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These 17 tunes come from King's most fertile period, his 1966-68 tenure at Memphis's Stax Records. Stax chief Jim Stewart had been reluctant to sign blues artists because he felt straight blues wouldn't mesh with Stax's patented Memphis soul. Ironically, the fusion of King's sharp guitar wails with the dynamic rhythms of Booker T. & the MGs--the Stax house band--was what set King apart from other bluesmen. The unique blend produced classic after classic: Booker T. Jones' rolling piano propels "Laundromat Blues." Al Jackson's drum shuffle supports "Crosscut Saw." The driving horns of Andrew Love, Wayne Jackson, and Joe Arnold accent "Born Under a Bad Sign." King's ripe and mellow vocals are a perfect match for the soul-drenched music while his dramatic string bends leap out. --Marc Greilsamer ... Read more

Reviews (18)

Albert King's Atlantic Records Version of his Stax Work
This was my very first Albert King LP. It was released as the height of the 1960s Blues Mania and so did very well with white listeners. However, the album is really a re-release of several singles and additonal session material that was done at Stax during 1966-1968. The real story is that Atlantic stole the whole Stax catalogue under a clever distribution agreement. This lead evntually to Stax's total demise in the Mid-1970s.

The album is a great overview of King's early period with Stax. Actually, it is a double album- the seminal album "Born Under A Bad Sign", with additonal cuts. All bonus tracks are originally from that Stax classic album-the most influential Black Blues LP of the late sixties.

The tunes include his classics such as "Laundromat Blues" Albert's first Stax release with his soulful double string bends, "Overall Junction" a mono instrumental masterpiece, that unlike Albert Collins or Freedie King tunes has no primary melody "or head". He offers "Born Under A Bad Sign" a tune he recorded in one take as an overdub to the MG's backing track, "I Love Lucy" is a great example of his talking blues abilities (he was one of the best) and the guitar is super raw with superb bends! "Cold Feet" a tune written with drummer Al Jackson, Jr (who also helped him on "Night Stomp" and produced his famous "Live Wire" set) it is a great talking blues with a catalogue of King licks-it was his second highest charting single. "You Sure Drive A Hard Bargain and You're Gonna Need Me" are later cuts that were added on the release of the original LP. "Bargain" was a cover a another R&B tune with a great Memphis Horns chart and "Need Me" is a self-penned Albert Classic that became the basis for Otis Rush's "Right Place, Wrong Time".

"Crosscut Saw" is my personal favourite with "Personal Manager" second. Crosscut Saw was an old 1940s tune which was given a rumba beat and still was originally released even though the first tape had been damaged! "Manager" is a great showcase for KIng's soloing technique. It may even be too much for some people! "The Very Thought of You" and "I Almost Lost My Mind" are great examples of Albert's Big Band Blues roots and his great tenor vocal ability. Many people are thrown by these tunes as not being really blues, but they demonstrate the versatility of this genre.

"The Hunter" is a famous tune that was never a hit for Albert, but was on his Bad Sign LP. Ike and Tina Tuner later recorded it with much success. "Oh Pretty, Woman" is a powerful tune that has been covered many times (Gary Moore, John Mayall) but was never actually a hit for Albert. It was wrtitten by WDIA's A.C. Williams and demonstrates the close link Stax had to Black radio play (Rufus Thomas was also a DJ there!). "As the Years Go Passing By" is one of Albert's best slow blues numbers. The best take of this tunes is to be found on the "Hard Bargain" CD released after his death and has many outtakes from this period! No one really knows who wrote the song or where it originally came from. Dedric Malone, another DJ is credited with penning it.

Finally the thrilling instrumental, his first in stereo, "Funk-Shun" contains his famous stop break bending from his original tune "Won't Be Hanging 'Round" (Although this phrase is never actually sung in the tune, a charactersitic he must have learned when he played with Jimmy Reed!). It is great, but too short! This LP is a great overall introduction to the Albert King style of Blues. An essential part of any Blues collection!

Yes indeed!
This is an excellent overview of Albert King's beginning days with Stax Records and house band Booker T. & the MGs, along with The Memphis Horns. What this offers is the entire landmark Born Under a Bad Sign album which is considered by many to be the definitive urban Blues album. Atlantic packaged that album with some bonus material that is just as great.

King was without a doubt the most prolific Blues guitarist of his generation, and his sound spawned more imitators than even B.B. King. The remastered Rhino CD The Very Best of Albert King is the place to go to get the full effect of Albert's Blues power. His guitar doesn't stand out here near as much, but this is really a showcase for not only King's soulful string bending, but for the MGs' superior ensemble playing. It took the greatest Soul band in the world to be the most perfect band any Blues singer could ask for. Multi-instrumentalist Booker T. Jones will dazzle the listener with the most impressive technically and stylistically Blues piano work I've ever heard. And with King's producer and drummer Al Jackson, Jr. leading the way, these are some of the greatest records ever made - whatever the genre'.

Funk-Shun
This is a great collection for the blues fan, that really showcases Albert King's talents! My only wish would be that the songs were longer, but this is the way they were recorded and still worth their weight in the funk-shun of the blues! Magic!

Speechless!
Unbelievable! This album is awesome. If you like the electric blues guitar, Albert King is your man and this album is his best. Excellent guitar solos accompaniad by great deep vocals. Only one song i don't love. An attempt at a slow song, "I almost lost my mind". It is Albert King tryin to be what he is not. The rest of this album is the best collection of blues i have ever heard. Three words.....BUY THIS ALBUM!!

An unexpected treasure from an unexpected source.
This is an album I lifted from my parents record collection when I was a kid. They didn't miss it, it was a selection they got by mistake from their record club (they were more of the Simon & Garfunkel, Joni Mitchell and Donovan ilk). I was hooked immediately. In fact, I think it was the first full blues album I ever listened to. This is the essential Albert King set, and it is pure blues magic from start to finish. Highly recommended for all blues fans, especially aspiring blues guitarists (like me). ... Read more

Amazon.com essential recording

Beausoleil may have originated as Cajun purists, but Cajun music itself has always been a rich, creolized mixture combining Southern country and folk music with traditional songs from France's Brittany region. Revealing the band's own increasingly wide-ranging stylistic borrowings over the course of the 15-year period it encompasses, Bayou Deluxe includes everything from raving remakes of some early material ("Le Jig Français") to a mazurka from the Seychelles ("Chez Seychelles") to a French duet with Richard Thompson ("Sur le Pont de Lyon"). It also includes plenty of the incandescent two-steps and waltzes, as well as a heartbreaking ballad or two. --Richard Gehr ... Read more

Reviews (2)

Ex took CD, this is my second
Ever since I saw Belizaire the Cajun and fell in love with Armand Assante, I have been in love with Beausoleil/Michael Ducet. The Music is wonderfully Cajun and my favoriet songs from other soundtracks are on this CD. When I lost it to my ex I knew I was going to have to get another because of all the wonderful music. I never thought I would fall in love with a style of music like Cajun, but Doucet is the best by far. True Cajun stylings and the French Canadien lyrics make this CD the best of all the Beausoleil compilation CDs. I have others....I probably will own more. A must buy for someone looking to dip their musical ears into something as unique as Cajun.

