Reviews (2)

Big Fun
The CD is 10 tracks culled from various Rounder Records artists CDs. I bought this to make my $25 minimum shipping but didn't expect much from a cheapie. When I put on the first track, I hooted out loud at how delightful the opening riffs were. The rest of the tracks were just as good. Consider getting this along with Gallerie "Portrait of Boogie Woogie Piano" for a complete and very fun collection of the form for just over the minimum shipping.

excellent modern boogie woogie selection
If you're looking for a more recent selection of boogie woogie selections, this is your disc. All the tracks are upbeat and jumping. It just makes you want to get up and move. ... Read more

Amazon.com

Along with Robert Johnson, Son House, Charley Patton, and others, Blind Willie Johnson was one of the founding fathers of the blues. This 16-song collection features some of his best, most classic work, a distillation of the 30 songs he recorded (all of which are available on Complete Recordings of Blind Willie Johnson). Unlike his peers, however, Johnson's focus was on spiritual music, which he performed in church and on street corners, his chilling, gravelly voice complemented by guitar work that is nothing short of exquisite. Many of the songs taken up and popularized by Johnson's contemporaries and successors were written by him, and they're all here: "John the Revelator," "Jesus Make Up My Dying Bed," "If I Had My Way I'd Tear the Building Down," "Lord I Just Can't Keep from Crying," "It's Nobody's Fault but Mine," and of course "Dark Was the Night--Cold Was the Ground." Dark Was the Night is a worthy introduction to this seminal artist's work. --Genevieve Williams ... Read more

Reviews (5)

Great blues
I came to Blind WIllie Johnson from Columbia's "Legends of The Blues Volume 1." I had it on and when i hit track for my head could've nearly spun off my neck. It was "Lord, I Just Can't Keep from Cryin'" - hands down the best song on that compilation. Johnson's voice was powerful and the female harmony was intoxicating. The slide work was great. It hit me hard. Anyway, I picked this disc up - i just had to - and was not disappointed. So many songs on this disc could easily be tossed into the "best ever" categorical debates. Johnson's voice may ruffle some as it is very strong and gruff, but it makes the songs that much better in my opinion. Great blues here, great blues.

New generation of music?
For many young adults, such as myself, the blues has truly become a new found love. In order to really appreciate the essence of the blues, several of my friends researched legend blues artists and I came across Blind Boy Willie...never in my life have I heard music played with such emotions, and realism. Message to all generations: open your minds, close your mouths, and listen...really listen to the blues.

Essential
The PBS series "The Blues" will hopefully introduce the work of Blind Willie Johnson to a mass audience. Recognition of this man and his contribution to American culture is long overdue. "Dark Was The Night" is the best and most affordable introduction to Blind Willie Johnson. The complete collection two disc set is pretty much for completists only.

That said, if you have never heard this music before, be sure to prepare yourself, because the spiritual force and gravity of this music may leave you exhausted and perhaps even frightened. Johnson's voice is one of the most unique and haunting instruments to have ever been recorded. The man's singing bespeaks experiences and a life lived that is almost too painful to contemplate. The lyrics of these songs are almost transcendentally poetic...the religious imagery is used to ask the most fundamental of philosophical questions. The female accompaniment of these songs only makes them a more poignant commentary on the human condition. Johnson's guitar work is similar in nature. In combination, this music is about as raw and emotive as human musical production can get. I think Wim Wenders is correct when he says that this music will teach you more about the American experience than just any history book. And Ry Cooder is surely right in his observations about this music.

These songs strip it and you bare; you simply have no place to hide. You will get ripped to shreds, ponder the nature of existence, and then eventually get "healed" as John Lee Hooker famously sang not too long ago. This is "deep" blues, about as deep as the blues and gospel can get.

One of the great, haunting, bone-chilling treats of music
This is some of the most beautiful music I have ever heard.
You wouldn't think Willie Johnson's gruff faux-bass growl could be beautiful, but his singing, and his songs, is so incredibly powerful and sincere. His music is so melodious, and his slide guitar playing is unsurpassed even today - just listen to Johnson's pocket knife coaxing the most wonderful sounds from the steel strings on "You'll Need Somebody On Your Bond" and "It's Nobody's Fault But Mine".

This is not blues, mind you, even though there's sometimes only a fine line between 'Blind' Willie Johnson's brand of gospel and the country blues of men like Son House and Charley Patton. But gospel it is, and Johnson (and his wife) turn in fabulous renditions of "Praise God I'm Satisfied", "Keep Your Lamp Trimmed And Burning" and the awesome "The Soul Of A Man"."Lord I Just Can't Keep From Crying" ventures into the blues idiom, but virtually all of Johnson's songs were strictly religious, songs about the hope of a better world than this one, in which Johnson laid on his bed of wet, bundled-up newspapers and slept after his house had burned down, contracted pneumonia, and died while only in his forties.

'Blind' Willie Johnson's singing and playing is powerful and strongly rhytmic, much more so than you would expect from a man who was essentially a gospel singer, but you can't help but imagine the big, thundering beat of a drummer keeping the rhythm section going behind him.
His rough, gravelly voice is awesome to hear, and it comes as a genuine surprise when he suddenly delivers in his own natural tenor on a few tracks, such as the classic "Let Your Light Shine On Me".
Only the awe of listening to Son House in his prime can be compared with the experience of hearing 'Blind' Willie Johnson doing "Jesus Make Up My Dying Bed" or "Dark Was The Night (cold was the ground)" for the first time.

Praise Johnson, I'm satisfied!
Blind Willie Johnson is different. You can actually detect his regret,his anguish, and his utmost yearning for salvation in hissandpaper-like voice, his superb slide-guitar playing and his songwriting. All the songs on this CD are great. They are, yes, very spiritual and religous. But they don't sound and feel like some religious nutcase preaching the end is coming and those who believe in God will be saved and be placed in somwhere up in the sky where everything is fine and jolly, yada, yada, yada... Johnson sounds REAL. He sounds like someone who doesn't really care about his audience. He would probably sing those songs of his even if there's no one around.

Johnson has a great voice(think along the lines of Howlin' Wolf and Tom Waits). You might not enjoy it on the first try, but it sort of stuck on your mind and won't let you go. I'm no expert in blues, but these songs sound very different from what you'd usually consider to be "blues"(I guess Muddy Water and his followers would fall into this realm). The female harmonic vocal is very powerful and moving, it gives Johnson's music a haunting and disquiet feel. I highly recommend you to try it, regardless of your view on religion.

