers] and divas screaming out re-hashed versions of songs that [stunk] the first time around, RBBS is a refreshing trip back to the days when music was about expression and storytelling, not money. I HIGHLY recommend this album, and all the other albums this band has released, to anyone interested in finding out what music was like before musicians were required to pump out as much radio-friendly drivel as possible to fulfill their contractual obligations.

Didn't this used to be the Motown sound?
The first word that popped into my mind when I heard this album (completely by accident) was "funky!" An amazing rhythm and sound that any blues lover shouldn't do without! Who's responsible for hiding these guys from the general public??

Awesome--10-5-00
A good friend of mine introduced me to this album about 2 months ago and I can't get enough of it. I believe this album to be the all-time best blues album I have ever heard. "Governor" may be the best blues song in music history as far as I am concerned. Buy this album, you will not regret it. ... Read more

Amazon.com

It may be cruel to dismiss Chris Duarte as just another Stevie Ray Vaughan wannabe, but it's accurate. There's not an original sound or sentiment on this debut album, right from the copped licks of opener "My Way Down" to the environmental cautions of the finale "Borrowed Love." Duarte is technically adept enough to get many of the late Vaughan's guitar mannerisms right, from his rich-but-brittle Stratocaster tone to the turnarounds he uses to set up his solos. He's a pallid vocalist, however, which doesn't help plead his case as an emerging talent. In fact, four years after this debut--which beat both Jonny Lang and Kenny Wayne Shepard to the record stores--Duarte has yet to make his mark. --Ted Drozdowski ... Read more

Reviews (27)

Crank it up loud....better yet...put the headphones on THEN
crank it so you don't miss a single note!!! Amazon.com got it right when they said it's easy to dismiss Chris Duarte as an SRV wannabe, but what's wrong with that? Since SRV isn't with us anymore, someone has to try to fill those awesome shoes. Chris comes as close as anyone I've heard! Listen close and you'll find that Chris is MORE than SRV reincarnated...you'll hear Hendrix, Ted Nugent, Eric Clapton, and probably one or two others in his stylings. The point is, this CD will get your blood boiling, your toe tapping, and you'll be playing kick A#$ air guitar from the first lick!!! My favorite track? Without a doubt...C-Butt Rock. Sure it's just a plain old 12 bar blues riff, but Duarte really shows his stuff here. Buy it, enjoy it, and CRANK IT UP!!!!!

A Stellar "Must-Have" Piece of Guitar Work
To paraphrase my brother, who is a both a devoted guitarist and a devoted student of many playing styles (from D'Jango to Jimi), Chris Duarte manages to combine influences from many, many other fine artists and yet retains his own unique style. His music ranges from straight-ahead [...] rock to liquid, buttery-smooth jazz, blues and soul. If you expect ANY of his albums to be consistent and uneclectic, forget it. If, however, you delight in amazing, incindiary, surprising and listenable ear-candy, ALL of Duarte's work is a treat.

While you're at it, look him up on the Web and plan on seeing him in concert. I did, at some little biker dive in Topeka, KS. Spent most of the time there in slack-jawed amazement at him and his band. God only knows how Duarte wrenches so of the music he gets out of that strat, but it's well worth hearing.

This album and it's predecessors are more polished versions of the Duarte magic. I highly recommend you spend a few $$$ and buy them. Your ears will thank you.

check out this man's guitar tone
I think you almost have to be a guitarist to really appreciate Chris Duarte. For me his tone alone is worth 4 stars. He gets the most exquisite Stratocaster tones I've ever heard on any recording, period. (Hey if anyone out there knows what kind of pickups he uses, let me know. I know about his effects, amps, etc, just no info on pups.) Even SRV wasn't this tone-sculptured. Aubrey Freed used to be my hero in this dept; now it's Duarte.

I like the songs on this CD, too, fairly good composition. I would give the CD five stars if it showed just a tad more originality, both compositionally and stylistically. But man, that tone -- I've played strats for 30 years and couldn't be more envious.

