Reviews (2)

American Wilds, Vol. 1
This is a fine C.D. It is exactly what I wanted. Just clear nature sounds without added music. At this time of the year here in Michigan I needed this C.D. As I listen, my imagination whisks me into Spring as the birds call or the crickets chirp. Very nice, indeed.

Eclectic mix of relaxing themes
I have many of these environmental cds, but it seems that this is one of the few that I reach for most often. It has a little bit of everything, and not just one main theme repeated throughout the cd. There are tracks of song birds, rainshowers, frogs, woods and more. A great night's rest is guaranteed for me when I put this one in! ... Read more

Amazon.com

No independent label has surveyed a wider, deeper expanse of the American musical grain than Rounder Records has done since 1971. In celebrating the label's 30th anniversary, this budget-priced anthology presents 68 gems from the archives without duplicating a single artist. Rather than a linear progression through time or genre, the four-disc set hopscotches all over the musical map, from the blues of Mississippi Fred McDowell to the bluegrass of Alison Krauss, from the Texas country of Jimmie Dale Gilmore to the Celtic fiddle of Natalie MacMaster. Some of the juxtapositions are a little jarring: the Mardi Gras chants of Bo Dollis and the Wild Magnolias give way to the Hawaiian guitars of the Tau Moe Family, while the soulful groove of Walter "Wolfman" Washington leads into the Klezmer Conservatory Band. But listeners whose tastes are as eclectic as Rounder's will find the set a treasure trove of discovery. --Don McLeese ... Read more

Reviews (3)

Well Done Compilation - with a Caveat
This is a typically well organized Rounder compilation, with some impressive artists included. However, it should be noted that these are interpretations of older "roots" tunes done by Rounder label artists, rather than the originals. As such, Scott Billington, who wrote the liner notes, does himself (and us) a bit of a disservice by referring dismissively to the original versions of these tunes as a "scratchy collection of old recordings". Were it not for that very "scratchy collection", this four-disc set would not be here for us to enjoy.

Introduction to American Music
Rounder Records has always done an incredible job of putting together compilations and making the music sound alive. This collection celebrates 30 years of Rounder, and is a great overview of the label, as well as a taster for anyone looking to check out some truly alternative music. The mixture is very eclectic; much like American culture, blending and weaving through musical styles. The set features Blues, Folk, Cajun, Bluegrass, Celtic and much more.

A highly recommended listening experience.

A Roots Music State of the Union.
Think of this as an update on Harry Smith's Anthology of American Folk Music. Showing up on the heels of the wide success of the "O Brother..." soundtrack and just before the PBS American Roots Music series, this is a worthy collection of samples of the work of contemporary artists working in the earthy music forms from whence it all sprang. From acapella gospel to zydeco with old-time, bluegrass, blues, New Orleans brass and Hawaiian tunes sandwiched in between. What can you say? It's Rounder, for Pete's sake! ... Read more

Reviews (17)

One of the best live albums ever.
First of all, I read Tom Hibbert's review of the album, and he must know nothing of music reviewing except to spout off with a complete lack of knowledge and/or taste. Reminds me of a Rolling Stone review of albums in the 70's. If Stone put the album down, you knew it would be a good one.

Kooper & Bloomfield working together brought a special "magic" to the music, if I may. Super Session, side 1 in particular, was a giant leap for rock'n'roll in the 60's, and "Live Adventures" took it one step farther. Great songs, great jams. Just a particularly enjoyable album that helped more than one young teenager make the jump from top 40 to "real" music.

Bloomfield & Coopers Best
Since the release of this album (when I was 16 years old) I have had and lost 4 copies of the LP (all stolen at parties or otherwise perloined!).
I now have the CD and this time NO-ONE even gets to touch it!

Live Adventures is probably the very best live album of it's genre ever recorded. Bloomfield, Cooper, Bishop and the rest display an almost phsycic link in the live sessions which gives the music a flow and dynamic rarely heard in the history of live music, especially considering the alleged amount of practice prior to the event.
Having heard most of Bloomfield & Coopers work since I have to say this is a defining moment in Live Music.
This album is a must for anyone with a Blues/Jazz/ liking.
Anyone who is not transfixed by tracks like "No More Lonely Nights" & "Don't Throw Your Love On Me So Strong" should be arrested immediately by the taste police!
Buy It!

Every track is amazing, but I want more
Great music, every track is great, but I want more. Two demerits to Columbia for not remastering this masterpiece and adding the full recording of I Wonder Who and other improvements. All they did on the CD transfer was copy the LP to CD! And, for 3 full nights of playing, this is a pathetic offering, a total of only 85 minutes of music on 2 CDs. Boooo!

Fantastic CD.
I loved it back in 1969 and I love it now. This is real music of the 68, 69 era. Feelin' Groovy. Take care.

Contact High
I loved this record in high school. You can almost smell the dope. You can almost get a contact high listening to it. If you want to recreate an era, this live at the Fillmore album will do it for you.

Unfortunately, most of the music is terrible. (I'm listening to Sonny Boy right now, and I'm getting a headache. One of the worst blues performances ever.)Bloomfield plays killer licks, as usual, and the Hammond has that distinctive Kooper sound.

But even allowing that this is a jam session, the band does not hang together, except when they're doing the most basic blues, which they play fine. (Not hard for musicians of this caliber to jam blues.)

The rest sounds like a high school band trying to recreate a Grateful Dead show, with some Ornette Coleman thrown in. It's all sloppy -- and rarely in a good way.

Kooper sounds like his voice is in training. Other albums (first Blood Sweat and Tears especially) would attract producers who could bring out Kooper's best.

Kooper's sobered up and his relatively recent ReKooperation is top notch.

This session is a relic, and would sound best, if you want to play it at all, on a scratchy piece of vinyl, accompanied by a hot bong, a black light, and a room full of posters. ... Read more

Amazon.com

Eclectic octogenarian Brown glides through this personalized and primarily instrumental overview of American music classics in his usual fine fashion. Brown's blues base is never in doubt as he balances his jazz-guitarist and country-fiddler personas in a wide-ranging assortment of songs from the Duke Ellington standard "Satin Doll" to the country ballad "Tennessee Blues." An energetic, horn-powered rendition of Jay McShann's "Jumpin' the Blues" features some of Brown's jazziest guitar work while a creative reconfiguration of "Unchained Melody," complete with flute solos and gear-shifting change of tempo, is the recording's most intriguing idea. Brown contributes three of his own songs, including the vocal numbers "For Now So Long" and "The Drifter," but it's his jazzy renditions of songs like Fletcher Henderson's sublime "Soft Wind" and Joe Zawinul's funk-tinged "Mercy, Mercy, Mercy" that best demonstrate his delightfully democratic musical universe. Timeless is by no means a deep blues recording, but it is a "Gatemouth" recording, one that expertly explores all hues of blues and quite a few other stylistic colors as well--a rare and valuable achievement. --Michael Point ... Read more