One suggestion, you might want to go straightly to the Complete Recording of BWJ. I had the this first and then purchased the Complete set, now I don't know what to do with the this condensed version. ... Read more

Reviews (8)

This guy deserves to be heard
It's not surprising that Blind Lemon was the most popular bluesman of his era for when you have the pleasure of hearing him for the first time you are subconsciously captivated by a voice which is obviously blessed with such rare subtle harmony that it can only be desribed as other worldly.
In fact other worldy is probably how I would describe this music as although it often follows rythmic patterns of conventional country blues, Lemon adds his own quirky notes which embellish the fingerpicking basslines and his greatest asset - his voice and the end result, although defined as blues, falls outside the traditional blues canon.
I highly recommend this CD as an overview of his work. The first time I heard Lemon was on a blues compilation CD featuring his great hit Matchbox Blues, and while that hooked me instantly I could tell that in this compilation the tracks had been remastered to a higher standard.
Be aware that there will be hiss on any Blind Lemon recording, this music goes back to the 1920's afer all, a fact which makes these timeless melodies all the more astonishing.

Excellent overview
Taking the place of Yazoo's previous compilation, 1985's "King Of The Country Blues", this fine collection of Blind Lemon Jefferson's prewar singles is just about the best on the market (unless you want to spring for JSP's superb four-disc boxset "The Complete 94 Classic Sides").

The earliest of these 23 very well-chosen cuts are some of the first electrically recorded songs, and there is generally quite a lot of surface noise present, but that is the case with every available Blind Lemon-compilation, and this one is certainly one of the better sounding, along with Catfish's equally excellent Blind Lemon-CD "Squeeze My Lemon".
Lemon Jefferson was one of the pivotal figures of early 20th century blues, and one of the most important and influential bluesmen ever to come out of Texas...an intricate guitar player and a fine songwriter whose best songs ("Match Box Blues", "See That My Grave Is Kept Clean", the eerie "'Lectric Chair Blues") are all part of the fabric of the blues.
Highly recommended.

One of The Original Bluesmen
Along with men like Frank Stokes, Charley Patton, Furry Lewis, Mississippi John Hurt and Cryin' Sam Collins, Blind Lemon Jefferson was one of the original bluesmen. Although it's commonly thought that he was born in 1897, more recent research has suggested that he was born in 1893. During the years of his adolescence, the blues was first beginning to take shape. Songs like "Black Horse Blues," "See That My Grave Is Kept Clean," "Matchbox Blues," "Corinna Blues," and "Rabbit Foot Blues" are all absolutely essential to anyone's blues collection, or to their general understanding of American music. Jefferson's strange and unconventional vocals controlled and dictated what he played on guitar. His guitar playing was highly influenced by the Flamenco playing of Mexican workers whom he lived near during his life. His lyrics are bright, original, often sarcastic and humorous, and great poetry. Unfortunately, both this disc and a Yazoo Blind Blake disc that I have, often skip when I play them. Better luck to others who purchase this Jefferson disc!

Excellent unconventional blues
After listening to HARP's "Make Me a Pallet on the Floor" which is Blind Lemon's "Out and Down", and listening to the Carter Family's "See That My Grave's Kept Green" which I confuse with Blind Lemon's "See That My Grave's Kept Clean", I obviously had to return to The Best of Blind Lemon Jefferson. As always it is an absolutely luxurious aural experience -- the joyful beat of "Beggin Back", the early gospel sound of "He Rose From the Dead", the haunting blues of "'Lectric Chair Blues". Blind Lemon's music evolved as a street musician with more freedom in his beat than those bluesmen who played for dances. Add a voice that he used superbly ... understandable, musical, emotional. Others may have recorded the same songs as he but few have matched his performance.

For more detail on this collection, see the review by bigthumb.

The most accurate sounding Blind lemon Jefferson cd
This man is the foundation of country/texas blues; everyone has been directly or indirectly influenced by him.This collection is the most accurate representation of Blind lemon jefferson's music;which includes country blues,spirituals & folk songs.Being a texas country bluesman myself; in my opinion, Blind Lemon Jefferson & Charlie Patton are the best bluesmen that ever lived . ... Read more

Amazon.com

This pairing of seemingly disparate guitar stylists remains one of the most sustained and successful musical partnerships in modern blues. Joe Kubek's aggressive approach is proudly rooted in the Freddie King tradition and that's not too surprising since the late King was an early employer. Bnois King's jazz-inflected guitar lines spice up the proceedings, effectively serving as the steak sauce for Kubek's hearty cuts of beef. The dozen original songs, including the guitar showcase "Armadillo Blues," provide graphic and uniformly entertaining evidence of the duo's potential. Kubek expands the sound a bit by adding acoustic and slide guitar, but it's the enlightened interplay with King that makes the music work. Kubek also plays Hammond B-3 organ on "Let's Stop Pretending" while Anson Funderburgh adds some guitar on "Invitation Only." King's soulful vocals, reminiscent at times of Boz Scaggs's cool groove, serve to unify and elevate the impressive instrumental achievements of both guitarists. There are very few live blues bands as consistently cohesive as the Kubek/King alliance, and Show Me the Money simply, and successfully, relocates its onstage excellence to the recording studio. --Michael Point ... Read more

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Most live blues recordings have a feeling of intimacy, as if the concerts took place in some out-of-the-way venue for an audience who not only know all the lyrics, but know the performers personally as well. Live Alive, in contrast, feels like a large-scale rock concert, an epic production full of grand gestures. But really, nothing suited Stevie Ray Vaughan's style better; everything, from the overall sound to the solos, feels big. The roar of the audience, especially for favorites like "Pride and Joy," "Cold Shot," and "Texas Flood," is huge but distant, an arena sound. Overall, Live Alive leaves the impression of a series of stellar moments caught on tape, with an intensity rarely captured in the recording studio. --Genevieve Williams ... Read more

Reviews (25)

Superb
The late Stevie Ray Vaughan rocked on stage. His rendition of Howlin' Wolf's "Commit A Crime" may lack the raw punch of the original, but that's a minor complaint - most of this album is simply excellent, filled with gems from Vaughan's first three albums.

Vaughan's guitar playing is masterful, with more grit than most of his studio orginals. His vocals are good, too, and the song list is magnificent, featuring the rare, non-LP track "Willie the Wimp" about the bizarre 1984 funeral of a Chicago "wiseguy".

Other highlights include Vaughan's best song, the superbly groovy "Pride And Joy", as well as "Look At Little Sister", "Cold Shot", "Love Struck Baby" and the slow blues "Texas Flood" and "Ain't Gone 'N' Give Up On Love", but there are really no weak songs, and this album should appeal to fans of both blues and rock music.
The sound is good, and the band is excellent. Several songs actually sound better in this live setting than on the original studio albums, partly because of the blistering blues-rock arrangements which include keyboards (piano and organ).