Bayou Deluxe: The Best of the Best
Bayou Deluxe is a "must have" for any Beausoleil fan. This CD contains many of Beausoleil's gems such as "Le Jig Francais", which highlights Michael Doucet's outstanding fiddle style, as well as his exceptional vocal abilities. ... Read more

Reviews (2)

Excellent! But then again, it always was
Most artists in their 60s would just have rested on their laurels, being admired and cited as a major influence by legions of younger musicians.
But not Muddy Waters. He recorded and toured right up until the end of his life, and this gritty 1977 album, the first of three studio albums produced by Texas guitarist Johnny Winter, recharged his career as well as winning Muddy a Grammy (in the "Traditional Folk" category!).

This 2004 reissue has been remastered, but not remixed (there was no need, says former Muddy guitarist Bob Margolin, who has written the excellent, warm and informative anecdotal liner notes). And one bonus track has been added to the original nine songs, a great rendition of the classic "Walking Through The Park" which was omitted from the original album release (probably because of the limited playing time of the LP).

If you already own "Hard Again" on CD you don't need to run out and secure a copy right away...the sound on the first CD reissue was good enough, and if you're a Muddy fan you probably have "Walking Through The Park" somewhere in your collection already. And this 1977 re-recoring is not particularly different from the original.
But if you don't have it, go get it right away. These recordings usually don't show up on the various Muddy Waters-compilations (they only chronicle his Chess years), and while some of the songs are "only" new versions of 50s and 60s numbers, the album as a whole remains one of the strongest Muddy Waters ever recorded. The band is magnificent...Waters himself only sings, according to Bob Margolin, so all the Muddy Waters-like slide guitar riffs are actually played by Johnny Winter.
But there's no mistaking the great James Cotton, Muddy's former harmonica player drafted to play on this album, or the supple, muscular groove laid down by the great Willie "Big Eyes" Smith, one of the best-ever blues drummers (alongside Fred Below, of course). He and bassist Charles Calmese form a top-notch rhythm section all the way through.

The album has a wonderful "live" feel, and literally everything is great, from the opening holler of the one-chord "Mannish Boy" over the magnificent acoustic slide guitar blues "I Can't Be Satisfied" (originally the flip side of Muddy's first single), to the seven-minute slow grind of "Little Girl".
"Hard Again" (the origin of the title is explained in lurid detail by Bob Margolin) should not be missing from any collection of electric Chicago blues. It is one of Muddy Waters' finest moments, alongside the Newport album and 1969's "Fathers And Songs".

ABSOLUTELY ESSENTIAL AND REQUIRED, PART 1
If you are a fan of the blues, and more importantly, Muddy Waters, this is the beginning of an essential triad that marked the grand finale of a long and storied career of the seminal blues figure of American music. For all the talk about Robert Johnson and Charlie Payton, the blues would never have evolved without Muddy Waters. There are any number of great CDs available from his career, but none as protean as the final three he did with Johnny Winter, plus the MUDDY MISSISIPPI WATERS LIVE CD and THE WOODSTOCK ALBUM guided by Levon Helm. These are the very last of his efforts and they are precious documents of the man who plugged the guitar in. Think about that just for a moment.
The remastered LIVE CD is an honest and uncompromising document of the Waters band in full flight, and while what was the official release suffers from Winters' presence, the second disc of the set is just so amazing that words fail to convey its power. While I am no fan of Johnny Winters, his work at the controls and in the studio with Waters through the course of these recordings is truly genius. This particular disc is as raw and as primal as the blues gets. It features Muddy's band, including Pinetop Perkins, Bob Margolin, Willie Smith, Calvin Jones Luther Johnson in a fired up, red hot, incendiary mood, and they simply burn through the catalog. This version of "Mannish Boy" is the most feral you'll ever hear. "Deep Down in Florida" steams like the Everglades in August. "The Blues had a Baby" rocks with a hip grinding intensity. "I can't Be Satisfied" threatens all sorts of promiscuity, and "Crosseyed Cat" is as quintessentially a part of African American humour (which is also a key element of the blues) as it gets. A bonus track is added from the sessions.
The remastering is incredible: this sounds as though it was done live, first take, and they all nailed it. Were he to have passed away right here, Muddy would have left us with an endearing ememory of his force. But the best was still to come.
Make no mistake, get this. This IS the blues. ... Read more

Reviews (1)

If you like Cajun and Zydeco, you're gonna love this.
As a fiddle player, I envy the capability of guys like Michael Doucet and the Ragin' Cajun,Doug Kershaw. Their music inspires and this CD has lots of their style! Great stuff. ... Read more

Amazon.com

Never mess with a good thing; Kenny Wayne Shepherd certainly hasn't. There's no appreciable stylistic difference between Live On and its predecessors, Trouble Is... and Ledbetter Heights, except that Shepherd's guitar work here sounds more assured. All of the other usual ingredients are present--a full, crunchy guitar sound, a tight rhythm section, mature-sounding vocals from Noah Hunt, and the usual assortment of uptempo rockers and slower, sweeter numbers. If Shepherd seems to be edging closer to the rock side of the blues-rock genre, it's hardly surprising given that's where he's had his greatest success. And if the result doesn't seem to quite transcend genre boundaries, it is, at least, a high-octane, energetic effort. --Genevieve Williams ... Read more

Reviews (68)

Holy shades of Hendrix, Batman!
Aaaaarrrrgggghhgh. I liked what I heard of Ledbetter Heights. I thought Trouble Is... was a worthy effort despite its being overly derivative. I still find Live On an enjoyable, high-energy slice of blues-tinged rock. However: I still hear Stevie Ray Vaughan, Eric Clapton and Jimi Hendrix all over this disc, and I don't mean just the cover of "Them Changes." For a first record or two, it's understandable that a new artist will have some influences on his sleeve. But since this is Kenny's third album and (to my ears) he's still doggedly following in the footsteps of others, never taking a step in his own direction, I have to notch down an extra star. This is an album full of hot licks and fiery riffs, and I can't shake the feeling that I've heard them all before.