Amazon.com

Shemekia Copeland has already scored numerous awards and accolades, but this is the young singer's real artistic breakthrough. While Copeland's first two CDs were at times marred by ham-fisted musical support and subpar songwriting, she is now free to unfurl the subtle, soulful side of her big voice. "Don't Whisper" sounds like a lost Memphis classic--the kind of tearjerker Ann Peebles might have cut. Copeland pours her vocals like warmed honey over the song's sad lyrics and an arrangement that balances producer Dr. John's delicate piano with edgy, tremoloed guitars. She turns soft and breathy on the lovely, jazz-inflected ballad "Happy Valentine's Day," evoking a worldly, relaxed beauty that belies her 23 years. There's plenty of full-tilt belting, too. "Sholanda's," a tongue-in-cheek trip to a beauty parlor, balances her power with graceful New Orleans-flavored drums and slide. And "The Push I Need" is a playful duet with Dr. John that's sprightly and smart enough to sidestep clichés. Overall, there's a sense of poised musicianship at work, which makes Talking to Strangers emotionally tempered and rewarding. --Ted Drozdowski ... Read more

Reviews (3)

AMAZING LIVE PERFORMER
Shemekia can perform like nobody's business. Saw her in an outdoor gig in NYC on 7/11/03, and she brought the house down. Incredible voice, particularly given her young age. Fantastic stage presence. Great band. Just a jaw-dropping hard-core blues experience. Don't miss her, and BUY THIS CD. We got all three, and had them signed at the show.

Wow!
Shemekia Copeland just may be the most exciting female singer we've seen since Aretha Franklin, and with this CD, she truly reaches her stride. There is not many times when you have 15 tracks and ALL of them are good, but this is one of those rare disks. Her big, soulful voice adds a new dimension to the blues, superbly produced by old pro Dr. John (who plays keyboards on some of the tracks). She comes across as real in all her tunes here, ranging from the playful ("Livin' on Love"), the mournful ("Happy Valentine's Day", a beautiful slow ballad; "Talking to Strangers", "Should Have Come Home"); the vengeful ("Ka-ching"), the introspective ("The Push I Need", a duet with Dr John) and even her offbeat ode to the owner of a beauty salon ("Sholanda's"). I guarantee you will hear much more about this young singer in the years to come, so enjoy her now. Very highly recommended.

No Stranger To The Blues
Opening with Arthur Neilson's slide guitar, "LIVIN' ON LOVE" kick starts the highly anticipated TALKING TO STRANGERS, Shemekia Copeland's new CD that's chock full of hot cuts. "TWO'S A CROWD" is a rocking blues number that shows off Shemekia's powerful pipes.

Copeland gives it to the dogs out there with "WHEN A WOMAN'S HAD ENOUGH". During "SHOULD HAVE COME HOME", Shemekia repents for the women who have made mistakes in their relationships. The driving rhythm of this song will stay on your mind. The emotional feelings that Copeland conveys on the songs "DON'T WHISPER" and "TALKING TO STRANGERS" shows just what the teeny bopper superstars are missing.

Producer Dr. John turns performer with his piano solo on "TOO CLOSE", which helps bring out the smoldering side of Shemekia. "KA-CHING" tells of the lighter side of life. Even having fun, her voice rings true. Dr. John then brings out the soulful side of Shemekia on their duet, "THE PUSH I NEED". She then burns a hole through your heart on "HAPPY VALENTINE'S DAY", with all the pain in her voice.

Ending her CD with "PIE IN THE SKY", a song by her late father blues great Johnny Clyde Copeland, Shemekia shows that though she may be daddy's little girl, her great big voice makes her so much more than that. Certainly, she is no stranger to the blues.

Don Brown Sr. writes for Caught Live Too! and Las Vegas Blues --BLUES.LVJAZZ.COM ... Read more

Amazon.com essential recording

The best of Buddy Guy's solo albums since his 1991 reemergence finds him mixing songs from his concert repertoire ("Someone Else Is Steppin' In") with blues chestnuts ("I Smell Trouble") and his own new originals, like the gritty plea for urban spiritual renewal "Cities Need Help." His performance is raw and natural, a nasty throwback to his late-'60s roadhouse days. Guy takes unbridled pleasure in hard playing and vocal shouting that straddles the soul-blues border. The absence of shallow attempts at pop-radio play and the lack of guest appearances by rock stars or emerging bluesmen like Jonny Lang, which plague most of Guy's recent CDs, is refreshing. This is simply Buddy, on his own strong terms. --Ted Drozdowski ... Read more

Reviews (14)

Smokin' blues
This CD is among Buddy Guy's best. About half the songs are done with members of Stevie Ray Vaughn's Double Trouble. All the songs showcase Buddy's classic guitar work.

Probably Buddy Guy's best latter-day album
"Slippin' In" from 1994 is somewhat more antiseptic than Buddy Guy's classic Chess sides, and the clean production has sanded away all the grit, which won't be to everybody's liking.
But it is a good album nonetheless. Guy stays away from stereotypical funk and modern day blues-rock shredding and actually plays the blues, and his guitar playing in particular is excellent almost all the way through.
"Slippin' In" features former Stevie Ray Vaughan-cohorts Chris Layton and Tommy Shannon on several tracks, and none other than the great Johnnie Johnson is playing the piano. His playing on "7-11" completely takes over the track.

Buddy Guy performs an excellent "Don't Tell Me About The Blues", a nice "Shame, Shame, Shame", and the slow blues "Little Dab-A-Doo" is excellent, partly due to the presence of Johnnie Johnson.
Guy's take on Lowell Fulson's "Love Her With A Feeling", and the slow, soulful rendition of "Trouble Blues" are very good, too, but the otherwise decent "Someone Else Is Steppin' In" suffers from annoying backing vocals, synthetic sounding organ, and too much seperation of the instruments (multi-tracking isn't always such a great thing).

"Man Of Many Words" is a very obvious rip-off (it's Otis Redding's "Hard To Handle"), and a couple of other tracks have been recorded many times before as well (albeit with different lyrics). But even klichés like "Please Don't Drive Me Away" and "I Smell Trouble" are well executed and played with a passion, and the combined forces of Buddy Guy's axe and Johnnie Johnson's tinkling 88s make "Slippin' In" a really enjoyable album which can easily be recommended.