(Some people seem to think that Vaughan's playing wasn't up to his usual standarts when this album was recorded, that he must have been having a bad night or something. I can't make any sense of that claim, especially since "Live Alive" wasn't recorded during just one show, but actually incorporates cuts from different concerts in both 1985 and 1986. He must have been having some bad years, then.)

This is a very enjoyable, soulful live album, and it is highly recommendable to anyone with an interest in Stevie Ray Vaughan, or contemporary blues and blues-rock in general.

****1/2
The late Stevie Ray Vaughan rocked on stage. His rendition of Howlin' Wolf's "Commit A Crime" may lack the raw punch of Wolf's original, but that's a minor complaint...most of this album is simply excellent, filled with gems from Vaughan's first three albums.

Stevie Ray's muscular and versatile guitar playing is sublime, with more grit than most of his studio orginals. His vocals are good, too, and the song list is magnificent, featuring the rare, non-LP track "Willie the Wimp" about the bizarre 1984 funeral of a Chicago "wiseguy".

Other highlights include Vaughan's best song, the superbly groovy "Pride And Joy", as well as "Look At Little Sister", "Cold Shot", "Love Struck Baby" and the slow blues "Texas Flood" and "Ain't Gone 'N' Give Up On Love", but there are really no weak songs, and this album should appeal to fans of both blues and rock music.
The sound is good, although not always crystal clear, and the band is excellent. Several songs actually sound better in this live setting than on the original studio albums, partly because of the blistering blues-rock arrangements which include keyboards (piano and organ).

Apparently some people feel that Vaughan's playing wasn't up to his usual standarts when this album was recorded, that he must have been having a bad night or something. I've heard a lot of live SRV, and I can't make any sense of that claim, especially since "Live Alive" wasn't recorded during just one show, but actually incorporates cuts from different concerts in both 1985 and 1986. (He must have been having some bad years, then.)

This is a very enjoyable, soulful live album, and it is highly recommendable to anyone with an interest in Stevie Ray Vaughan, or contemporary blues and blues-rock in general.

Don't buy the cd, get the tape or record!
This is a great album the way it is, but without the 14th track (Life Without You), it's only half as good. For some reason, this track is not on the cd version, but appears on the cassette and vinyl version. It may take some hunting, but it is certainly worth it. Stevie may be stoned out of his mind, but the live version of Life Without You, with the three minute recitation at the end, is a beautiful, touching moment. Besides that, live Stevie Ray is always amazing. Highlights on this are "Pride and Joy", "Ain't Gone 'n' Given up on Love", "Cold Shot"(Check out the guitar tone on this one), "Texas Flood", "Voodoo Chile" and "Change It". Still, GET THE TAPE OR RECORD. You won't be dissapointed.

Heard only a few songs
This album is one of the only live albums that I don't have. I have heard samples, and a few extra songs on other cds though. The first thing I hear from somebody that tell about this album is basically that Stevie couldn't have been more high. His performance was just imbarrassing for the other members in the group (specifically Reese Wynans). Most poeple don't know this but, on the old vinyl copy of this album, (I've never heard it but someone told me) there was originally a 14th track. It was the song that usually comes close to the end of Stevie's sets. The song was Life Without You. Since it was the very last song, I'm guessing Stevie was more pooped than ever beacause it was the last song and that he was extremely high and everything. Being high is one thing, but being high and playing your last song in a set is terrible. In the old vinyl disc, Stevie was on his last song and he was so terribly slow that Reese Wynans walked off stage embarrased and discusted. This track was taken off the album because of its discracefulness.

SRV LIVE ALIVE
Stevie Ray Vaughan did not always play his best its one of those things that guitarist go through even Jimi Hendrix had a bad concert. This concert would prob have to be one of Stevie Ray's worst concerts. I am a huge SRV fan and I have about all of his stuff my favorite DVD is Live At Elbocambo this DVD SRV plays his heart out. Also on this CD they include the piano player who toured with SRV around the time of this concert and the Austin City Limits. There still is great guitar playing sounds good for what it is. Some cool songs are Pride And Joy, Cold Shot, Willie The Wimp, Voodoo Chile(Slight Return), Texas Flood, and Love Struck Baby. I was disapointed SRV did not play Lenny but it most have been one of those days I gave this CD 5 stars. If you love SRV then try this one out see how you like it listen to the samples. ... Read more

Reviews (4)