Am I being too harsh? Maybe. If you like hard rock with a touch (or more) of the blues, this is some fine stuff. Kenny's put together a smoking band and Noah's vocals have just the right blend of power and grit. A few nice breathers are thrown in amidst the thunder; "Electric Lullaby" is nicely muted and dreamy. "Was" starts out muted and swampy before thumping into a killer groove. Peter Green's "Oh Well" is kicked into space with hyper rocking force. The overall musicianship is a notch above Kenny's previous work as well (and it doesn't hurt that a few top-notch guests pop up, including Les Claypool and Double Trouble). I still wonder what the KWS band will sound like when/if Kenny lets his own voice as a writer & performer grow beyond his predecessors. In the meantime we've got these flawed little gems to enjoy.. but I for one prefer the original over an imitation.

The sound of some Rock & Roll masters "Live On"
On the band's 3rd album, Kenny Wayne Shepherd continues to play some wicked electric guitar and prove he is a great songwriter too. Influenced by the styles of Stevie Ray Vaughn, Clapton, Hendrix, and the Allman Bros, this kid's rock & roll blues are raw, loud and generally highly charged. He even throws a few very well written ballads in the mix here. This is my type of rock & roll. Lead vocalist Noah Hunt, who has a voice beyond his years, adds to the jam, and together these guys rock throughout the entire CD. Although the CD is energetic, it doesn't even come close to the energy these boys generate in concert. (I'll reserve their five star rating for their release of a live album). Buy the CD first, THEN see them live.

The released singles "In Too Deep" and "Last Goodbye" are good but I like the intensity of the lyrics and the jam on a song called "Was" which features Kenny on a steel guitar. I'm hoping this song is the next released single.

I consider the music these guys play a tribute to some of the great rock & roll masters and Kenny Wayne certainly has the creative energy to sustain this musical blend of rock & roll blues. More studio time, time on the road and years of experience will allow their own individual style to evolve, so they can take the music where some of their influences didn't live to take it.

HOLY MACKEREL!!!
This guy can jam!. Buy his CD's!! If you get the chance to see him and his band live GO!!! - a true talent. I am so thankful that he is making this music as there are not too many out there. I was devasted when we lost Stevie Ray Vaughn. Now look, so young Kenny Wayne Shepherd, so gifted and devoted to the guitar...just think of how awesome he could become. LIVE ON Kenny Wayne, you are totally fantastic!! I dance like a maniac to all of your CD's when no one is watching!!! ;)

Live On - Kenny Wayne Shepherd Band
This release, Kenny's third, finds him leaning towards the rock side of things. It seems as if Kenny is starting to become more mature on this record, playing more economically than on the first two cds, "Ledbetter Heights" and "Trouble Is...". Noah Hunt's vocals are very good on this record also. He makes the transition well from hard rockers like "In 2 Deep" to slower numbers like "Last Goodbye" to blues wailers like "Shotgun Blues". This whole record kicks from top to bottom; every song is great. People who say he still sounds like Stevie Ray Vaughan on this cd I don't agree with. Honestly, can anyone imagine Stevie doing a song like "In 2 Deep"? I think Kenny's songwriting and guitar playing drastically improved on this record. Maybe now he's finally ready to step out of Stevie Ray's shadow when his new album drops in the first week of September. Highlights are the hard rocking "In 2 Deep", the Skynyrd-meets-Robert Johnson "Was", the ballad "Last Goodbye" and the absolutely beautiful, Grammy-nominated "Electric Lullaby".

IDIOTS
ITS A RCOK ALBUM . PERIOD ! GOOD PRODUCTION , EVERYONE SOUNDS TIGHT VOCALS THRU THE DRUM TRACKS ! IF YOU INTELLECTUAL BISCUITS WANT TO ANALYZE GUITAR PLAYING LISTEN TO S HENDERSON , MIKE STERN ,TAL FARLOW , JOE PASS OR WES . THOSE GUYS PLAY ! ... Read more

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Houston-born blues showman Guitar Shorty, who once taught his young brother-in-law Jimi Hendrix a few stage tricks, has been on the scene since 1957, blasting out rocking blues with over-the-top enthusiasm. His recording career, highlighted by a trio of fine Black Top releases in the '90s, has been unfortunately limited, but Watch Your Back might finally put him in the spotlight. Much of the material, except for muscular reworkings of Van Morrison's "I've Been Working" and the recently discofied Elvis hit "A Little Less Conversation," comes from his producer and pianist Jesse Harms, and it effectively showcases Shorty's aggressive approach: a big sound short on subtlety but permeated with passionate vocals and searing guitar work. He simply overpowers the songs with his energy, and you can either go with the flow or get swept aside by its immediacy. The music is uniformly loud and in your face, just as you would expect from such an extroverted entertainer, and, more often than not, its sheer intensity overcomes any musical shortcomings. --Michael Point ... Read more

Reviews (2)

Smokin' Blues!
Great stuff here. If you like your Blues on the rock side (without actually becoming rock) than you'll love this. A shame this guy is not huge.

Shorty Rocks The Blues
"This is the record I always wanted to do...the songs and arrangements are what's been inside my head my whole life" says Guitar Shorty in the liner notes. THis is his Alligator debut and he sounds fired up on this one. The arrangements are heavy bottom-heavy blues rock with Shorty's shoutin' vocals and intense guitar chops are full of energy. The thumping "What She Don't Know" & "I've Been Working" are intoxicating in the same way Buddy Guy's SWEET TEA disc was. Muscular, macho and in the groove. This is most likely his best disc and should win him a new legion of blues/rock fans. ... Read more

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Koko Taylor's something of a deluxe edition herself. With a Cadillac of a voice that rumbles the earth and rattles the glassware, she reigns as the undisputed empress of the blues. Deluxe Edition, a retrospective of her 15 years with Alligator Records, may not include such classics as "I Got What It Takes" and the Willie Dixon-penned"Twenty-Nine Ways," but it does have "I'm a Woman," Taylor's answer to Muddy Waters, just to kick things off. Other highlights include "Born Under a Bad Sign"--a duet with Buddy Guy, of course. Much of Taylor's work in the 1970s included such duets, and here can also be found Carey Bell (on "Mother Nature"), Pinetop Perkins (on"Hey Bartender"), and B.B. King (on "Blues Hotel"). Everything on Deluxe Edition brims with Taylor's trademark attitude, the sass and toughness for which she's well known. Yet Taylor is capable of astonishing tenderness as well, as is borne out by "I'd Rather Go Blind" and "Time Will Tell." Though this collection boasts only one obligatory previously unreleased track, it's a doozy: "Man Size Job," simply put, kicks ass. Looks like Taylor's reign is in no danger whatsoever.--Genevieve Williams ... Read more

Reviews (4)

Burnt My Fingers Putting On The Disc
This is one HOT album. There is a lot of stuff on this album, and it is smokin'. She has some guests you may have heard of like Buddy Guy, B. B. King, Carrey Bell, Pinetop Perkins, and Mighty Joe Young. I would recommend this album to anyone that doesn't have her previous albums (she's been with Alligator for over 26 years), or just wants a package with all her best in one healthy portion. For the price I paid, I definately got my money's worth. But with that voice, & those riffs, I'm surprised that Amazon got the package to me without catching fire. This is one HOT album.