TAKE IT FOR WHAT IT IS
First let me say I love this CD. At times he does sound like Stevie Ray, but so what! At times Stevie Ray sounded like Hendrix, should we crucify him for that? Everybody has influences. I love the blues but let's be honest, how many blues guitarists are actually doing something TOTALLY original that hasn't been done before? Chris Duarte is not the first musician to at times sound like someone else. I wish the production was a little beefier but I like this CD alot. In my book he's got nothing to apologize for.
www.electriceyes.us

Impressive Debut From the Texas Guitarslinger
It's impossible to write a review of Chris Duarte without invocking the name of Stevie Ray Vaughan. Duarte, a fellow Texan, is obviously a disciple of the late, great guitarist. In fact, Duarte dedicates the nearly ten-minute instrumental "Shiloh" to Stevie and his brother Jimmie. But while Duarte may have been influenced by the Vaughan brothers, he is no imitator. Duarte's guitar playing is both fiery and inspired. His vocals are serviceable, but it's his guitar playing that brings me back to this album time and again. I caught him live a couple years ago and his performance was dazzling. This is an impressive debut. HIGHLY RECOMMENDED ... Read more

Amazon.com

The Be Good Tanyas broke out of Vancouver with a style that mixed mountain music with just a hint of urban funk. Po' Girl, an offshoot project with BGT singer-guitarist-banjo picker Trish Klein and another Vancouver folkie, Allison Russell, mines a similar vein of back-porch, acoustic intimacy, but moves the music from the hills and hollers of Appalachia to the moss-drenched balconies of Nawlins. Russell's singing evidences a slurred, breathy quality similar to Klein's BGT partners Frazey Ford and Samantha Parton--the Vancouver sound seems to involve a sort of mumbled, intermittently intelligible delivery that is no less evocative for being difficult to decipher. On "Bad Luck Day Baby" Russell breaks it up with bluesy belting that recalls a more energetic Norah Jones. "Bleak St." shows that, like the Tanyas, Po' Girl can groove without getting loud, and they write songs that rest comfortably alongside classic tunes like Lester Brown's "Abilene." They may even be great songs: it would be easier to tell if you could understand more of the words. Still, BGT fans won't be disappointed, nor will anyone interested in what folk might sound like in the future. --Michael Ross ... Read more

Reviews (5)

Beautifully Melodic Urban/Country/Folk
Sorta Nora Jones in a country-folk-blues kinda way--breathy, sexy, whiskey-and-lemonade-on-the-porch music. Get it, it's lovely. If you like the Be Good Tanyas, this is somewhat of a departure but well worth it.

great stuff
If you like the be good tanyas, this is similar but more jazzy.

Taking it to the Limit
Give Po'Girl a listen and before you've reached the middle of "Gone in Pawn (Shake Sugaree)", you realize you know this voice. Allison Russell, the half who is the triple threat combo of clarinet, pennywhistle and vocals, is a Natalie Merchant, an Alana Davis-even a smoky Norah Jones-all rolled into one lavish package. She's some kind of human Swiss Army knife of her own design for sure, wearing influences so thick in her nuances alone, she'll hardly get the appropriate names out her mouth before you end up hearing them yourself. Combine her talents with the Be Good Tanyas' Trish Klein (vocals, geet, banjo, harp) and collectively they're some kind of new folkie Indigo Girls persuasion. While the latter girl duo may write the songs you can sing warming yourself by the mountain campfire, Po'Girl goes good with the laziness most often associated with the sentimentality of summer. And, when not standing up to their fullest heights with their Street Poet hats atop their heads, they're the ones slouching on the sidewalk just outside the best coffee shop in town, providing a soundtrack for the sipping urban beatniks.