Hello Planet Earth, This Is Buddy Guy
First let me start by saying that Buddy Guy is from a different planet! This can be the only explanation for his six string talent that he displays so well on this gem of a recording. If I had to look for one flaw it would only be that he had switched the order of tracks 1 & 2. How's that for nit-picking? The only reason I say this is because I think "Please Don't Drive Me Away"
may very well be one of his best all-time cuts. The guitar work seems so connected to his vocals that it sounds like interplay that can only come from the soul. This track rocks! The next track,"7-11" goes in the totally opposite direction as a laid back Blues lament that shows Buddy is equally adept at rocking Blues, or slow burners. The oft covered "Shame,Shame,Shame" is probably my least favorite track on the album,with Buddy seemingly going through the motions vocally, but even this grows on you after a while. From there on the album alternates between slow, soulful Buddy treatments and uptempo Blues rockers. Some songs benefit from the rhythm section provided by the somewhat legendary Double Trouble gang. Johnnie Johnson also gets his moments in the sun on the piano. Buddy seems to click with just about everybody he plays with..as usual.. and his guitar has never sounded more powerful, tender and bluesy on one recording.

Other standout tracks include the Lowell Fulson penned "Love Her With A Feeling" where Buddy shows the great interplay of soft, pleading vocals and tender string picking. "Little-Dab-A-Doo" is a humorous original tune about a man's desire to "get a little" and the famous Fred Flintstone call before the final guitar solo is a humorous touch. "Someone Else Is Steppin' In" is a raucous party tune about two-timing on both ends that uses slightly off-tempo, gang background vocals to give the cut a raw, live feel. This is a staple of many fans and I enjoy it a little more each time I hear it. "Man Of Many Words" is an oldy, but goody with strong drum work by Chris "Whipper" Layton to drive the vocals along during instrument breaks. As usual, Buddy is killer with the guitar work. "Don't Tell Me About The Blues" sounds like a very personal song to Buddy Guy. He obviously has lived the Blues and his vocals are top notch and from deep down. The way he alternates between a slightly crackling falsetto and then, without notice changing to shouting, powerful vocals is a trademark that sets Buddy apart from most of his contemporaries. The finale, "Cities Need Help", is a change of pace Buddy Guy original about The decay of urban America and even family values. This shuffle has great rhythm provided by a piano, snare combination and it cuts loose at the end...a fine ending!

If you love Buddy Guy this album must be included in your collection. If you are looking for a place to start your Buddy Guy collection, look no further. Though it doesn't receive the attention or acclaim of "Damn Right...", it is without question a Blues masterpiece and one of, if not THE, best Buddy Guy albums available. Ok, you can return to the mothership Buddy...just come back once in a while and leave a gem like this one!

JUST LOVE THIS
THIS IS THE CD THAT REALLY GOT ME INTO THE BLUES.IF YOU HAVE EVER HEARD THE SONG 7-11 YOU KNOW WHAT I MEAN.NOT ONLY IS THERE SOME GREAT BLUES ON THIS BUT BUDDY CAN ROCK ON THIS CD TO.BUDDY IS JUST A VERY SOULFUL GUITAR PLAYER.AND HIS VOCALS REALLY GO WITH THIS MUSIC.LOVE THE SONG LITTLE DAB A DOO.IF YOU ARE INTO THE BLUES,BUY THIS AND START CHECKING OUT THE REST OF HIS CATALOG.

Hang on, don't let go!
I first heard this cd at a friend of mine one weekend and upon my return home I bought it, played it and continue to play it. Buddy is an amazing guitarist that has been around for a long time. This cd really jumps so if you are of the faint of heart and looking for something to vedge to this ain't it. This is electric blues at its very best, IMHO this is an essential blues cd for anyones collection, possibly a desert island pick. ... Read more

Amazon.com

This 2 CD set represents the best introduction to Hooker's trademark sound: one- and two-chord vamps delivered with a hypnotic, perpetual boogie rhythm and accented by reverberating staccato runs and intense foot-stomping. With his deep, rich voice, Hooker electrified the blues of the Delta, bringing the stark, brooding sound to the city and influencing scores of rock musicians. Most of his highlights are here: from early Modern classics "Boogie Chillen," "Crawlin' King Snake," and "House Rent Boogie"; to Vee-Jay singles "Boom Boom" and "Dimples"; to 1966 Chess work with Chicagoans Lafayette Leake and Willie Dixon;to 1971 collaborations with rockers Canned Heat;to performances with modern blues stars Roy Rogers and Bonnie Raitt. --Marc Greilsamer ... Read more

Reviews (9)

As Close as It Gets!
Let's get one thing straight: as of today 09/15/03, there is no "ultimate" John Lee Hooker collection. But with 31 of his best tracks, this Rhino mini-box comes the closest to Hooker nirvana. (There is a 10-CD set, Epitath, but since it would take a week to listen to it once, I'll pass.) The problem with compiling such a collection is implied in Boogie Man, Charles Shaar Murray's fine biography. Hooker recorded for a number of different labels, especially in his early days, and also under a variety of different names (John Lee Booker, John Lee Cooker, Little Pork Chop, etc.), so it takes a lot of legwork to figure out just which recordings were made by Hooker at all, much less obtain the rights to rerelease them. (Murray spends almost half the book on such detective work.) Therefore, such classic gems as "The Flood" and "Whiskey and Wimmen" are not included in this set. Still, it's a very good attempt. Rhino has chosen to start the collection with the track "Teachin' the Blues," which is an aural primer on how he created his unique sound. Thus educated, the listener can then move on to such primal tunes as "Boogie Chillun" (A live staple for virtually every major blues band from Canned Heat to Savoy Brown, this was the number Hooker chose to perform in a guest spot on the Rolling Stones Steel Wheels tour in the eighties.), "Crawling King Snake" (covered wonderfully by the Doors), "Boom, Boom" (the Animals), and his reinterpretation of an Amos Milburn song, here entitled "One Bourbon, One Scotch, One Beer (which, when combined with John L's House Rent Boogie, was very well covered by George Thorogood). He recorded several such reinterpretations, most notably "Frisco Blues" (In this case, he reportedly didn't try to get the correct lyrics to Tony Bennett's famed "I Left My Heart in San Francisco;" he just sat down and recorded his own off-the-cuff rendition.). In conclusion, there is plenty of John Lee Hooker's best stuff here to warrant a recommendation; it's just not as "ultimate" as his most devoted fans would want it to be.

One of the best available overviews of the Hook's career
So why "only" four stars?
Well, the music is great, but Rhino could certainly have found room for more than 31 songs on two compact discs. And why include two versions of "In The Mood" when songs like "I'll Never Get Out Of These Blues Alive", "Onions" and "Old Time Shimmy" are missing?

The sad thing is that there are really no John Lee Hooker-compilations on the market that truly get it right. Either they're too short, or they're limited by the fact that the compilers were only able to chose from recordings made for one particular record company.
This one is the best of the lot in my view, though. It almost gets it right (although the missing "Never Get Out Of These Blues Alive" is a pretty big minus), and the sound quality is very, very good.