Real Gangstas, Role Models, and Elvis Presley
This disc (as well as its companion, "Vol. 2: Dont'cha Hear Poor Mother Calling?") is perhaps some of the most beautiful and honest recordings of human expression you'll ever hear. Modern music has nothing on this stuff; it's the real deal. This is music that was created to get you through the day; not to sell records or to score chicks. This is as anti-commercial, and therefore, as antiestablishment as you can get. Truly alternative. And it is, in a word, spellbinding.
The greatest beauty of, not only the songs, but culture that spawned them and the men who sang them as well, is the burning human spirit that inhabits each and every track on this record. Nowhere is there a mention of giving up or losing hope. These songs are optimistic in the the purest sense and prideful in the best way. One can't help but wonder how - in a place where you could get six months on the chain gang for standing on a street corner, or five years for stealing a loaf of bread - these men managed to remain so hopeful? How could they stay so proud and sing so true, with so much life, while they were being worked to death every day, from dawn until dusk, under the blazing, hot sun with nothing but a little bread and water to keep them going? These men must have had an amazing inner strength and a strong system of values to get through it. Or, if not that, at they very least, they had to have possessed an unimaginable amount of pride and dignity in themselves to not to be broken down by their captors and the brutal Jim Crow penal system under which they were railroaded.
Thinking of that and listening to this disc, I was reminded of something I heard Wynton Marsalis say in an interview with David Frost. When asked what he thought of Rap music, Wynton said that, "Rap, because of it's sense of nihilism, represents the ultimate triumph of the white man over the black man..." Nowhere, he claimed, in the history of African-American creative expression do you find that sense of nihilism that you do in Rock & Roll. That was something that found its way into black culture after Elvis took off. So if Rock music was, and still is, a white manifestation of the Blues and R&B with a Dionysian sense of self-destruction, then the rebellious posturing and devil-may-care swagger of today's gun-toting "Gangsta" archetype is something that was adopted from white culture. Does this sound far fetched? Not if one looks at white popular culture from the fifties. Take, for example, "Rebel Without a Cause" or "The Wild One" where disenfranchised white kids, juiced up on hormones, drag race down the road, not at all concerned that somebody might crash or fly off a cliff. Where do these ideas play out in pre-fifties African-American culture? They don't. Because they don't exist. Could you ever imagine Duke Ellington, in his top hat and tails, kicking over his piano bench the way Jerry Lee Lewis did on the Steve Allen Show? Never in a million years. This sense of nihilism was introduced into the mix by white guys like James Dean, Marlon Brando, Gene Vincent, and Eddie Cochran; it was later elevated to a fine art by the likes of Keith Richards, Janis Joplin, and Jim Morrison before it was co-opted by latter day Rap performers.
To be sure, there is no sense of nihilism on this disc. And for that reason, the singers on "Murderous Home" (and "Dont'cha Hear Poor Mother Calling?") should be held up as role models to countless disenfranchised young people out there who have no faith in the system. The men here didn't let the system get the better of them; they didn't let the institution turn them sour; they didn't let the institution turn them on themselves. The guys on this disc are the original "Gangstas." True rebels, defiant in a time long before being an outsider was bottled up, made cool, and sold to us in the form of Rock & Roll...long before the advertisers taught us how to be self-destructive...and long before rap videos made that sense of self-destruction sexy to suburban kids.
It's interesting to note that in spite of all the positive spirit in these songs, when Alan Lomax returned to Parchman just a few years later, the younger convicts refused to sing them. They saw the songs as old-fashioned and thought singing them would be "Uncle Tomming." Ironically, of course, this was in the fifties...after Rock & Roll.
How sad then, that these songs were forgotten by African-Americans. Because what got left behind was a guiding voice. A voice that was so poetic, beautiful and honest in its heroic strength and language and so steadfast in its conviction and principle and so completely true to itself that no rapper out there today comes anywhere close to equaling its defiance. But, perhaps the worst thing of all...the saddest of thing all...is that a genuine dignity was lost. A dignity that could have been a navigational beacon...a roadmap to the high road...forsaken and cast aside...and, ultimately, all because a good-looking white boy from Memphis shook his hips on a thing called television.

DEEP
I really had no idea what i was in store for. But for those who love black, southern and prison history, spirituals, and are thirsting for music in its purest form, buy this CD!!! It has wonderful chants, commentary from Lomax, narrative from the inmatesand even clanking from the axes. You can hear the suffering and longing in their voices. You can hear the humor in may of the lyrics. Be sure to read the booklet so that you can get a clearer understanding of it all. It is a wonderful piece of recorded history. you may also want to buy the book Worse than Slavery, by Oshinsky so that you can get greater sense of exactly waht they are thinking about. One more thing..You will totally feel the energy of 22.

Incredibly powerful music
I was blown away when I listened to this CD for the first time. The recording is great. I didn't expect too much due to the time frame of the recording, but the quality is impressive. I bought this hoping to find more tracks like "Po' Lazarus" from the "O' Brother Where Art Thou" Soundtrack. What I got was much more.

One of the great documents of American music.
Words fail to describe this incredibly powerful album. I've had a copy since the 60's, and still have an unopened LP copy in my "vault" (along with the first Roberty Johnson LP). Luckily, I don't have to describe the power of the music - you can click on the samples, and hear for yourself.

Reams of praise have been heaped on this album, and every word has been an understatement.

If you have any interest whatever in American folk music or in blues or jazz, you either have a copy of this or should get one. This is the absolute peak of Lomax's years of collecting.

Incredibly clean sound for the 40's, all well recorded, musically superb pieces, each a perfect gem of its kind, preserving some of the oldest and best of American music, done by some of the finest singers you've never heard of.

You will listen to this again and again. ... Read more

Album Description

These songs by singer/songwriter David Shepherd Grossman. This is Grossman's 10th release. Part of this collection has been previously released and part has not... 18 years of recordings are documented on this 70+ minuite CD.

Some Recent Awards 1. Arizona Music Awards

Best Male Folk Aritist

1998
2. Spree Songwriting Competition

Best AAA Song

1998
3. New Times Magazine

Best Troubadour

1998
4. KRCL Radio

Utah Finalist

1998
5. Arizona Music Awards

Best Male Folk Singer

1997
6. Music Voice Reader's Poll

Best Male Folk Act

1996 ... Read more

Reviews (1)

Buy this CD
I'm an avid listner to most kinds of music. Plain and simple this CD blew me away. It's twenty years of this prolific writers work, and runs from mellow to rock. Every time I play it someone will say "Who is this? He's great" So if you are looking for a semi unknown artist who has really put the work in buy this CD you won't be sorry. ... Read more

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Roy "Professor Longhair" Byrd was a largely forgotten New Orleans bluesman when this album of his '40s and '50s Atlantic sides appeared in 1972. By decade's end, he was justly celebrated as a thoroughly one-of-a-kind father of rock & roll. These tunes, many initially issued as singles, showcase Longhair's droll vocals and unmatched sense of syncopation. "In the Night," "Tipitina," and "She Walks Right In" are among the hippest things you'll ever hear--no matter what kind of music you like. --Rickey Wright ... Read more

Reviews (3)

Sound Quality
I have a copy of this CD from BMG and the sound quality is awful. Not sure if this version is re-mastered but I would not take the chance. I recommend Crawfish Feista and Rock and Roll Gumbo as far better examples of Fess's work.

One of the greatest masterpieces of the 20th Century
This is one of the handful of albums from the 20th century in any or all genres of music which deserves the description "masterpiece". It is simply fantastic, and hugely influential on much music which followed. Many cuts on this album hit like a thunderbolt. Longhair was an original and a genius, and this is his best stuff. I cannot say enough enthusiastic things about this album--words fail me. Plus, it's a whole lot of fun! If this music doesn't make you tap your feet, check your pulse.