Holy Cow!!!!!
Koko belts it! That's all there is to say. She is UN-BE-LEEEEE-VABLE. And this disk is no exception. I also have 3 others. If you have not heard Koko Taylor belt blues, and you are (as I am) a lover of blues, this is a must! This is the greatest thing since "canned Peanut butter."
Enough of the flattery. If you like blues, this is an essential CD to add to your collection. Simply, each and every cut on the disk is, in it's own right and in my estimation, a piece of blues history.......... Aquire it and see for yourself.

Great Collection of Koko's Best!
The choice of songs in this collection is outstanding, because it superbly showcases Koko's enormous talent at its very best. Backed by some of the best musicians in the business, she belts out her trademark tunes with power, attitude and conviction. This collection is a MUST for the die-hard blues fan, and it's also a great way to introduce new audiences to the "Queen of the Blues" and her music. Keep making the music, Koko . . . your fans love you!

Nice selection of Koko's work
Typcially nice Alliagtor Deluxe Edition that is a retrospective of the artist (sorta of a greatest hits). Few have had a longer tenure with the label that the "Queen" of the Blues Koko Taylor and this nicely samples her various albums. She belts out a number of tunes that are associated with her the most with some special guests on some tracks but the finest moments are Koko herself belting out her songs with so much feeling and authority. Hopefully if you are new to her, this will inspire you to check out more stuff by her ... Read more

Reviews (16)

The best blues album I have ever heard!!!
This is CD is awesome!!! Muddy Waters (the greatest blues singer of all time) is amazing, and the band rocks! Paul Butterfield plays the meanest harmonica you'll ever hear, Michael Bloomfield is a blues guitar MASTER, and Otis Spann is THE blues pianist. The songs are rerecordings of Muddy's earlier singles, but they are wonderful, even better than the originals. Any one who likes Muddy Waters or blues in general must own this album. It's possibly one of the finest blues albums ever recorded and the best collaboration between a blues singer and white rock musicians. Buy it!!

Excellent expanded re-issue
This is probably the best of the "senior musician meets and plays with eager young fan"-projects of the sixties and seventies blues revival.

Blues legend Muddy Waters and his piano player Otis Spann, with veteran Sam Lay behind the drum kit, teamed up with three young white musicians to record this 1969 album: Guitarist Michael Bloomfield, bassist Donald 'Duck' Dunn (of Booker T & the Memphis Group), and harpist Paul Butterfield.
And the results are magnificent. 26-year old Paul Butterfield shows off some truly excellent harmonic playing, Dunn is rock-solid and funky, and the combined forces of Bloomfield and Muddy Waters himself produces some terrific guitar playing.

The sound is great, too, and Otis Spann (who is supposedly one of the "Fathers" of the album's title, even though he was only in his late 30s at the time) plays some of the best blues piano you'll ever hear.

Highlights include the tough, swinging "Blow Wind Blow" and "I'm Ready", the supremely groovy slow blues "Can't Lose What You Ain't Never Had", the catchy "Forty Days And Forty Nights", Eddie Boyd's "Twenty-Four Hours", and the up-tempo rendition of "Sugar Sweet", which really shows off Otis Spann's masterful boogie piano playing.

Then comes four previously unreleased cuts, which aren't rejects by any means, although they didn't make the original double-LP, and six live tracks recorded on April 24th 1969 with the same band which had cut the studio tracks during the previous three days.
Muddy Waters' vocals on the slow slide-guitar workout "Long Distance Call" are sublime, and Butterfield's playing on the classic "Baby Please Don't Go" is pure Little Walter.
Out comes the bottleneck again for a grand rendition of "Honey Bee", followed by Willie Dixon's "The Same Thing" and an eight-minute take on "Got My Mojo Working", much to the delight of the crowd.

Not all attempts to "update" a blues artists sound were succesful, but this one is not only a succes, it is an excellent album which genuine adds to the legacy of Muddy Waters.

this album rates at least 6 stars
this is a real kick-ass, get-down, blues album. Stop reading the reviews.......go hear the album

If I could give it 6 stars...
I have about 100 CD's of the blues. Bands from A to Z. And this one right now is #1 on my list. Put this CD on in the car with a bunch of your boys liquored up and heading out, and you will have everyone tapping their feet and jamming. Everysong is 5 stars. If I had to pick one CD to listen to for a long car ride, like NYC to LA, and could take only one album for the ride, this would be it. Right now I don't even think my #2 CD is even in the same stratosphere with "Fathers and Sons". I hope this review encourages you to buy the CD, you will not regret it. I guarantee it.

not much i can add.....
the results are in....an almost unanimous ***** for this gigantic piece of work which has been in my collection [and in my brain] since 1970. you should buy it. but just for the record....it's not the paul butterfield band backing - it's mr. butterfield and mr. bloomfield only of that troupe doing inspired work each....i'm here to tell ya that the cd notes are quite an improvement on the original 2-lp liner notes, which were non-existent....other reviewers have given their favorites, none of which is "long distance call" which is mine [dig the finish]....and also dig the double harp work on "all aboard" [first track] - only work i know of mr. jeff carp, but a fine piece it is....did i mention that you should buy it? ... Read more

Amazon.com essential recording

The series of Stevie Ray Vaughan concert albums that began with Live Alive (1986) and continued after the guitarist's 1990 death is far from the catalog-bloating cash-in you'd expect from the record company of a platinum seller cut down at a career peak. Instead, each disc gives a distinctly different view of the Texas blues-rocker's stage strengths. Where Live Alive captured Vaughan and his band Double Trouble in full arena roar and In the Beginning recorded a looser early club gig, Live at Carnegie Hall finds the outfit broadening its range with guest shots from Dr. John and the Roomful of Blues horn section. Rather than overpowering Vaughan's signature tautness, the bigger band makes for an entertaining switch--in effect allowing a fresh look at his R&B roots. --Rickey Wright ... Read more

Reviews (25)

Good If Not Overwhelming
Stevie Ray Vaughan is undoubtedly a legendary guitarist. On this live recording as on other recordings, Stevie adds so much color to his magnificent solos. Its a true joy to listen to the many ellaborate bends, use of feedback, and fast picking on the many blues numbers on this release. Some people may criticize Stevie's growl of a voice but truthfully I enjoy his stylings in that department.