For inst, they sound much too lovely to make a believable case of the battered wife in "What Sad Old Song?", but when they're singing about repeatedly jumping right out of their skin ("Malaise Days"), it seems rather appropriate. Right down to the part of the tune where they're expressing all kinds of slacker angst on seeing a bad band, referring to them as "imitation cowpokes" out of Nashville. Po'Girl end up playing the angry card, but we know they don't really care all that much. And we like that they don't care. We hate the band they hate, too, but we're too distracted by the relaxed vibe they've sustained to allow us out of the smiling happy stupor for very long.

And if rhythm & blues is able to attach the neo-soul genre to it, however loosely, country & western should, at the very least, have a name for the branch of gutsier, more honest country-pop hybrid that's being so skillfully created. Uncle Tupelo got the jumpstart on creating alt.country, sure, but they had the appropriate blend of twang and rawk to be considered the pioneers of the term. What we need is a brand of neo-western to call our own. Now, to pigeonhole Po'Girl into country would be more than a little absurd; they flirt with the folk, gospel, blues and old-time jazz variety of things, just because they can. And, to take it further, a band covering Tom Waits' "Ice Cream Man" midway through one of its own tunes, while appealing to the hipsters in the room, may not allow it to pass the neo-western grade.

But if qualifications rest around stripping themselves of the glam so often associated with the 800 lb. gorilla of, say, Dolly Parton in a new wig and enough Revlon to make Tammy Faye jealous, they might consider themselves forerunners. Their banjo sounds quite perfect when the picking begins in on "Shameless" (as does, let's be honest, the entire song-thanks to Jesse Zubot and Jesse's fiddle). And trying their damnedest to make the jumble of sad songs reflect the fact that, on an especially bad day, they might actually reflect their melancholy prose should they try really, really hard, they're nearly there. Bonus points for tackling the hidden standard "Do You Know What It Means to Miss New Orleans?" and for even pulling it off fairly well.

Could have been great
I loved Blue Horse, by the Be Good Tanyas, so I was very interested in this CD. Upon the second or third listening, I couldn't help but wish that Frazey Ford had done the vocals. This CD is so much better-produced than the Be Good Tanyas, has a better sound, and the songs are good. But Russell's vocals are so mellow, so lacking in passion and strength, that you wonder if she's half asleep. It ruined it for me. I don't know why so many female singers opt for this very toned down, ultra quiet way of singing. It lacks heart. Frazey Ford, on the other hand, can sing quietly, but her voice has so much feeling that you sense she is putting every ounce of her emotions into her songs. This album doesn't quite warm you through - you find yourself analyzing their stylistic choices instead of just letting the music take you away. If I hadn't fallen inlove with Blue Horse, perhaps this review would be somewhat less critical. But when you have a member of one group forming another group, (Trish Klein)comarisions are inevitable.

The spirit said, "Sing!"
Great bluesey, folky album. Mostly acoustic, reminders of Keb Mo, Eric Bibb, a little Indigo Girls harmony, touch of the Beatles in one of the songs.

I bought it from Amazon Canada before it was available in US after hearing samples on their website.

Get it. ... Read more

Amazon.com

What's still surprising about this trio is their unquenchable thirst for fresh inspiration, which they find here in songs by Bob Marley, Hank Williams, and Townes Van Zandt among others. And, after 25 years together, guitarist Wendell Holmes, his bassist brother Sherman, and drummer Popsy Dixon still have the unique ability to transform their sources, which explains why Williams's "I'm So Lonesome I Could Cry" crunches with garage-band raunchiness and Marley's "Concrete Jungle" unfolds as a folk-blues spiritual. But original tunes like the Chuck Berry-style stomper "Run Myself Out of Town" and the gentle ballad "We Meet, We Part, We Remember" prove they needn't look further than their own songwriting for great numbers that play to their long-developed strengths: gentle and soaring three-part harmonies, respect for economical grooves, and virtuosic guitar melodies. It all serves to further their distinctive blend of the roadhouse and God's house. --Ted Drozdowski ... Read more

Reviews (5)

Simply boring!
I read the reviews on this CD and based on them, purchased it. It's one of, if not the most, diappointing purchases I've made on Amazon. The production and performance quality are both marginal. I've tried to listen to the CD multiple times and can't get through it. I enjoy all types of music, but primarily listen to Blues, this CD made me blue.