His Complete Atlantic Sessions!
This disc, originally released in the early 1970s, has been remastered and expanded to include the good professor's entire early 1950s recorded output for Atlantic.It's great! Includes the classic tracks "Tipitina", "Ball The Wall", "Mardi Gras In New Orleans", "She Walks Right In" and many others. If you love the New Orleans piano sound, it doesn't get much better than this! A wonderful album by the Mardi Gras king of "N'Orleans" that deserves a place in your CD collection. ... Read more

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Why settle for one great female vocalist when you can get three, especially when they're stylish soul diva Irma Thomas, Tracy "Mother Earth" Nelson, and swamp rocker (and roller) Marcia Ball. The talented trio take the Sing It! title seriously, belting all hues of blues with satisfying sass and sincerity. Backed by a fine and funky band of Memphis-soul stalwarts and New Orleans session stars, the ladies shine both individually and as a team. Thomas, the longtime "Soul Queen of New Orleans," struts her stuff on the Bobby "Blue" Bland classic "Yield Not to Temptation," while Ball puts some patented bayou boogie, powered by her slinky piano lines, into her spotlight songs. Nelson repeatedly stops the show with her enormous, wraparound voice, transforming tunes like "In Tears" from simple country-flavored ballads into cathartic emotional experiences. But it's the combined voices that makes the session so special, and the title track, a soulfully scintillating second-line anthem, is the most enjoyable example of the vocal virtuosity of these women. It's a quintessential New Orleans celebration of singing, well worth the purchase price by itself, and it, like the entire album, also serves as an excellent sampler of the multiple talents of the superb song stylists involved. --Michael Point ... Read more

Reviews (12)

Lovely songs, don't miss them!
This was the first CD that I can hear these three great musicians. However, I love it so much and go to bed with this CD almost everyday. Whenever I hear this CD, I always find a passion. If you are a person who hides the passion of love deep in your heart, Dont miss it!

this cd will give you goos bumps
Anything with Tracy Nelson on it is bound to be great and this collaboration with two other wonderful singers is as good as it gets. The funky Memphis sounds are a perfect vehicle for these three strong female voices and to hear Tracy and Marcia Ball wail with Irma Thomas, one of their mentors, is a treat. This CD should be a best seller. All the love and pain these women have shared comes through on every note. check it out. they deserve to be heard.

Good Music, good singing
It's not often you listen to a cd and it's all good. This is a very good collection of songs, sung by three very good singers. I would recomend this cd to a Martian that just landed on earth and wanted to know what "SOUL" music and good singing was. Get this one, you'll be glad you did, it's the best.

These gals are the stuff.
I actually heard these ladies first on Austin City Limits and decided that I needed the CD. Friends take one listen to this CD and fall in love with it just as I did. They like it so much that I am eager to let them take it home. I have bought FOUR copies and sent TWO as gifts. And I don't even have a copy for my own right now. My female friends have shared with me that this CD is highly suitable for listening while taking a candle-lite bath to soak away those "man-trouble" blues and also while trying to shake the road-rage syndrome on the ride home from work (of which I agree). BUY IT. And share it with a friend.

Tracy and Irma great combo.
This was the first I have ever heard of any of these ladies. Tracy and Irma stand out and You don't know nothin'about love, is the most powerful piece on the cd. Tracy is heard all over this cd with power force and beauty. I enjoy her thoroughly and will look for some of her solo stuff in the future. She crosses between gospel and blues with authority and passion. The highlight of this cd is the last song You don't know nothin' about love Great song ... Read more

Amazon.com

Wheels within Wheels fulfils at least one of the lost ambitions of the late Irish guitarist Rory Gallagher. On each of his electric albums, Gallagher featured a rootsy acoustic track and he'd hoped to release a complete album of unplugged performances. Collecting and tidying up a selection of outtakes and lost recordings from 1974 to 1994, his brother, Donal, reveals Gallagher's taste for blues, skiffle, and folk, and his love of collaborating with great musicians. The instrumental "Bratacha Dubha" features folk heroes Martin Carthy and Maire Ni Chathasaigh, while Bert Jansch turns up in "She Moves Through the Fair." The Dubliners, Bela Fleck, and the late Lonnie Donegan also put in appearances. Of course, given Rory's prodigious abilities, the playing is exceptionally fine, but there's a rare warmth here. Donal has succeeded in capturing the respectful, dignified, and wild qualities of a gifted musician. Gallagher fans will be delighted. --Dominic Wills ... Read more

Reviews (10)

WHAT A GEM
From a long time Rory fan, this is a real treat. It's a beautifully put together album of acoustic rarities and lost recordings, loving constructed by Rory's brother. Unlike many out-takes and rarities albums being issued currently, this collection doesn't sound contrived or superfluous. Let's hope Donal will continue to sift through his brother's back catalog for other material that Rory's fans can savor and relish in years to come. Perhaps a CD or two of backstage jamming or after-hours acoustic plucking? Oh, and for those of you who haven't discovered this yet, get a copy of the Irish Tour DVD - it's the best blues/rock you'll ever see and hear, conveyed with unusual honesty and humility.

What an enjoyable disc!
Thank you, Donal Gallagher, for keeping your brother Rory's music in the public eye. I have been waiting for such a release for years. Rory shows his love and talent for interpreting and writing acoustic based music. If you are a fan of Rory, you will not be disapointed with "Wheels Inside Wheels."

FINALLY GOT IT!
When you first get turned on to Rory Gallegher-you are hooked.Too late-you are hooked!I was first introduced to him on a late night concert show in the early 1970s(In Concert or Don Kirshners Rock Concert-I forget).When I heard the licks coming from this worn Gibson by this long hair in a flannel shirt I-was hooked.Life long fan and avid collector of his music ever since.When the later years rushed upon us, I felt that I would get a chance to see him live in some small venue.Then he died--so sad(he was a drinker and his liver was shot).He was also a player,writer,vocalist, and known worldwide for his style and rock background(or groundbreaking).His brother Donal was his manager and confidant,a web site developed for fans like me,and talk of an unplugged album was stirring.I was excited in anticipating this release.This was early 2001-released in 03,and purchased 04.Acoustic Irish music is very similar to Appalachain folk.You get some of that and it is great.The solo of "As the Crow Flies" on the national steel is classic(Irish Tour 74 anyone?)The live jam at the Montreaux festival with Bela Fleck doing "Amazing Grace-Walking Blues-Blue Moon of Kentucky" medely is a rare treat.The best tune is from the bandback in 1975 called "Lonesome Highway".Where this tune has hidden is a mystery to me(Would have been a MONSTER HIT with some airplay).A nice revision at the end of the CD for good measure puts an exclamation point to one of the finest collections of songs I have ever heard from an artist I really want to hear more music from. Donal-Wheels Within Wheels Vol 2?

Miss the Minstrel!
This man would have made a magnificent travelling minstrel during the Middle Ages! The song selection by his brother Donal (bless your heart)shows the wide range of talent our Rory could display and the ease with which he could sit in with a vast array of seemingly divergent talent and still shine through with his own proficiency. I mean, my God, he had not even met some of these people. Donal, please dig deep for any scraps you might have left. The hunger for this man's work is still out there and needs to be fed. Buy this CD. It is not just a bunch of retreads and half-finished songs but a real treat. He was truly the best!!!