Unfortunately, most if not all of the songs here are three chord blues. This can be a bit monotonous after a while. The use of the Room Full of Blues Horns on some of the tracks do help a little as a foil most especially on the slow blues tune Dirty Pool. Somehow I wish the horns and Dr John's organ were given a little more time in the spotlight on other tracks.

Overall, the effort is good but not quite over the top.

Vaughn & company at their best
Whether you're a hardcore Stevie fan, or just wanted to get a taste of his record you will be glad you bought it. Most blues musicians have respected Stevie Ray Vaughn as probably the best guitarist that ever lived. I think this live album captures Stevie's energy on stage, which I think makes it more interesting than some of his studio albums. This is the best live album I own. The mix between the instruments and the crowd are just perfect. The CD gives you the sense that you're at Carnagie Hall. It starts off with the most amazing blues song ever written...Scuttle Buttin'. It really shows his playing ability and how fast he could move his fingers over the frets. It certainly would have been a heavenly concert to attend. Among Stevie was his brother, Dr. John, Angela Strehler.(or something) With envigorating tunes like Cold Shot, Pride and Joy, Testifyn', and others make this CD one of SRV's best. A perfect gift for any Stevie fan. Although it probably won't appeal to your 15 year old daughter, who would probably prefer another copy of "No Strings Attatched." If you're really into the mainstream blues guitar scene, you'll enjoy this CD.

Live At Carnegie Hall, Oct. 4, 1984
I always wanted this CD live at the carnegie hall. I just bought it today for a great deal. This CD features many other musicians like Jimmie Vaughan, Dr.John, Roomful Of Blues Horns, and Angela Strehli. The crowd is very loud its almost like being at the concert. This includes most of all his hits like Love Struck Baby, Cold Shot, and Pride And Joy. This CD has everything a music fan could want great music, and great musicians. 5 stars know go add this to your CD collection!

A rare treat
Once in a while a live album really adds to an artist's legacy, producing something different and exciting, rather than just reproducing his studio sound with added crowd noise.

"Live At Carnegie Hall" is such an album. Stevie Ray Vaughan and Double Trouble, recorded the day after Vaughan's 30th birthday with the on-stage assistance of Stevie's brother Jimmie Lee Vaughan on second guitar, Dr John on his customary piano, and the Roomful of Blues horn section popping up on several tracks.

The sound is not quite as crystal clear as on the magnificent recording of Stevie Ray Vaughan's 1982 Montreux appearence, but it is more than good enough, and the band tears through some of their best songs, including the irresitable "Pride And Joy", a horn-augumented version of the slow blues "Dirty Pool", a superb, tough rendition of "Honey Bee" with some truly muscular guitar playing from the Vaughan brothers, and an equally great "Cold Shot".

Vaughan relies quite a lot on instrumentals (they make up five of the thirteen numbers), and it would perhaps have been nice to have a couple more vocal performances, especially since Stevie Ray was actually a really fine rock n' roll singer.
But that's a matter of taste, of course, and his instrumentals are catchy and a real showcase for his sublime talents on the guitar.

"Live At Carnegie Hall" also includes a few rare performances, particularly Eddie "Guitar Slim" Jones' "Letter To My Girlfriend", the instrumental "Iced Over" and Leo Gooden's "C.O.D." (originally recorded by Albert King) which Vaughan never recorded anywhere else.
On "C.O.D." Vaughan is joined by Texas blues singer Angela Strehli (check out her album "Soul Shake").

All in all, "Live At Carnegie Hall" is a very welcome addition to Stevie Ray Vaughan's too short catalogue. And to those who are weary of Vaughan working with a horn section - don't worry, he remains front and center, and his playing and singing is nowhere near overwhelmed by the presence of additional musicians.

Excellent!

Simply excellent!!!
Simply magic, you get the feeling you are in the concert!!!! ... Read more

Reviews (3)

Classic melodic, poppy blues
They say timing is everything, and in Freddie King's case, that certainly was true. His early hits, especially the classic instrumentals, "Hide Away" and "San-Ho-Zay," came out in 1960 and '61, at precisely the right moment for his career to intersect with the SoCal surf scene (which also centered on instrumental numbers) and the nascent British blues revival, which was ever eager to find American bluesmen to latch onto and laud. Here, white kids on both sides of the Atlantic had a guy who bridged the gap between raw authenticity and pop polish, setting the standard for the zilllion-and-one future Fendermen who sought to sharpen their guitar chops. Fittingly, King cracked into the US Top 40 while also picking up flocks of converts (such as Eric Clapton) who worshipped his fluid, pop-tinged electric guitar leads. King's style was a perfect distillation of the smooth yet soulful postwar blues style, rootsy yet accessible and perfectly pitched for the ears of adoring white blues fans. His career had its ups and downs, but by the time he passed away in 1976, he had packed them in on the pop and blues circuits... This disc covers the breadth of his career, matching the ace oldies up with a good selection of his often overly-bombastic later material.

Freddie King is a blues master
I don't have this actual CD, but I have most of the songs that are on it from other collections and they are all great. This is a great collection of Freddie King's work from his earliest recordings (1960's "Have You Ever Loved A Woman") to his later Shelter records material (1969's "Palace of the King" and "Going Down"). If you like blues guitar, then at least one Freddie King CD should be in your collection. He influenced countless guitarists, particularly Eric Clapton. This is a good place to start if you're new to this blues guitar master.

"if you like rock mixed with blues then this is the place"
Freddie King is a one-of-kind-artist ~ his talent is tremendous ~ check out the style you've come to love from this down-home-finger-picking icon.

Of course there are stand outs ~ "HAVE YOU EVER LOVED A WOMAN", "HIDE AWAY" and "AIN'T NOBODY'S BUSINESS" are just but a few that grab you, but then the whole album pulls you in ~ hook, line and sinker.

The influence of this great artist can still be heard through recordings of the musicians of today ~ the short time this legend was here on this planet will be missed, but they'll never be another to pass this way again ~ FREDDIE KING!

Total Time: 59:43 on 18 Tracks ~ Hip-O Records 314 520 909 2 ~ (2001) ... Read more

Reviews (2)

****½ - one of Winter's best
Inexplicably listed by Amazon as a Muddy Waters-album (Winter's association with Muddy Waters didn't start until the mid-70s), this 1969 album is one of the Texan's best and bluesiest.