(If you're not against spending a little extra, you might want to look for the fine Vee-Jay compilation "The Early Years", which also spans 31 tracks, and MCA's "The Best Of John Lee Hooker 1965-1974" instead of this album. Those two will satisfy almost everyone. And if it doesn't, there's always the ten-CD "Epitaph" box set.)

Rhino Captures the Hooker.
This is such a nice set.

Almost a primer for the new fan, and a refresher course for seasoned vetrans...John Lee is well portrayed on these very nicely remastered cuts.

Disc 1 starts with his solo accoustic stuff...

"Teachin' the Blues" is a classic blues gem, and this is a great cut of it.

Disc 2 features gritty, rocking cuts of legendary blues tracks including Hooker staples like "Boom Boom," and "One Bourbon, One Scotch, and one Beer."

If you think you like Hooker, this is your starter kit.

If you love him, this little portable collection completes the set.

There is also a 2CD set from Tomato Records that closely mirrors the titles on the Rhino collection but uses different cuts. It is grittier, and poorly produced, but makes a wonderful companion peice to the Rhino set.

Boogie, Chillun.

Good tunes, but compilers show lack of respect for music
This is the first John Lee Hooker album I've ever bought. I love the music, but as a product, it's not worth the price. Originally, I couldn't decide between this and a couple other compilations. I went for this one because it had good reviews and seemed the most complete. I was dismayed to find out that, although there are lots of tunes, many of them fade out right in the middle of the song for no good reason. There was plenty of room left on the disc to have the songs in their entirety (less than 50 minutes of music out of a possible 75?). Personally, I think that fading out tunes like that shows a complete lack of respect for soloing and arrangement. In addition to this, the liner notes are are less than thorough and not too interesting. I would recommend finding another recording of this fine artist.

Now I got this rent, let's have a ball!
People who know nothing about any kind of blues and blues afficionados alike will have a ball with this collection of some of the finest moments of Hooker's long career.

Many different styles and a whole array of production values are laid down chronologically in order to give one a linear idea of Hooker's output.

So many great moments exist on this puppy that I will not begin to list them. There is lots of treasure here - that's for sure. ... Read more

Amazon.com

On his sophomore release, guitarist Eric Sardinas seems to have chilled out a little, settling into a musical stride that, as with all the best blues, can keep going all day long. While in many ways his music hasn't changed much since 1999's Treat Me Right, Sardinas sounds a lot more confident on this one, especially during Devil's Train's bluesier second half. Here, his admittedly exceptional slide work and gravelly voice are great assets, especially as he relaxes into "Country Mile," duets with Honeyboy Edwards on "Gambling Man Blues," and carries "Down to Whiskey" all the way to the end. Although Sardinas is from southern California--and that's often audible--there's a Texas feel to his blues: it's big, loud, tight, and impossible to ignore. A notable exception is the final track, which ends things on an unexpectedly quiet note.--Genevieve Williams ... Read more

Reviews (11)

Better Than the First!
Listening to Eric Sardinas one has to conclude that he is one of the top electric slide guitarist in the business today. Based on this sophmore release, it's clear that he continues to grow and sharpen his skills. However, as with his previous release, it's clear that his hard edged style of blues will not be easily appreciated or accepted by many blues fans. Much of that has to do with Sardinas's singing which is smokey, strained, gruff and at times uneasy.

On "Killin' Time Blues" and "Gambling Man Blues" which features HoneyBoy Edwards, Sardinas does demonstrate that he is capable of some rather pleasing vocals, showing that the harsh vocal tone throughout the remainder of the CD is intentional. If you like your blues hard and heavy and your guitar smokin', this CD may well fit your bill.

Eric Sardinas does it again
Eric Sardinas has done it again and created another album of the best slide guitar electric blues this side of Johnny Winter. Devil's Train is a bit more varied than Treat Me Right, with even a couple of instrumentals thrown in the mix. Aggravatin' Papa is one of the best songs he's recorded yet. If you get a chance, see him live -- he puts on an incredible show!

HE'S BACK....AND JUST AS BAAAAAAD
Sardinas has bucked the sophomore jinx and come back with an excellent album of rockin' blues. It's still got the trademark Sardinas sound of rude slide guitar work and whiskey soaked vocals. All but two of the tracks are originals. He does a killer version of Elmore James "MY KIND OF WOMAN" that's so good it sounds like Elmore's ghost is dancing all over his guitar strings. The other cover is David Honeyboy Edwards "GAMBLING MAN BLUES" in which Sardinas actually does a delta style duet with the legendary bluesman himself, that was recorded inside a hotel room. He does a couple instrumentals with "TEXOLA" which has more of a rock and roll feel than blues. And "SIDEWINDER", which is a fantastic, on the edge blues song that features almost 6 minutes of blazing slide guitar, mixed with some of the sweetest sounds I've ever heard come out of a dobro. Sardinas really has his mojo workin' on this one. Some of the other highlights here is the title song "DEVIL'S TRAIN", and "BE YOUR MAN", that again features some great dobro work. I don't think anybody plays this instrument better than Sardinas. And my favorite track "COUNTRY MILE", a song with some killer hooks that should start getting some airplay from some of the radio stations out there with good taste. This is a very solid and cutting edge blues album that's a pure joy to listen to from beginning to end. Get on the Devil's Train and you may never want to leave. Highly recommended.

Somewhat disappointed
I bought this CD based on the reviews here on Amazon. Unfortunately, I'm not that impressed. The playing is good, but seems to lack a bit of soul. Both the vocals and the songs lack variety so it gets a bit monotonous after a few cuts. The production also seems a bit shallow or sparse which might be fine if his playing was more compelling. All in all, listening to this CD is like catching Johnny Winter on an off day.