Motts Within Motts
Long before the whole fashion of doing un-plugged concerts, Rory Gallagher has always been doing acoustic sets in the middle of his electric concerts, giving all Rory Gallagher shows more depth, quality, and variety than your average run of the mill rock 'n' roll concert. In many ways Rory Gallagher had the image of your regular rock 'n' roll star without all the showy trimmings. You never saw Rory Gallagher in a limousine, let alone the idea of him wearing stage clothes. The thought of him having a hairdresser or likewise is positively laughable. But in many ways he was way ahead of his time and a great innovator within rock 'n' roll.

Sadly Rory Gallagher died in 1995 due to complications during a second liver transplant. (As well as being one of the world's finest guitarists, he was according to legend one of the nicest people in the world, too. However, he liked to enjoying himself, helped along with the odd drink.)

So naturally you would of thought that this would of been the end of quality products from the man, as most posthumous releases tend to be scrapping of the barrel type efforts. But fortunately for us the fan, the Rory Gallagher estate has been left in the very capable hands of his brother and long time manager Donal Gallagher. He has successfully released all of Rory's back catalogue, re-mastered with extra bonus tracks, plus a double C.D.'s worth of live material taken from the B.B.C. archives, which contain some of the finest Rory Gallagher live material this dog has ever heard. Yes, I do have 'Live in Europe', ' Stage-Struck', and 'The Irish Tour'.

Now in 2003 we get an all new collection of songs put together by Donal Gallagher (4 completely different versions of tracks Rory Gallagher had recorded before, and 10 new ones to his repertoire, recorded between 1975 and 1994.) At first I was skeptical of this collection, but on the demands of Pattaya's leading Irish musician Declan Casey, I slipped the disc into my player and was immediately enthralled.

It is the perfect combination of old and new songs, all of varied pace, favoring Rory Gallagher's acoustic side. In fact 'Lonesome Highway' is the only song to include anything from the famous old Gallagher battered Stratocaster. The roll call of the famous friend with whom Rory collaborated is also very impressive.

The album opens up with Rory Gallagher in 1977 with the beautiful but melancholic title track 'Wheels Within Wheels', a fine start to any set of songs. Then in complete contrast we have a song from a short tour Rory did with three of his idols (and he was probably theirs). Under the title of 'Guitarists Night' the lineup was David Linley, Richard Thompson, Juan Murtin and Rory. During the performance they would mix and match the four guitarists' styles. This is a number that Rory started doing on stage with Juan and is some of the most tantalizing flamenco guitar that you are ever likely to have the privilege to listen to.

Since the release of 'Irish Tour' in 1074 the Tony Joe White, 'As Crow Flies', had been a firm favorite in any Gallagher set. For the first time I hear here the studio acoustic version, and a very fine rendition it is, too.

'Lonesome Highway' is the only track on the album featuring the Rory Gallagher Band recorded back in 1975. It's a little gem and could of fitted into any of Rory's studio albums. The playing of Lou Martin, Ro De'Ath and especially bassist Gerry McAvoy show just how much they were in sync with their leader.

Rory Gallagher had long admired Martin Carthy. The collaboration between the two of them, together with harpist Maire Ni Chathasaigh and Chris Newman, showed the respect was mutual. On this haunting instrumental 'Bratacha Dubha' the music's coming over as Irish-Elizabethan in texture and is perfectly placed in the middle of this collection. Next is a lovely short instrumental between Rory and Bert Jansch, which, although only just over two minutes long, is quite mesmerizing.

But you are snapped out of your revere by a blast of 'Barley and Grape', a collaboration between Rory and the Dubliners, which must represent the most fun a bunch of musicians can have in a studio. And if they had not been having a wee dram whilst they were recording this, they certainly were before, with the hilarious banter between Rory and Dubliners' vocalist Ronnie Drew. This is followed by two traditional arrangements by Rory collaborating with the doyen of European folk, Roland van Campenhout. They only leave you with the desire that the two of them had found the time to get together for a whole albums' worth of material.

The next three songs are the only live recording on this session and are the most surprising as well as the disc's central focus. When Rory Gallagher was playing at the Montreux Jazz Festival in 1994, who could of foreseen that when Bela Fleck walked out with his banjo to join Rory Gallagher that they would blend so well together? Especially as they had never spoken to each other before; the two just sitting down to play in front of this multitude of people. You only have to hear the crowd react to hear what they thought about it. In all it only lasts 10 minutes, but that's O.K. That's what the repeat button is for on your C.D. player. It is the ultimate 'I am not worthy' moment.

'Goin' to my Hometown' was a firm live staple for Rory Gallagher, his tribute to the era of Skiffle. It is perhaps fitting the only studio version known recorded with Lonnie Donegan, and a rip roaring version it is, too. Lonnie Donegan sings the backup refrain with plenty of gusto. As Rory had now given up his no singles policy, it's a shame this was not released at the time of its recording. Its footstompin' rhythm would surely have gained Rory some commercial gain in the fickle Top 20. The songs close out with a very satisfying reflective blues.

A wonderful collection of the warmth and comradeship Rory Gallagher spreads - a joy to the ears. To get more of the electric energy created by Rory Gallagher it is worth getting one of his previous live albums, but this is an absolute must for any lover of good music.

Mott the Dog
edited by Ella Crew ... Read more

Reviews (7)

***½
MCA's "The Best Of John Lee Hooker 1965 - 1974" opens with the best-ever rendition of "One Bourbon, One Scotch, One Beer", a swinging, piano-driven boogie version, followed by superb songs like "Think Twice Before You Go","House Rent Boogie", the slow shuffle "I'm In The Mood", and "Back Biters And Syndicators", which features Louis Myers on harmonica.
The gritty live recording of "I'm Bad Like Jesse James" is from the "Live At The Café Au Go Go" album, which you may already have. If not, get it...it is by far the best live recordings of John Lee Hooker playing with a band.

But there are also a handful of lesser songs here, and I'm not sure the world really needs a ten-minute version of "I'll Never Get Out Of These Blues Alive" with Van Morrison sharing lead vocals with the Hook (the song was originally recorded by Hooker for Vee-Jay), but it's actually better than you might think, and since MCA doesn't have the rights to the original, I guess I can't complain too much.

The lean solo version of "I Cover The Waterfront" found here is not the same as the organ-driven one on Rhino's John Lee Hooker anthology, "The Ultimate Collection (1948-1990)". Which one you prefer is a matter of taste, I guess, since they're both pretty good. But if you already have "The Ultimate Collection", you really don't need this CD, since all the best songs from Hooker's ABC years can also be found on the Rhino compilation.