'nuff sed
Saw them at the Strawberry Music Festival and...WOW! Their live performance was excellent, the next morning's gospel "workshop" sublime! The album, while testimony in itself to the quality of this band, only begins to showcase the harmonies, the musicianship, the soul of this trio. Not a skippable song among them.

Next best thing to live...
You can get this cd if the HBs aren't coming to your town, or to remember how great there were when they DID come, but don't miss them live if you can make it: More great sound comes out of this trio than you could ever believe,(if your eyes were closed).

Worth getting
I had one other Holmes Bros album which was slick & produced to death & had given up on them in spite of hearing that they are amazing live... I picked this one up & it's different! Raw, engaging & full of inspired covers. Some nice guitar, unique singing & harmonizing... highly recommended. Pick it up.

This is the real deal
If you want something that's straight from the heart and pure to the artform then you'll love this latest work from the Holmes Bros.
It's somewhat eclectic, giving you blues, old school R&B and a bit of gospel,they even cover two Hank Williams tunes doing a great job on " So lonesome I could cry "
The music is uncluttered and straight foward supporting the soulful vocals perfectly. ... Read more

Reviews (5)

Together for the First Time BB King / Bobby Blue Bland
One hell of a great Soul album. Every track will knock your lights out a little more than the last one did. Its constantly building up to to the finally and leaves the listener begging pleading,for more.
Luckly, there is a Volume 2 named Together Again and it too will knock your socks off. Both of these albums, totally bring the pure excitment of being at the live show. I have seen both artists on numerous occasions, and these CD's are the next best thing to being there in person.

Great joking between performers, and the Soul is that type of Soul that is dripping with grease, and like Tina Turner says, "Nothin no good without the grease. These CD"s should be sold with moist towletts included. I'm ready anytime for Volume 3. Take the hint BB & Bobby.

this is a must have masterpiece
i was 10 years old when my father bought this on 8-track. i enjoyed it then and i still do. if my house caught on fire, this is one of the cd i will try to save.

Thanks to my Mom
when i was a Little Boy My Mom bought this Record&i enjoyed it alot.not knowing that much about B.B.King&Bobby blue Bland.but the way the two Artists Connected I wanted to know more.and as time has gone on this Live Album has become one of my All-time faves Live.you feel the Fun&High level Quality all through it.this is Classic Music&alot of Fun.

A great pairing.
Two legends in the world of the Blues, who have nothing but fun as they work together. A phenominal live album, which captures the joy they share in their work.

Hard to have much of the blues listening to these men, as they weave in and out of each other's lines in classic songs like "Don't Want a Soul Hangin' Round", "Its My Own Fault Baby", and "Three o'clock in the Morning". They both know the words, and neither once cares at the liberties taken in the lyrics by the other. For this reason (and just the fun they obviously have), this is probably not the album one should purchase as an introduction to this genre.

The songs herein have been done by this pair a million times, so they each know where they want to go (and more interestingly, how to throw the other just a tad off stride). Nothing but a lot of fun, though, as these two masters kid back and forth with the other.