Eric IS the blues MAN from heaven!
I love him!!!!! I love this CD Devil's Train just a much as I love his first! I cannot tell enough people about this hot man. The way he plays guitar is amazing and I have to close my eyes so there is nothing but his guitar and my soul involved and it booms right into me. Eric Sardinas is awesome and I recommend anyone who loves rockin' steamy blues to get this CD! You will not be sorry! Eric IS it! Genuine and sexy to boot - you can't lose!
Thanks Eric! I luv ya! KatGirl ... Read more

Amazon.com

The music of the late Sister Rosetta Tharpe is one of those buried treasures of Americana periodically exhumed to delight the previously unaware. Nominally a gospel singer, she was in fact a triple-threat performer: singer, guitarist, and composer. Of course, the respectful and tasteful covers by the all-female roster here reveal only Tharpe's compositional contributions. Festival staples like "This Train," sung by Janis Ian (with some snappy guitar picking of her own), and "Precious Memories," done in haunting but near tuneless fashion by Sweet Honey in the Rock, are joined by spirited renditions of lesser known Tharpe originals like "Beams of Heaven" (taken to church by Phoebe Snow) and "Up Above My Head" (Maria Muldaur). Other contributors like Victoria Williams, Rory Block, Odetta, and Michelle Shocked bring Tharpe's repertoire into their own stylistic realms. Tharpe's former singing partner Marie Knight most closely approaches the fervor of her late friend on "Didn't It Rain," with Jimmy Vivino hinting at Tharpe's guitar style. Thankfully the CD includes an MPEG of the Sister herself singing and rocking out on electric guitar with an energy unequaled elsewhere on the record. This video and her fascinating story as told by Gayle Wald in the extensive notes make Shout, Sister, Shout! a must-have. --Michael Ross ... Read more

Reviews (1)

Buy It!
An EXTRAORDINARY album! It is an absolute must for those interested in true "roots" music. You will find yourself filing it next to your soundtrack from "Down From The Mountain" or "O'Brother Where Art Thou?" On the other hand, you may file it with your Blues music. But it is Gospel?

The truth is...to my ear... this album is an excellent demonstration of the interrelationship of Gospel, Blues and Jazz. And the performers! Simply the best available today. For those that are not familiar with some of them, you may find some new "friends." I was especially pleased to see that Angela Strehli was included.

You will also be treated to an excellent history on Sister Rosetta Tharpe...Like Who Knew?

There is also an extra treat included for those with computers--an MPEG file of Sister Rosetta Tharpe singing "Down By The Riverside." Simply open Windows Media or Real Audio, and select the file from your drive to play it. You won't be disappointed.

Finally, a special thanks to Mark Carpentieri and Maria Muldaur for bringing this music to life.

Frank Simpson ... Read more

Reviews (6)

Music to uplift your soul and transport your mind
I'm not in the habit of writing reviews but where this album is concerned, I'm compelled. I bought this album in November 2002 and am addicted to it. 'Diamante' which begins the album, will transport you to a place of serenity. I first encountered Zucchero's haunting voice in 1996 on "Pavarotti and friends for War Child". I've been hooked ever since. I play the album almost daily and it always leaves me yearning for more. Some may say it's music to make love by; I would say it's also music to LIVE by!!!

Zucchero-overdose d'amore
as with all of Zucchero's CD's, this is also wonderful. I listen to it all the time, it's sensual and sexy and great.

Excellent a beatiful CD
This is a very nice CD, I just got it recently and I play it over and over again last night. I love it, It is filled with Beautiful songs. The Song Diamante is fantastic, a great start to this CD. The Duets are very very good; Blue with Sheryl Crow, Mi Muoio Per Te with Sting and of course Miserere With Luciano Pavarotti. All the songs on this CD are great.

beautiful album
This album showcases Zucchero's greatest quality, his beautiful voice. Here, he melds Mediteranean rythms with soul and creates beautifully melodious songs. Zucchero is an amazing talent and is much underappreciated in America, take it from artists such as Miles Davis, Eric clapton, Sting and Bono who have worked with him. This is a beautiful cd that anyone interested in his music should own.

Music to calm your nervs
For anyone who has trouble finding that one CD that you can escape to - take you away - and put you at ease, THIS is IT. Although I do not understand a word of Italian, the beautiful guitar strums and smoky voice of Zucchero will compensate. Unlike most CD's, you can feel what the songs are about. It's a perfect harmony.

Listening to this CD while falling asleep, or in the car on your way to work, will put your mind and body at ease. It has a tempo to keep your body in a soft rythem, as well as put you in a sort of consious meditation.

I listen to this on my way to work, and even though I know I will be in for a stressfull day, it just keeps me in a sort of comfort. Just as it does when I'm falling asleep. Well worth the price. ... Read more

Reviews (3)

I GOT RIPPED!!!
The Elvin Bishop CD I received was not even Elvin Bishop.This CD case was right and even the CD looked right, but when played, it was something I had never heard!I am VERY unhappy about this.

fooled around and fell in love
I would like to get the song lyrics of "fooled around and fell in love". Where can i get them?

Best of Elvin Bishop (Polygram)
Elvin Bishop was, is and continues to be one of the best rock blues guitar players of our time.This CD contains some of his best and well known classics.For Elvin Bishop fans this CD is a must. ... Read more

Reviews (1)

another leaving the blues behind?
i've been listning to mem since i was a kid, and i've really been looking forward to see him make another album. i loved them all, from 1995 to 2001, but without a doubt.. this is the least "bluesy" album he has done so far. It's quite diffrent from the old albums. I don't even think Mem sings the word "Blues" throw the whole album.
i'm worried that mem might take the same road as Keb Mo' did, Keb started out with blues albums, then went more and more to pop. and today Keb Mo's album are simply pop. I've always been imagening Mem Shannon as the new B.B. King, the guy who will take B.B's place, so it would break my heart if he does like Keb Mo', and leaves the blues behind.
I guess my favorite songs are "Phunkville", "I'll kiss a pitbull for some of your love", "Battle Ground" and "Somebody gonna hit you with an ignant stick". I view "Elenour Rigby" as in memory of Ray. I look at it that way, but there is no mentioning of Ray Charles anywhere.
But i miss Mem style protest songs like "S.U.V", "Wrong People In Charge", complaint songs like "Payin' My Dues", "who are they?".. you know.. the blues. down to earth. fun songs like "my baby has been watching TV", "don't talk about my mama!". i can't connect to the songs on this album. it's a distance. mem's other albums are closer more familiar friends of mine. i don't feel to home around this jazz stuff.
i guess i expected more "down to earth", "real life", "familiar" tunes. Like Mem has done before. Legendary bluesman Ray Charles recently passed away, and Mem does a tribute to golfplayer Tiger Woods. What? What's happening brother? I just don't get it.
anyway, it's a good album. great music. it's no way similar to Keb Mo pop music. I've been playing it for days now. very enjoyable. My favorite young bluesman - Mem Shannon. (in blues, middleage is young. and also if you're married to Cher - i know, i stole that joke from Chris Rock)
MEM SHANNON LADIES AND GENTLEMEN!!! Real music. Great music. (But i do miss the blues.. i can't connect to this album like Mem's previous albums) ... Read more

Amazon.com

Every photo included in Big Wide Grin's booklet has Keb' Mo' looking just as pleased as punch. The material on his fifth album is likewise overwhelmingly cheerful, a series of upbeat meditations on family life that, while occasionally idealized, are usually refreshingly realistic. It's this realism, the implicit understanding that families are frequently assembled out of far-flung components rather than adhering to some nuclear ideal, that makes Grin such a winner. That principle informs songs such as "I Am Your Mother, Too," addressed to an adopted child, and "Color Him Father," about the entrance of a stepparent into a family. The whole album is, in fact, a family affair, with members of Mo's family occasionally pulling background-vocal duty. Big Wide Grin is a summertime album for those still young enough to have the summer off. Fortunately, there's just enough bittersweet mixed in to keep the result from Pollyanna-hood. After all, what's the point of being reminded to count your blessings if you don't realize that that's what they are?--Genevieve Williams ... Read more