Here he is at 25, backed by Tommy Shannon (Stevie Ray Vaughan's bass player in the 80s), drummer John Turner, and occationally his brother Edgar (Winter's brother, not Turner's!) on piano and saxophone. Chess stalwart Willie Dixon even pays a visit, as does harmonica ace Walter Horton who blows the harp on a great "Mean Mistreater".
And while most every other white blues singer in the late 60s was trying to make the blues more palatable to the mainstream pop audience by toning it down a little, Winter makes no concessions to pop sensibility at all. His guitar playing is pure and savage, yet he never resorts to meaningless shredding, and his prowess on the acoustic slide guitar is impressive...just listen to his self-penned "Dallas", a perfectly authentic slice of Delta blues.

This exquisitely remastered 2004 reissue adds three bonus tracks, including a slightly longer version of the aforementioned "Dallas" which finds Winter backed by bass and harmonica (the version originally issued is a solo performance). "Country Girl" is a gritty mid-tempo boogie, and "Two Steps From The Blues" is a surprisingly sleek, soul-flavoured rendition of the Bobby "Blue" Bland number. It clashes a bit with the rest of the album, but it also gives Johnny Winter a chance to show off his non inconsiderable abilities as an R&B-crooner.

There is barely a weak track on this fine record. Contained here is some of the best and certainly most authentic blues ever recorded by a white bluesman, and "Johnny Winter" is the perfect introduction to the albino bluesman, as well as being one of his two or three best albums. And this expanded edition features a newly written essay in addition to the original liner notes, as well as the best sound ever.
4½ stars - highly recommended.

Where it all began
This is the record that started the Johnny Winter storm and this beautifully expanded edition is what this cd deserve. Amazing sound and great enhaced booklet, what else could you ask for?! I hope they reissue all Johnny's album this way!!!!!!!! I don't waste time talkin' about Johnny cause if you're reading this you already know the guy and if you don't you'd better start from here. See you all!! ... Read more

Amazon.com

The Putumayo label is known for its easily recognizable packaging and accessible collections of music from around the world. Here the label takes a broad survey of one of the most storied music towns in the world. Household names like Louis Prima, Louis Armstrong and Dr. John do their version of some Crescent City classics. Local favorites like trumpeter Kermit Ruffins, Preservation Hall Jazz Band and singer Topsy Chapman offer up traditional flavor as well. Music fans knowledgeable about the local scene will likely be happy about the inclusion of the swingin' December-May collaboration between trumpeters Doc Cheatham (who was 91 when he recorded "I Gotta Right To Sing The Blues") and Nicholas Payton (who has 23). Highlighting a vibrant diversity of old and new talent, this album is a musical and cultural tour of a town filled with French Creole culture, a Spanish tinge and some good old American jazz and blues. –-Tad Hendrickson ... Read more

Reviews (1)

Captures the essence of the city, past and present!
Wow!What an irresistible collection this is. It celebrates New Orleans' ever-evolving musical world by intermingling the legends (like Louis Armstrong, Topsy Chapman and Doc Cheatham) with current local favorites who are injecting new energy and new ideas (like Kermit Ruffins and Dr. Michael White.)

Unlike most CDs, where I skip around to my favorites, I play this one straight through because there's not a single cut I don't love.But if I had to pick a favorite, it would be Dr. Michael White's "Give it Up (Gypsy Second Line)"with its Klezmer influenced clarinet.

Highly recommended to anyone who likes a musical good time! ... Read more

Reviews (28)

Johnny rocks the blues
If you like hot electric blues and great rock and roll by a dual lead guitar band, it doesn't get any better than this classic live album. Johnny and Rick compliment each other better than any other two lead guitarists that I've heard. They really play together, and you can just about feel the electricity between them. The album kicks off with Good Morning Little Schoolgirl. It's a blues standard, and Johnny cranks up the heat on this rockin' version. Next up is a lengthy (but worth every minute) version of the slow blues number It's My Own Fault. Johnny does a fiery solo, followed by a subdued solo by Rick. (I think he did it that way for a contrast.) The Stones' Jumpin' Jack Flash is given the Johnny treatment, and rocks hard. Number 4 is the Rock & Roll Medley, which is Rick's showcase. He covers Great Balls of Fire, Long Tall Sally, and Whole Lotta Shakin' Goin' On all within one tune, with split-second tempo changes. I'm sure the place really was shakin'! Johnny's Mean Town Blues is next, done at hyperspeed when compared to the studio version. In this one he features his slide guitar expertise. The album closer is Johnny B. Goode, which is the perfect song for Johnny Winter. When he belts out "Rock and Rolllll" you know what's coming! I was fortunate enough to see this band live in Chicago in 1970, and it was one of the best concerts that I can recall. Johnny and the band were much better than Goode, as this CD shows.

Great Balls of Fire on fire
Due to a simmering feud between Derringer and Winter, Johnny only appreciates the energy on this album. Fact is,even when he released another live album of similar material with Edgar just a few years later, this whiplash energy wasn't there. Johnny's gone on to make a lot of great music and the three times I've seen him play have been great. But not this great. Age and drugs have slowed him down but when these performances were recorded - nothing and nobody was slowing Johnny Winter down. This is rock and roll and blues played like there would be no tomorrow. This is the greatest guitar album of all time!

Decent but predictable live album
At just under forty minutes, this is one pretty short CD, but it does include an 11-minute B.B. King cover, and a 9-minute "Mean Town Blues", and it is from the LP-age, so I suppose that part can be excused ;o)

If you prefer Johnny Winter's most "Old-time-rock-n-roll" styled albums, you'll probably love this, but if you are looking for samples of his bluesier and more musically diverse material, there isn't that much here to get excited about.
The up-tempo "Good Morning Little School Girl" is quite good, and Winter's renditions of "Jumpin' Jack Flash" and "It's My Own Fault" are excellent, but the rest is predictable, generic and sometimes slightly hysterical rock n' roll ("Long Tall Sally", "Whole Lotta Shakin' Goin' On" etc.), and a mediocre "Mean Town Blues" which belies its title.

Some really good stuff, including a lot of fine guitar playing, but too many mediocrities for "Johnny Winter And" to deserve a better than average rating.

An Overlooked Gem
Until I bought this CD a week or two ago, I had not heard this album in ages. I had forgotten how much energy and passion Johnny once put into his live sets. While there is only one original song here ("Mean Town Blues" - and it comes off sounding like a blues classic), the choice of covers is exceptional - from Chuck Berry and Jerry Lee Lewis to the Rolling Stones.