Singing the blues has never been this much fun. Neither has listening.

blues that make you smile
Much of bb king's stuff is "more of the same" but I can't stop listening to this one. It is a very casual and very inspired recording that is technically very well recorded. Just try not to smile as BB and Bobby try to catch each other in verses with no obvious rhyme. It is equal parts blues, soul, intimate riffs, big groovy horns, house rockin music, and down home storytelling. The interaction of these two artists with each other and with the audience is first class. Definately an overlooked gem. ... Read more

Amazon.com

Until this album was released in 1978, Albert Collins hadbeen a journeymanTexas bluesman, little known and unrecorded for six years. Hisguitar playinghere won him a new generation of fans, and set the stage for thepopularity heenjoyed until his death. His clustered, sustained, choked, andbent notes,played with his thumb and fingers, set a generation of pickersagog. The tonewas piercing; the timing impeccable. Collins' vocals were neverquite asstrong, but it scarcely mattered as he was the man for whom theelectricguitar might have been invented. The eight songs on this setinclude "When theWelfare Turns Its Back on You," and several jaw-droppinginstrumentals.--Colin Escott ... Read more

Reviews (13)

A Blues Master
Albert Collins was one of the most unique blues pickers to grace the stage. Tuning his guitar to alternate tunings and using a capo, he would walk around the bar with his 100-foot cord wandering into the bathrooms, out on the street, around the bar playing the blues all the while. He mixes his blues up playing soft, slow blues, and powerful instrumentals. Sometimes his topics are serious, other times his humor comes through. Collins was quite the entertainer.

Although "Ice Pickin'" is a short album, it is jammed with the blues over eight tracks. In such a short amount of time, Collins covers a lot of ground. From his upbeat "Honey, Hush!" to making his guitar talk the argument between him and his wife on "Conversation with Collins" it is nothing but enjoyable. He shines with instrumentals like "Ice Pick" and "Avalanche". His phrasing is like talking. Never to many words, and he can get his point across with hardly any effort. Humor shows through in "Too Tired", where he's too tired to stand after sitting on a pin, and "Master Charge". He also gets heavy on "When the Welfare Turns Its Back On You" and "Cold, Cold Feeling".

A definite master of the guitar, and the blues. He has entertained many a people over his life. As he said in the movie "Adventures In Babysitting" - No one leaves until they sing the blues. He sure did.

The Master of the Telecaster in Fine Form
When people refer to the late Albert Collins as the "Master of the Telecaster", it's for a good reason. The Texas bluesman was known for the unique, instantly recognizable sound he wrung out of his guitar. Playing a specially tuned Fender Telecaster with his bare fingers instead of a pick, Albert got a sound that was dynamic and powerful, yet never lacking in soul. He could shake the walls playing a driving shuffle or send chills up your spine with a gut wrenching slow blues. His backup band, the Icebreakers, always provided exceptionally tight accompaniment. Until his untimely death of lung cancer in 1993, Albert was one of the most in demand performers on the contemporary blues scene.

"Ice Pickin'" is Albert Collins' first recording for Alligator records, and finds Albert and his band in fine form. The CD kicks off with the up-tempo shuffle "Honey Hush", a showcase for Albert's guitar and wry vocals. The band slips into a low-down groove for the powerful slow blues "When the Welfare Turns its Back on You." On this tune Albert shares solo space with Chicago sax man AC Reed, and is backed by a soulful horn section. The horns return in the next track, a funky instrumental groove called "Ice Pick." "Cold, Cold Feeling" is a mournful minor key blues that gives Albert plenty of room to stretch out on guitar, and showcases some of his most soulful singing. "Master Charge" is a modern day blues classic, featuring a funky rhythm section and tongue in cheek lyrics about the dangers of credit card debt. "Conversation With Collins" displays a similar tongue in cheek attitude, as Albert tells amusing tales of his domestic life with musical accompaniment. The disc concludes with the driving instrumental shuffle "Avalanche", another showcase for Albert's no-holds-barred guitar playing.

With its spectacular guitar work, tight rhythm section and soulful horn arrangements, "Ice Pickin'" is a contemporary blues masterpiece. After listening to this CD, you just may find yourself wanting to hear more of the Master of the Telecaster at work. "Frostbite", "Live in Japan", and "Showdown" (with Johnny Copeland and Robert Cray) were all recorded for the Alligator label, and feature Albert at his best.

Can't beat this one
Here you have one of the classic electric blues guitar albums with a great selection of tracks that can't be beat.