Reviews (37)

Keb' Mo' is all I need.
On Big Wide Grin, Keb' Mo' reaches right out and touches my very soul. With heartfelt renditions of such classics as Gamble and Huff's "Love Train" and Sly and The Family Stone's "Family Affair," Keb' Mo' redefines the term "cover" -- these songs take on new meaning with his unique interpretations. "Color Him Father" had me crying, and the voice of Kevin Moore II -- Keb's son? -- on Joni Mitchell's "Big Yellow Taxi" brought a big wide grin to my face. His versions of such classics as Bill Withers's "Grandma's Hands" and Stevie Wonder's "Isn't she Lovely" rival the originals. Touches of pure joy include "Everybody be Yoself" and "The Flat Foot Floogie," and the three original songs are some of Keb' Mo's best. Rounding out this terrific collection is a blues version of "America the Beautiful" -- wait 'till you hear it.

fun kid's album without being hokey
I am a fan of Keb Mo and was glad to see he made a kid's album. As a mother of twins, I'm trying to find music that we all can listen to. Avoiding the silly albums out there isn't too hard, it just takes a bit of research. I want my boys to be exposed to all kinds of good music, and Keb's album is one I put on often. He has a great voice, and the upbeat songs are fun to dance around to. (My boys love watching me dance and do hand movements to Love Train.) I like that he includes a wide definition of family. The grandmother's hands song is wonderful and sweet. By the way, for Keb fans he has a wonderful lullaby on Just Like You album. If anyone is looking for other kid's albums, another good one is Jazz for Kids with real jazz singers like Ella Fitzgerald, Nat King Cole, Louis Prima etc. singing fun jazz songs.

Not the typical Keb Mo...
I read over the reviews and observed mixed emotions about the material on this CD. I purchased this blindly and without reading about any of the songs on it, not realizing this contained mostly covers. Disappointed, I had thought about giving it away or returning it, but I have decided to keep it, for I am hoping that it will grow on me. Nothing wrong at all with the material on it, I like his interpretation of "Grandma's Hands" "I am your Mother too" and "Big Yellow Taxi". It's just not the typical Keb Mo we've all come to appreciate. It is a family CD. However, instead of criticizing him for having his son appear with him on the CD, I think it's cool. That's the great part about making a name for yourself, you're able to take some liberties and do what you like, instead of doing what the record companies tell you to do. For that, I give him 5 stars. And I will have to add that this music is full of love, and if you're a true fan of Keb... well, then you will appreciate his celebration of: "Life...love...family..."

Huh, what happened to Keb' Mo'?
I'm a big fan of Keb' Mo'. He's one of the few really new voices in blues, if you can even define what he does in that fashion. This album is a HUGE disappointment. I actually came online to see if maybe this was a children's album--at least one way to excuse what he did. Save your money, please.

Certainly Not What I Expected...
I'm truly a die hard Keb' Mo fan but this CD is certainly not what I expected. Keb's earlier work is outstanding but this... I am sorely disappointed. After listening to it I definitely didn't have a "Big Wide Grin." ... Read more

Reviews (5)

The best of Buddy Guy's Chess sides
If you're only going to buy one Buddy Guy-album, I'd probably go with Rhino's career-spanning "The Very Best Of Buddy Guy".
But this one is pretty much a must-have as well. Rhino's disc does include a handful of Guy's Chess sides, but his years at Chess were arguably his best period, and this excellent 15-track compilation brings together the cream of the crop.

These classic 60s recordings burn with unbridled passion - just listen to the smouldering slow blues "Leave My Girl Alone" and "I Cry And Sing The Blues". George "Buddy" Guy is one of the very few bluesmen whose vocals (occationally) match the intensity of the great Elmore James, and his guitar playing is superb - an obvious source of inspiration to men like Eric Clapton and Stevie Ray Vaughan.
Also, the sound on this anniversary compilation is magnificent. Excellent transfers and spacious stereo mixes make these forty-year old recordings sound as sharp as anything you'll ever hear coming off the laser beam. If you are into 60s electric blues, this is a must-have purchase.

smooth and smoking
Buddy Guy is THE definiition of the blues. This album is a collection of the Chess recording years and is one of those albums i can put on and let run straight through. The first song on the album "Worried Mind" is a great lesson in "less is more" guitar soloing. "I found a true love is buttery smooth and "leave my little girl alone" is a blues classic. If your not convinced that this is a great album just remember that Stevie Ray Vaughn and Eric Clapton considered Buddy one of their biggest influences.

If you only want to buy 1 Buddy Guy disc, this is it!
An excellent overview of Buddy's 60's material, some of his best. You really can't go wrong with this CD. Great stuff!

Buddy's Blues
Great compilations of the performances from Guy's best time in his career.

great blues music
as always buddy plays great blues musi ... Read more

Reviews (10)

It Is the ULTIMATE COLLECTION
I love this albumn! I bought if for my husband (who is far from [anti-women]), he's a big fan of Delbert McClinton and Bonnie Raitt. I had never even heard of Delbert or Bonnie until I met my husband. I'm just glad he introduced me to a genere of music I have come to love and appreiciate. There is nothing any more [anti-women]), about Delbert McClinton than any other music genere. If you don't like it don't listen but, obviously someone isn't appreciating these songs as a whole, the beat and rhythm is awesome. I can't listen to this album and just sit still . My house cleaning gets done when I put this album on, it just makes you want to get up and move. My favorite song on the collection is Love Rustler! I'd like to think at some point in my younger days I may have been someones secret Love Rustler. ;) I personally think Delbert is giving nothing but a big compliment to women and I for one take it as such.

The Man Who Taught John Lennon Harp......
This collection shows the diversity and strength of a true American Legend. Jay and The Americans may have been a bigger name out of Texas, but time and talent has shown who's the best player. A "must have" CD for anyone who wants to see the many faces of true American music. Delbert McClinton says more in "Victim of Life's Circumstances" and "It Ain't What You Eat But How You Chew It" than most of todays performers will say in an entire career. Turn the lights down low, grab a cold one, put your arm around your partner and let it spin..... you won't be disappointed.

Another Iowa music lover
Alas, there are a vast minority of Iowans who cannot see the artistic value in Delbert's music. I manage to see him atleast every other year, live. His mix of "roadhouse blues/country" is just part of the inspiration behind his lyrics. Anyone listening to his music, live or on CD, that is not either dancing in the aisles or tapping their toes, should be at home listening to rap or watching reruns of Lawrence Welk on TV. A big Texas "hats off" to you Delbert!