I had also forgotten how important Rick Derringer was to this band. He is the perfect foil for Johnny - matching J.W. lick for lick on guitar, playing flawless rhythm, and even singing lead on some of the Rock & Roll Medley. This is an excellent band - probably the best Winter ever toured with. Randy Jo Hobbs (bass)and a young Bobby Caldwell(!)on "percussion" make a terriffic rhythm section.

All in all, this is a solid set. I too am in favor of this title joining the "re-mastered and expanded" club. Since two shows were taped for this album there's got to be lots of stuff they didn't use the first time around. Come on, Columbia! Dig in those vaults and give us a beefed up version. This album deserves it!

A Whole Lotta Shaking Indeed
This is the fourth copy of this recording I've owned. I had the Album, the 8 track, the casset, and now the CD.....My only complaint is that no one re-mixed it to digital. None the less this is some of the finest blues guitar out of Texas prior to Stevie Ray Vaughn, and Chris Duarte.

The high energy level Johnny Winter brings to such gems as Good Morning Little School Girl, and Whole Lotta Shakin really puts you in front and center of the stage as if you're right there live. Most of the songs in "Live" are on his other recordings, but no matter how well you like them elsewhere you'll soon discover he vamped them up here. A ride well worth the small admission.... ... Read more

Amazon.com

Mardi Gras remains one of America's most other-worldly cultural riots, never more exotic than in the beaded, feathered spectacle of New Orleans' black "Indian" tribes. Each year they stir the city's African, Native American, and European influences into an intoxicating gumbo roiling with syncopated rhythms and coded with their own sense of the festival's competitive spirit. It's that tradition that explains this deliriously infectious 1976 project, which magnifies the Tchoupitoulas' fanny-shaking bravado with a formidable studio crew helmed by producer Allen Toussaint, who enlisted the Neville Brothers and the Meters to give these tracks a kinetic R&B push-and-pull. With the Nevilles' choral vocals fleshing out traditional chants, this is funky prancing of the highest order, from the infectious "Brother John" to a ripe remake of the Meters' "Hey Pocky A-Way." One need only hear the tough bragging of "Meet the Boys on the Battlefront," with its promise that "the Wild Tchoupitoulas gonna stomp some rump," to get the outrageous picture. --Sam Sutherland ... Read more

Reviews (12)

Big Chief says buy this handsome CD
The only complaint I have of this otherwise perfect New Orleans album is that it is too short, only 30 minutes or so. Every song is Big Easy Mardi Gras fun though. The Meters(who made and still make great funky solo albums) provide the music, the soon to be Neville brothers provide backing vocals, produced by Allen Toussaint, and the Tchoupitoulas(you'll know how to pronounce it after hearing them chant it) chant the lead vocals. Party music cajun style, southern tribal funk and all with a great sense of humor and fun. The Wild Tchoupitoulas along with Prof. Longhair and of course Dr. John belong in all record collections of any spicy depth.

Tchoupitoulas Stomp Rump !
Good goshamighty it's good to see this out on CD. This magnificent testament to the power of the Mardi Gras Indian music scene featured all four Neville Brothers performing together for the first time. Throw in The Meters fonky rhythm section and guitarist and you've got one heck of a backing band. The Tchoupitoulas themselves were older gentlemen, most of whom, their leader and the Neville's uncle George Landry included, have passed away since the record was cut. But luckily for us, in addition to spawning The Neville Brothers band, they left behind this butt burnin' document to remember them by. Do the songs all sound kind of the same? Yeah, but what a sound it is! New Orleans funky gumbo and war chants that'll have your party guests up and dancing in milliseconds. Put away the good china. Warning! Play this one in your car and your right foot starts to tap to that irresistable beat and pretty soon your car's doin' a stop and go rhumba down the road, and you'll have to explain why to the state trooper. But if he's got ears at all he'll hear it for himself and tear up the ticket. It's contagious after all. This one's another desert island disc cuz on my island we like to groove.

Ultimate Killer Dance Music!
When I first heard this as I wandered through the Harvard Coop, I thought my feet would stomp a hole in the floor, and I bought it at top speed. 25 years later, I am still stomping! You NEED this. it is music to which to go crazy, in the best possible way, and I suggest you wear feathers and paint. Be careful you do not hurt yourself dancing.

JOYOUS BLEND OF STYLES
Although they're from New Orleans, The Wild Tchoupitoulas sounds almost like a hybrid of World Music and R&B. The excellent rhythm section drives the music in a wild mutation of New Orleans R&B, funk and what sounds like early Jamaican influences. The harmonies are great throughout and the songs all blend into each other in an undulating festive stream of sound. When listening, I often recall early R&B like Sugarboy Crawford's "Jock-O-Mo" that later became the standard "Iko Iko." But it's rough and raw vocals, very unlike the polished sound of the Neville Brothers on eg. their version of "Bird on a Wire." This is a joyful and seamless blend of styles that lifts the spirit.

Great voices and harmonies
An amazing blend of voices that hit the right notes every time. Each song is unique and what a slow build-up some of them have with a tremendous finale of frenzied musical mayhem. Truely superb! A must for anybody's collection if you enjoy bluesy/zydeco. But it now!! ... Read more

Amazon.com

When Junior Kimbrough died in January 1998, part of the spirit of Mississippi hill-country blues went with him. He was a proud musician, aware of his African roots and his artistic singularity--perhaps the last unique voice in the genre. The sound of his bawling singing and unpredictable, serpentine guitar were as eerie as a warm wind humming through a field of tombstones, as hypnotic as the ancient village drum music it was based on, thanks to his complete command of his rhythm sections. This collection serves full notice ofKimbrough's authenticity, from his first recording, an impromptu-sounding "Release Me" played with rockabilly cult figure Charlie Feathers, through his last '90s albums for Fat Possum. It's in the latter cases that Kimbrough paints a colorful portrait of his hardscrabble life just above the Delta. Rape is wrongly equated with love (in the brutal-but-fascinating title track), and sexual prowess ("All Night Long") is the only true coin of manhood. Finally, "Done Got Old" serves as the best epitaph for this blues hell-raiser, whose decades of bootlegging, boozing, and womanizing seemed to catch up with him in his final years. Nonetheless, that song and the 11 others prove that no matter how tired and worn he became, Kimbrough's crackling music never lost its edge or its feeling of danger and menace. --Ted Drozdowski ... Read more

Reviews (7)

The main man who influenced Charlie Feathers
Kimbrough tought rockabilly legend Charly Feathers how to play guitar and influenced him. Kimbrough has a unique guitar style and a truly honest blues voice. A great cd by a legend who influenced the rockabilly stars of the 50's!