Hooker's ABC records, from which these songs are taken, weren't as consistent as his earlier output, so this compilation is pretty much all most people will need from this period of his career.

Good, not essential selection of Hooker's ABC recordings
A nice sampling of Hooker's recordings for a variety of ABC labels that are sometimes overlooked. Calling these recordings essential is nonsense as it includes none of the stark, compelling solo or duet Detroit recordings nor as strong as the finest of the Vee-Jay recordings (The original Boom Boom or Dimples for example), but still these are better than many of Hooker's later recordings and no offense to the superstars who helped elevate Hooker's profile and made some of his last recordings so enjoyable, but I would as soon hear these recordings which include the late Eddie Taylor on second guitar and the late Louis Myers on harmonica on some tracks. Motor City is Burning, his reaction to the Detroit riots is perhaps the most compelling single track here. Unfortunately these recordings and the wonderful colloboration with Canned Heat, Hoioker and Heat were followed by over a decade of Endless Boogie before a bit of musical healing. This is a solid collection recommended to Hooker fans, but not one that is essential

Johnny Lee
Funny how expressive he was with so few notes. he inspired more with just a twang and a moan, than a legion of educated guitar wizards could do because he and was the cornerstone of American music. This collection does a great justice to his years when he played with larger groups and was full of howl and understood what the younger guys were doign on the scene. He made so many recordings in those years too. If you have no other of his stuff and are looking for a GREAT intro then this is a good un" I could hear him say "get your moneys worth" I especailly like the "I cover the waterfront with its eerie feel. You cant help but identify with the words and the reality of a sense of loss and hope. There is some rocking tunes as well that let you understand that rock and roll of the sixties rallied around the stuff that his soul shared.

Hooker's Best
Some "Best of" CDs really are not. This CD really is! This CD covers 16 of John Lee Hooker's greatest hits from 1965 to 1974, over 70 minutes of music. All of these songs were recoded in the '60s and '70s too, long before his gold and platinum album days. These are the same songs that would make Hooker famous 25 years later. Most of his better-known songs can be found on this disk. Throughout it all, Hooker's music remained unchanged. His rich and sonorous voice, full of ancient hurt, and his brooding and savage style remained hypnotic but unpredictable. To the strains of his own guitar, he sang of loneliness and confusion. Neither polished nor urbane, his music was raw, primal emotion. His one-chord boogie compositions and rhythmic guitar work were a distinctive sound that influenced rock 'n' rollers as well as rhythm and blues musicians. According to John shortly before his death, "I been doing the same things as in my younger days, when I was coming up, and now here I am, an old man, up there in the charts."

During a career more than six decades long, the veteran blues singer from the Mississippi Delta estimated he recorded more than 100 albums. To have a "best of" CD with that much material to pick from is a hard task, but the producers have done well.

If you only own one John Lee Hooker CD (if that is possible) this is the one to own.

Johnny Lee at his best
Never have I heard such a collection of blues masters. This album is burning with soul and emotion. Key tracks such as, "Never get out of these blues alive," "Bluebird," and "House Rent Boogie," feature superior bluse musicians such as: Van Morrison, Jim Kahr, Hollywood Fats, and Steve Miller, before their claim to fame. A tear fell from my eye when I first heard John Lee's story of his passing wife, Sadie Mae, in "Decoration Day." This album is a true tribute to all those who lost their lives in the terrible flood of Tupelo, Mississippi so long ago. ... Read more

Album Description

Take two critically acclaimed bluesmen, team them up in a recording studio, hit the ‘Record’ button, and listen as the magic begins to flow. Case in point: Kenny Neal and Billy Branch’s new Alligator album, DOUBLE TAKE. Kenny Neal is a critically acclaimed triple-threat bluesman, whose guitar and harmonica prowess are matched note for note by his soulful singing and passionate performances. Billy Branch is among the best blues harmonica players in the world. He is a gruff and potent vocalist, a groundbreaking solo artist, a valued session player and leader of the venerable Sons Of Blues. Neal and Branch got together in a studio in France in 1998 and recorded a magnificent acoustic album (released only in Europe), paying tribute to past musicians and laying the path for a bright and uncompromising future for the blues. Now that album—DOUBLE TAKE—is finally seeing the light of day in the United States. From St. Louis Jimmy’s Goin’ Down Slow to the Little Walter gems My Babe (written by Willie Dixon) and I Just Keep Loving Her to Sonny Boy Williamson’s Don’t Start Me Talking to the originals Billy and Kenny’s Stomp and Northern Man Blues, the two trade vocals in a relaxed and warm meeting of styles, riffs, whoops and hollers. Blending deep blues tradition with a contemporary, pulsating edge, Neal and Branch deliver a foot-stomping and spirited look into the blues through the eyes of two remarkable musicians who will continue to be at the forefront of the blues world for many years to come. ... Read more

Reviews (1)

Great blues
This is a fantastic piece of work, I am a blues musician and I know good blues. If you buy this disc you will not be sorry. These two go together like butter and toast. ... Read more

Reviews (2)

Much More than I Expected
Of all these JSP box-sets I own, none has been a bigger surprise to me than this one. I bought this one as a curiosity but it is much more. Going by the tracklist there were a handful of people I knew, but most were new to me. If this exact same box had been released by another label and was more along the lines of $40 to $60 I would have never purchased it. Knowing JSPs reputation for quality transfers and low prices I just decided to go for it, hoping along the way that there would at least be 2 discs worth of stuff I enjoyed. "At least" certainly came true!

This may be the singlemost entertaining JSP box I own (given what they have released so far)! The sheer number and diversity of artists and styles presented here makes it possible to sit down and listen to this whole box in one sitting and all the way feel like you don't know what's coming next.

From songs you've never heard of (and may never hear elsewhere again), to songs with familiar themes, to a handful of tunes that are straight-up rip-offs of tunes by famous musicians, it's all here. King Solomon Hill's "Whoopee Blues" is probably my favorite rip-off tune here. It being Lonnie Johnson's "She's Making Whoopee In Hell Tonight". I say rip-off because I have to assume that Lonnie didn't see a penny worth of royalties from this cover of his tune.

That will be my only mention of specific tunes/musicians. The magic of this box is that it is about no one and everyone. There are a couple relative stars here (in the eyes of history), but for the most part these are musicians whose voices and work have been forgotten by time. You listen to this box-set and you'll be wondering why. More than being about any one person or any one style, this box is a tribute to an era and a culture. An era where music was like the work of that era itself... you made it your own self and you did it with your own two hands. A culture that made the most out of a horrendous situation that should have never existed in the first place.