Hello?
For the cornpone "Iowa fan"...you must have listened to some album other than the one I did. Imus? Who's that? Delbert's a national treasure!

Iowa's Big Joke---
It's unfortunate that the "music fan" (guess that's vague enough) from Iowa chooses to use Delbert McClinton to vent her sexism-based frustrations--and that her silly "Herb Albert meets whatever" review is the first thing you see.

I've seen Delbert a half-dozen times over the years. Always with a date, who expected an enjoyable evening on equal footing, and enjoyed such. One of my best friends from high school, one of the most independent-minded women I know, has gone on Delbert's Blues Cruise 3 or 4 times and speaks of him as a Saint. She and her husband know Delbert and his wife on better than casual speaking terms.

Unquestionably, as with anyone singing blues-based music about real people, political correctness is really not a big priority. And clearly, more than a few of Delbert's tunes were written with tongue decidedly in cheek, though most have the ring of real life. I think, when he gets down to the serious stuff of life, his view of women is respectful and reasonable in today's odd world.

As for Bonnie Raitt, you might listen a little closer to some of her songs, and particularly covers of old blues from the likes of Sippie Wallace and Bessie Smith (as opposed to, say, Helen Reddy). Clearly these women (and Bonnie) could dish as well as take--and that's as it should be.

Our friend from Iowa needs to relax, actually listen and enjoy the music, instead of trying to filter everything through her fine-gauged sive of political correctness.

Delbert McClinton has been one of our great blues/R&B singers and harp parctitioners for more than four decades, and this is an excellent cross-section of his musical wares. I suspect, based on the resurgence of his career in the past few years, he can survive a few misguided brick-bats from the corn belt.

(Not that I got anything against the corn belt, ya understand.) ... Read more

Amazon.com

This impressive album assures that New Orleans music will live strong and healthy into the next generation. A collaboration between a couple of once upstarts, now stalwarts of the new roots-music generation, this is good-time music. Corey Harris plays slide-steel guitar and about 90 other styles, slipping his strings between the 88 piano keys that Henry Butler dances across. On the collaborative tracks, which make up most of the album, their two instruments leave no room for others. They're tight as yarn, weaving together like a Mardi Gras Indian headdress. Each also makes solo performances. They've been compared to great partnerships like Tampa Red and Georgia Tom, but this suggests too much of a historical sound; Harris and Butler are thoroughly modern. Comparing them to Professor Longhair and Snooks Eaglin is accurate in spirit, but Vü-Dü Menz is so fun, no background is needed to enjoy it; even Martians would shake their hips to this much swing. --Robert Gordon ... Read more

Reviews (6)

Innovative!
Corey Harris, perhaps the most innovative new artist on the blues scene today, traveled from his Charlottesville, VA home to team with Louisiana jazz pianist Henry Butler for an album that fuses delta and Crescent City blues and jazz styles. The subject matter ranges from political to spiritual to social to just plain fun. This cd is fresh and smart, and forges new territory in roots music.

Truly Special Blues Contrast and Interaction
Henry Butler being little known outside of blues circles and New Orleans, where he is slowly but surely approaching legendary status, my friends often ask me to describe this music of which I am always speaking so highly. My standard reply has become, "If Mozart had decided to go into blues and funk, he would play the piano like Henry Butler." His voice might be described in a similar manner, replacing "Mozart" and "play the piano" with "Pavarotti" and "sing" (the voice comparison is more appropriate than one might think--he has a very unique, powerful, and loud classically-trained voice). If the word about him escaped to the mainstream, his pure technical mastery, knowledge, and creativity could very well turn him into a household name almost overnight, which would be saying something for a blues artist in this day and age.

Butler's blues style is centered around taking standard, irrestible New Orleans piano riffs made famous by artists like Professor Longhair, James Booker, and Dr. John, and attacking them with a strong, unbelievably rythmic left hand, then putting a jazz-influenced right hand with no limitations on top. As George Winston describes him in the liner notes to "Orleans Inspiration," he is easily a "one-man band" The result is a very new, exciting, downhome, funky, and very often "out-there" style of blues.

When I saw that Alligator paired him with Corey Harris, an artist whom one could transplant right into the age of Robert Johnson and never know that he didn't belong, my first reaction was one of pure curiousity.

The music and guitar playing of Corey Harris, in a way, can be considered just as "modern" as the artistry of Butler. While Butler is attempting to take the blues places it never imagined it could go, Harris is taking the blues right back to where it started, and in a way which few other artists, if any, have been able. Whatever the exact ingredients are that made up classic delta blues around the 1920s, Harris knows them all backwards and forwards. On the other hand, many artists attempting to accomplish a similar feat either come off as indecisive as to how to put a modern spin on it, or simply "pretenders".

And yet, despite each artist being so different from the other, on "Vu-Du Menz," they both hit upon a common ground which allows them to create an intense, funky, and often very introspective take on traditional blues which could not be equaled by a pairing of any other two musicians. It's Delta Blues meets Professor Longhair meets The Meters. The only complaint one could have about this album is that they are not paired up for every song on the CD, opting to do some solo performances. Those songs are outstanding and intriguing as well, but we can get those when those two are not busy creating a classic album together.

While every song on this album can be considered "a highlight" as well as an entity unto itself (the variety was carefully and perfectly thought out), there are three songs which deserve three asteriks instead of just two. "Mulberry Row" is a mean-sounding, funky blues tribute to Sally Hemmings (how many other songs could one describe in the same manner?). "If You Let a Man Kick You Once" is a light, dixieland-influenced piece that might leave one wondering exactly how a song with such a classic, catchy melody and lyric made it through almost an entire century of blues without somebody else writing it. "Didn't My Lord Deliver Daniel?", in which Harris takes a solo turn, is a quiet and slow yet powerful take on a traditional tune that might lead the listener to shut off every thought and sound around except for the rough beauty of Harris' voice and understated guitar playing.

This album has already been received by many in the industry with rave reviews. As with all classic albums, as times goes on, all will probably realize just how truly special a pairing "Vu-Du Menz" represents.

**Also recommended for Henry Butler fans: the out-of-print, larger-than-life "Orleans Inspiration," live from Tipitina's in 1989**

Great From Start To Finish
Being a big Henry Butler fan, I was very interested to hear that he had collaborated on an album with Corey Harris. I wasn't sure what to expect, but what I didn't expect was an album that is a joy to listen to from the first song to the last. With a very generous 15 cuts, there is barely a weak moment on the disc. The songs on the album are at the same time soulful, upbeat, and catchy. Stand-outs include: "Mullberry Row", "If You Let A man Kick You Once", and "No Substitute For Love". The production is crisp and clean. Corey Harris' voice is strong and forceful and Henry Butler's piano is crystal clear and mixed just right. If you are a fan of Blues piano, this is a must have album. I love it more and more every day. You can play it loud or as background music.