One thing that often doesn't get discussed in these reviews is what setting the music is good for. After all, unless we are professional critics, we don't often have time to just sit down and listen to a CD. This one is good for doing housework, driving to work, late night listening, eating breakfast to, working in the yard, just about anything. If you like blues, you can't go wrong with it.

Ice Age
I miss the Iceman. He was as funny as he was a serious musician. His sound was telicious.

You Just Gotta Laugh
Ice Pickin' is far and away the most enjoyable blues disc in my collection. Albert Collins brings an attitude and sense of humor to this record that I have not heard in any other blues recording.

The subject matter is all too familiar for a blues record: woman trouble, money trouble and just plain trouble. However, in songs like "Master Charge" Albert sits back and says, you just gotta laugh.

The guitar work is central to each track, with Albert letting his fingers tell the finer points of each story. The highlight of the record is the hilarious, "Conversations with Collins," where Albert tells the guys what happens when he decides to be a nice husband and let his wife have a night out on the town.

Great Blues and Great Fun. ... Read more

Amazon.com

B.B. King, probably the most celebrated living blues player, has come a long way from Itta Bena, Mississippi, and this CD illustrates just how far. A series of guest shots by such artists as Van Morrison, Tracy Chapman, Eric Clapton, Mick Hucknall, Bonnie Raitt, Dr. John, Joe Cocker, Marty Stuart, the Rolling Stones, and Willie Nelson, Deuces Wild is far removed from the blues King played in the '40s and '50s. It's more like psychodrama, especially in the case of the Cocker track, "Dangerous Mood." Nobody here, celebrity notwithstanding, is just going through the motions. The album's crass concept is redeemed by, among others, drummers Steve Jordan, Jim Keltner, and Charlie Watts. Although it's an overblown international project with no affinity for the meaning of the blues, the players and their love for the music triumph. --Stanley Booth ... Read more

Reviews (27)

Do yourself a favor and buy this album
If you like blues, B.B. or any of the artists on this CD, you gotta have this one. On a B.B. CD you usually don't have anyone to compare him to. Now listen here and understand why he is the King of the blues singers. Everybody is great but only Joe Cocker really comes up to his level. Great duet with Dionne Warwick on "Hummingbird" which B.B. recorded years ago. Check out B.B. next to Clapton, Jagger, Richards, Mick Hucknell, etc. etc. etc...get those credit cards out now!!!

A royal flush
B.B. King got to be the King of the Blues for a good reason. He is a phenomenal blues guitarist and a great vocalist to boot. Then you add an incredible presence and charisma and you get the man who is called King. No slight is intended toward Freddie King or Albert King but B.B. is the true king of the blues. This album is filled with great tracks. Paying the Cost to Be the Boss (featuring the Rolling Stones) is one of the highlights for me. I also like the duet of The Thrill is Gone with Tracy Chapman. Bonnie Raitt who also did a fantastic duet with John Lee Hooker in the late 80s shines on Baby I Love You. I could go on forever about what B.B. King means to me but it would take too long. Just do yourself a favor and buy this CD. This is a great celebration of a true American icon.

A blues master having fun with some friends
A few years ago, before I moved to Minneapolis, I was in town visiting a friend and was having a hard time finding my way back to his house at night. Because I was trying to find the correct street that lead to the freeway I was having problems concentrating on the radio, so I gave up and left it the radio on the next station to come up on seek. It happened to be the local blues station playing "The Thrill is Gone" by B.B. King and Tracy Chapman (from this album), and a few seconds later the blues had a new fan.

With one or two exceptions, the entire album is great.

Highly Recommended!

Tried to hate it, ended up loving it.
Okay folks . . . take it from me. Buy this album. But please promise me to buy another couple of albums if you like this one, okay?

I don't care if you've new to the blues, have never before heard a BB King song before, or have never seen BB King in concert. This is perhaps the best introduction to the blues as you'll ever hear. From the Rolling Stones to Heavy D, there's something for everybody.