As for the technical sonic quality, it is everything that is Paramount. Most of the sides contained here are in that "average to very good" range. A couple of them are cleaner than any other Paramount sides I have ever heard, and there are only a couple that could be considered in that "Wow even bad by Paramount standards!" range. If you already own a substantial amount of Paramount sides you have absolutely heard alot of things that sound alot worse than the majority of what is here. JSP has done another wonderful job with the transfers. I hope every single person at that label is proud of this box! Another thing that must be said is that if you like some pre-war stomp-down blues piano, this box is definitely for you.

If you've been eyeing this one and "Should I or shouldn't I??"... you should. You really should. I think you'll be pleasantly surprised, to say the least.

5 stars - and a nobel prize
Wow! JSP certainly deserves some sort of award for making this historic collection available.If you're reading this, I assume you already know about the Paramount label, which recorded some of the greatest "race" (as they were called at the time) records ever.Superstars on Paramount included Blind Lemon Jefferson, Charlie Patton, and Blind Blake.The set collects many of the lesser known artists who recorded sides for the label.Someone more expert than me would have to verify this, but I imagine that some of these sides are being issued on CD for the first time ever.What's amazing is the consistency of quality and the originality and charisma of even the most obscure artists here.The variety makes this one of the most entertaining box sets I own.This is old-time blues of every kind: barrelhouse, delta, hokum, jazzy, gutbucket, you name it.I know it's saying a lot, but this belongs on your shelf not far from the immortal "Anthology of American Folk Muisc," and unlike that set you won't have to take out a loan to make the purchase.I have a very minor complaint that the notes jump from factoid to factoid and are somewhat confusedly written: a more well-written, thorough, and sequential history of the label and some of these artists would have been appreciated.But JSP did a great job with the music, and that's what counts. Superb! ... Read more

Amazon.com essential recording

One of B.B. King's first pop-inclined efforts, this CD features the support of rock- and blues-raised session players. King's progeny, in a sense. Keyboardist Al Kooper is the most notable, but it's guitarist Hugh McCracken who engages the master in a six-string duel on the jam "Cryin' Won't Help You Now/You're Mean." The album also contains King's breakthrough hit "The Thrill Is Gone." King didn't particularly enjoy the tune when he recorded it. But when he returned to the studio the next day to hear the strings that were added to sweeten its chorus in his absence, he was as taken by the transcendent, majestic sweep they lent his performance as the rest of the world was soon to be. Indeed, his visceral vocal and stinging guitar leads define the bittersweet aftertaste of lost love. While the sheen of the hit's production stands out among this album's cuts, the unvarnished emotion of its lyrics is what the blues is all about. --Ted Drozdowski ... Read more

Reviews (8)

Didn't work for me...
I'm a fan of B.B. King's work and have plenty of his albums. This one simply did not measure up for me. I give it three stars mostly because I am a fan. I would suggest instead getting either Live at the Regal or Live at Cook County Jail. There was a CD available with both on it but I think it may be out of print.

Completely well
this is BB King's first Blues cut's from the mid 50'ies
before this he was doing gospel to me it is more Funk and R&B lot's of Phat horns and the big Hammond in the back ground then Blues..but it will make your feet happy and he sings lot's on this something he does not do much of anymore.A must have if you dig BB king

BB's greatest
This is still my favorite BB record, one that always improves my day. It should be combined with "Live and Well" to get more of the BB-Jerry Jemmott combination. Jerry's bass pushes BB and the band to even greater heights than usual. CD burners: combine the "Well" section with the "Completely well" set for complete bliss. It's nearly always in my car's CD to combat road rage.

B.B. KING: Professor Of The Blues!
Ain't it the truth? "The Bluesmeister" B.B. King never misses a step on "Completely Well". In fact, "The King Of The Blues" is just smokin' with his "gal" Lucille the entire way, from the very first note of "So Excited" to the final fade out of "The Thrill Is Gone", which is B.B.'s first and only Top 40 hit single here in the U.S.. With each and every song on "CW" a true winner, you'll want to hit the ol' continuation button on your stereo to derive maximum musical pleasure from this one. As your doctor will tell you, he'll/she'll suggest that you listen to "Completely Well" (or any of B.B. King's masterworks) twice daily, and will ask you to call him/her in the morning! Yes, folks, "CW" is a sure fire cure for the blues, or for whatever else ails you. Heck, you don't even have to be sick to reap the benefits of great listening pleasure from "Completely Well". This is one CD you definitely need to have in your collection. With this remastered edition, complete with artwork and liner notes, you can't lose. Don't let this one pass you by!

An Essential Blues Album
I bought this album in '69 when I was fourteen and have been loving it ever since...nice to have the remastered CD. B.B. King breaks out of the blues into the realm of soul on this collection (recorded over two days). The backup band is excellent, although, never mind the Amazon.com review, Al Kooper doesn't play on it (Paul Harris handles keyboards). The most amazing thing going on here is the interplay between King and the legendary bassist Gerald "Fingers" Jemmott, who played on some of Aretha's best Atlantic sides. King authors or co-authors most of the titles and they are all solid songs. He's never sang better and Lucille wails. Besides, every record collection must include "The Thrill Is Gone," one of the greatest soul/blues cuts ever. ... Read more

Reviews (5)

Hubert Sumlin
Hubert was one the great electric lead players, an influence on all after him, but somewhere along the line he started BS'ing, and never found the need to -really- PLAY again, as the audience doesn't seem to notice the difference. Too bad for all of us. Blues fans: It's ok to love someone and still be critical; it'll improve the music.

Essential
If you buy one record combing the talents of the vastly neglected Sunnyland Slim, the prodigous Willie Dixon and Howlin' Wolf's back-up man, Hubert Sumlin, this would be it. Stripped down blues with a feeling. More real soul than a crate of SRV CDs. Dah real thing.

Sumlin's amazing talking blues...
Sumlin's amazing talking blues. Sunnyland's valuable blue piano. Great CD. Buy it!!

Legend of blues...
This is a historical recording in a blues festival. Artists named in this CD are not only the blues masters but also the artists who did not release many records as a primary artist. Great blues after great blues. Awesome CD.

Masterful Blues From Some Blues Masters
This LP was cut in East Germany while the gang was over in Europe for the American Folk Blues Festival in 1964. The musician names on this CD ought to give you a clue as to how great it is. This is some awesome blues. Check out the amazing power on the Sumlin cuts "I Love" and "Hubert's Blues"...unbelievable stuff. ... Read more

Reviews (12)

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

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

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

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

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

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

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

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

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

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

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

Amazon.com

If you had to choose just one