NEW ORLEANS BLUES
VU DU MENZ COMBINES THE PIANO PROWNESS OF HENRY BUTLER AND THE NATIONAL RESONATOR GUITAR OF COREY HARRIS WITH BOTH MEN SHARING AND ALTERNATING THE VOCALS. THOSE UNFAMILIAR WITH THE VOCALS OF HENRY BUTLER SHOULD CLICK ON "LET 'EM ROLL" OR CHECK OUT ONE OF BUTLERS PREVIOUS CD'S SUCH AS "BLUES AFTER SUNSET". PRIOR TO THIS CD THESE TWO INDIVIDUALS COLLABORATED ON A COUPLE OF TUNES ON COREY'S "GREENS FROM THE GARDEN" CD. APPARENTLY AT THAT TIME THEY DECIDED TO RECORD AN ENTIRE CD TOGETHER. THE RESULT IS VU DU MENZ AND THE DUO PERFORMS VERY WELL TOGETHER. BUTLERS PIANO PLAYING GIVES THIS CD AN OVERALL FAMILIAR NEW ORLEANS BLUES SOUND. THIS CD WILL APPEAL TO FANS OF DR. JOHN, PROFESSOR LONGHAIR, JAMES BOOKER, AND OTHER PIANO ORIENTED BLUES BANDS. OVERALL A GOOD EFFORT. MY ACTUAL RATING IS 4.5!

very authentic sound
Yet another masterful recording from Corey Harris! This album includes Harris and pianist Henry Butler. Henry Butler is an extraordinary player, and his playing and Corey's accompany each other excellently. High points on this recording include "Let Em' Roll," "Mulberry Lane," and Shake What Your Mame Gave You." Harris once again has crafted an excellent recording with many fine songs.A must-get! ... Read more

Reviews (3)

Master of the Blues Guitar
Absolutely stunning collection of Freddie King's two instrumental albums from the early sixties. All the favorites are here (Hideaway, The Stumble, San-Ho-Say, etc.). A cram course for aspiring blues guitarists. In impecable stereo for the first time.

The "Holy Grail" of blues guitar
I was looking for the song "Remington Ride" when I stumbled across this CD last week. My motivation is that I am learning blues guitar (at the tender age of 40-something) and the name Freddie King is one I have been hearing about for some time. Little did I know that I had found a "blueprint" (pardon the pun) for learning the blues. This disk is packed with some of the best blues licks imaginable, starting with the much covered Hideaway. Whether you're a blues purist or a newcomer to Freddie King, like I am, this is one for your collection.

Freddie King, more than "just picking"
For my money, this is the best Freddie King available. It is actually a combination of his two all-instrumental lps, "Let's Hide Away and Dance Away" (1961), and "Gives you a Bonanza of Instrumentals"(1965). It contains his classics, "Hideaway","The Stumble", "San-Ho-Zay", the extended raveup "Remington Ride" (based on the bluegrass original!) and many other great tunes. In his playing you can hear the roots of Clapton, Peter Green, Magic Sam,and almost any other blues-based guitarist who came after him. The playing is almost architectural at times, humourous at other times, and, especially in some of the longer instrumentals, monsterously expressive. His music combines qualities of Chicgo and Texas blues with instrumentation that is like surf music and early rock n roll, making for an overall unique sound. Don't miss it! ... Read more

Reviews (7)

Great blues-slash soul-slash funk!
Magic Sam Maghett was a bluesman from the Mississippi Delta first and foremost, but he was also instrumental (so to speak) in introducing an element of soul in his music, which was called "soul blues" or "west side soul".
The soul element is especially prominent when listening to Magic Sam's vocals, which are those of a soul singer rather than a blues singer, but most of the songs are structured and played mostly like blues numbers (except for the funky drumming by Odie Payne).

This album doesn't contain the obvious number 1 (or five star) hit - unlike his previous album, "West Side Soul" - but the quality of the songs is uniformly high, with "I Just Want A Little Bit" and "Keep Loving Me Baby" among the best songs.

"Black Magic" is a fine album, made with a contingent of very skilled musicians (Maghett himself being one), well produced (that is, not over-produced), and certainly recommendable to everyone with an interest in both blues and soul.

This is perfect, what can I say.
Sam is first rate. If you like Buddy Guy you might like Sam. If you like Otis Rush, you will almost certainly like Sam. If you like good music with soul, rythm and feeling- this is it. Not too much production, not stripped down either. It is a happy medium for most blues fans. There isn't an overboard horn section or interfering keys, or crazy looped guitar tracks. This is pure taste. A piano that plays perfectly to the music [ Sam learned by West side soul to only play with the best. ] and one Tenor Saxaphone for a few tracks to add some layers. Sam plays lead and some extra rythm. He is the only vocalist. There are two tunes that are kinda soul/ r and b. And the rest are solid blues, sometimes funky, sometimes slow. Sam is one of the great blues singers and innovators. This record does have a happy medium in a lot of respects. You got an instrumental. You got guitar playing that is technically respectable and creative but totally tasteful and with a feel for the music. Sam doesn't drill over the music with confused lines that go no where in particular like alot of bluesmen tend to do. He plays with his band. He solos and he shines, but he doesn't ever mess up the sound of the songs. Its got the slow soul, the feel good, the funk, everything. This album and West side soul are Sam at his peek, and the cream of the electric blues players. The man was an all around innovator of blues music, live he played bass, drums, Harmonica, Piano or whatever the band needed, it didn't matter. He Pushed the cool blues ahead. He and Otis Rush changed the game. And Sam has a respect for Otis because he did his songs, like Keep loving me on here and My Love Will Never Die on West side. I tell everybody I know who likes good music- If you don't know this guy, then you are missing a big piece of the puzzle. This is where it's at. His two major studio records and only real studio Lps are two of my favorites out of hundreds of albums. I can't even see how anyone could not like this.

Magic Sam ---One of the greats who died too soon
Magic Sam's Black Magic and West Side Soul are 2 of the greatest blues albums of all time--absolutely essential for any one who loves urban electric blues. The singing is absolutely incredible --one of the most powerful and expressive voices in the history of the blues. His guitar playing, rhythmic drive, and arrangements are also excellent and unique-he died soon after these 2 albums were recorded just as he seemed about to break out into stardom. His slow songs exhibit a soulfulness that is incomparable and the faster songs have a drive and excitement that is also beyond compare. You can't go wrong with these two albums--highest recommendation possible.

A Definitive Electric Blues Album
I first heard