Typically the phrase "something for everybody" means lukewarm acceptance across a wide range of genres. I tried so hard to hate this album, but I just can't help loving it. Every artist here really sounds like they're pouring their best into the recording.

I defy you to tell me Bonnie's not leaning back and gritting her teeth when she plays slide guitar. Tell me that Heavy D wasn't breaking more than his usual room-temperature sweat when BB kicks the track back to him. My money's on Mick Jagger wishing he had some of Keith's alcohol-sodden blood running in his veins when the first few riffs of BB's guitar hits back harder than Mick expected.

Now that you've listened to it, go buy Blues on the Bayou. Then buy a Susan Tedeschi album. Grab some Little Milton too. Oh, and it wouldn't hurt at all to round it out with some Albert King, Ronnie Earl, and maybe some Johnny Lang or Kenny Wayne Shepherd if you're feeling spunky. But overall, shame on you if you don't have any John Lee Hooker!

B.B. King performs some of his best with other greats
This is an outstanding CD. One of my all time favorites! "The Thrill is Gone" with Tracy Chapman...amazing. "Baby I Love You" with Bonny Rait...amazing. "If I Love You" with Van Morrison...amazing. If you like the King at all, check this one out. ... Read more

Amazon.com essential recording

Buddy Guy's greatest album is also his debut full-length session as a leader. "One Room Country Shack," "Mary Had a Little Lamb" (a Stevie Ray Vaughan favorite), "Sweet Little Angel," and "Worry, Worry" are defining songs, full of high-wire vocal dynamics and guitar work of almost balletic poise. The tone of Guy's 1957 Fender six-string remains the benchmark for nearly every blues player who's since hefted a Stratocaster. This CD is as tasteful and dramatic as Guy's 1990s performances are brash and assaultive. Producer Samuel Charters, the noted blues historian, caught Guy just as he was emerging from the shadow of B.B. King and Muddy Waters, and provided an excellent cast of supporting musicians, including the underrated guitar genius Wayne Bennett, gritty piano virtuoso Otis Spann, and Muddy's redoubtable drummer Fred Below. The results are blues perfection. --Ted Drozdowski ... Read more

Reviews (4)

The music is probably 4 .5 stars BUT....
...The production leaves a lot to be desired. Im a big fan of the production on mid 60's to mid 70's recordings, but although my version of this album is remastered, somebody must have forgotten to mic the drummer!

Normally you get drums of a reasonable volume in one speaker (and bass in the other) in records recorded around this time, which is no big problem. However the drums (which are only present in the right speaker) are so quietly recorded that the rhythm of all of the songs is lost.
Fred drums like a funky mutha on Mary Had a Little Lamb, but it's barely audible.
Another reviewer suggests that the tracks were recorded before 68, so perhaps thats part of the problem. However when you listen to, say Hoodoo Man Blues, which was recorded with Buddy and Junior in 1965 you'll notice that the sound quality is very good in comparison.

My feeling is that this album was just badly produced and was probably mixed down on a four track recorder, so the remastering couldnt bring the drums out in the mix....

I just want to warn others of this flaw, because for me it almost ruins the album. On a positive note, I use the word almost, because the band are first class, as is the music.

This album should be a classic. Many consider it to be, and musically they're correct. But it makes for a dissapointing listen to my ears. Get something else by Buddy, preferably with Junior Wells, as all their recordings are of far superior quality to this.In fact the Vangaurd recordings Buddy did are all a bit lacking in dynamics.

If youre a guitar student though, you'll find much on here to enjoy, as the guitar rings loud and clear throughout and has a much cleaner tone than the later recordings.

A Man and the Blues... In Full
This album does a bunch of things. It is perhaps the seminal work of what musicologists call "second-generation Chicago blues." This is the blues form which remains the template for most popular blues produced today. In these perf