Junior Would Be Proud
Even though I already had all of Kimbrough's Fat possum discs, I still love this album. It has all his greatest songs which eliminates the process of selecting the songs from all his verious albums. It also contains the duet between Kimbrough and his long time friend and rockabilly pioneer Charlie Feathers. If you like the music here you should not only check out his fatpossum realeses but also his "Do The Rump" album on Hightone records. This is a compilation worthy of the Mississippi Hill country blues master himself. Junior would have been proud of it. Rest In Peace Jonior. You are missed

This is one of the places it all started.
A Juke Joint by definition is a Blues & BBQ club in the American South. Junior's Place was a juke joint of national acclaim hosting such local acts as R.L. Burnside, T-Model Ford, and Asie Payton. The building that also served as his home stood for 130 years, and burned to the ground less than month after Junior's Death. As a testament to a forgotten musician, The Essential Junior Kimbrough is a collection of his eclectic blues recordings over the years. Kimbrough released his first full-length album at the age of 62 on Fat Possum Records. From the 1969 45rpm version of "Release Me" to his Fat Possum versions of "All Night Long" and "Sad Days", Junior conveyed pure emotion into every one of his tracks. You can actually feel his pain listening to the music, but you will also embrace it when you come to the realization that this was everything the man truly was. It draws upon the souls of old Mississippi Hill Country Bluesman, and captures a sound truly unique to an area. A sign stood outside of Junior's Place that simply read: "If you can't read this, get someone to help you read this." This pretty much personified everything that he was: If you didn't understand, then you shouldn't be there

Haunting, visceral connection to Johnson, Patton
Though I'd heard of Junior Kimbrough and read about him in Robert Palmer's seminal "Deep Blues", I really didn't appreciate Kimbrough's talents until I picked up a Rough Guide compilation of Delta blues. In a word: astonishing. The song "Meet Me in the City" creates a portrait that haunts the very core of your being. New feelings seem to emerge every time I listen to it. Kimbrough's work was stark, chilling, touching, tender, sad and hopeful all at the same time. Though a gifted guitarist, it was his voice that created a haunting and visceral connection to the Holy Trinity of Robert Johnson, Son House and Charlie Patton. Highly recommended if you love the original blues, without Chicago-style frills.

blew my head off.
hard driving beat, haunting lyrics. rough, up-front authenticity. there are probably better quality recordings out there, but this is a good introduction to Junior. ... Read more

Reviews (6)

Excellent Blues Compilation!
This is a seriously excellent sampler of blues. It gives a great introduction to the genre for those that are either new to the blues or are interested to expand their knowledge of the classics. Of course, Janis Joplin and Jimi Hendrix make their way onto this CD. BB King and John Lee Hooker are on it, as they should be. I was disappointed not to find a single song by Albert King - I think he made a serious contribution to the blues. Otherwise, it's an interesting and mostly quite a worthy selection.

Blues Rocks!
This album is a wonderful compilation of different artists singin' the blues. From John Lee Hooker to Etta James to Susan Tedeschi to Stevie Ray Vaughan, many different types of blues are included. How can you go wrong with this? I wanted to start a blues collection, and I'm so glad that I bought this one. Everyone should get this for a rounded collection of blues!!!

disappointing
While this compilation starts off well, the last few tracks are misguided at best. Susan Tedeschi is blues for soccer moms(do soccer moms get the blues?) and while Los Lobos is one of my favorite bands ever, I wouldn't immediately associate them with this type of music. A track by Taj Mahal, Little Charlie and The Nightcats, Charlie Musselwhite, Corey Harris, T-Bone Walker, Lightin' Hopkins, Mose Alison or the version of Fleetwood Mac that featured Peter Green (and the list goes on...) would have rounded the disc out in a more complete fashion.

The series of "essential" blues compilations The House of Blues label released a few years ago or the Blues Masters series on Rhino Records would be a better place for the novice to start.

The Blues has your number ~ Martin Scorsese"
Chuck full of the music you've been waiting for "Best of the Blues", featuring originals on originals. Spanning decades is just what the doctor ordered ~ best medicine from the likes of Ray Charles, Etta James, Robert Johnson, Bessie Smith, Skip James, Howlin' Ron Wolf, Muddy Waters, John Lee Hooker, Son House, B.B. King, Eric Clapton, Janis Joplin, Jimi Hendrix Experience, The Allman Brothers Band, Stevie Ray Vaughan, Keb' Mo', Susan Tedeschi, Los Lobos, Cassandra Wilson, Bonnie Raitt and Shemekia Copeland. Featuring 21 essential recordings covering the last half-century of the blues, with a few pleasant surprises.

This CD is proof, once and for all ~ that the "BLUES" was then, is now and IS FOREVER ~ we've hit pay-dirt...and that folks, is the truth, plain and simple...gotta love it!!

Total Time: 65:22 on 21 Tracks ~ UTV Records ~ (8/26/2003)

An absolutely great introduction to the Blues
This is a great collection of Blues music from the beginning until present day. For those who want to know more about the Blues but aren't willing to jump in and buy a bunch of CD's, this is a great way to start.

Listen to this CD, pick out the musicians you like the most, then do some research and find some of their classic albums.

For those willing to go a little further, check out the "Martin Scorsese: Best of the Blues" 5 disc box set or the individuals CD's for many of the Blues artists featured on this CD.

Highly Recommended! ... Read more

Amazon.com

Not known for his acoustic work, Buddy Guy unplugs for a rare album-length excursion into folk blues. Continuing the rootsy, bare-bones approach that made 2001’s electric Sweet Tea (also produced by Dennis Herring) so gutsy and memorable, the guitarist gets down and dirty with 12 tracks that sound like they were recorded after hours in his living room or on his back porch. Guy’s stinging leads are still evident as is his emotive voice, but both are less flamboyant in the unplugged setting. Accompanied by spare stand-up bass and brushed drums, Guy sounds nearly possessed on covers from Skip James ("Hard Time Killing Floor"), Johnny Shines ("Moanin’ and Groanin’"), Son House ("Louise McGhee"), and John Lee Hooker ("Sally Mae") among others. It’s a low-key, low-down affair made for late nights, rainy days, and the saddest of moods. Guy is just as convincing here--arguably more so--as on his barnstorming electric albums, making Blues Singer one of the bravest and most poignant albums in his catalog. --Hal Horowitz ... Read more

Reviews (24)

Buddy Is Back
My, my, my Buddy Guy you have definitely got the blues this time, yes you do.Welcome back Buddy:) So [darn] simple, so absolutely beautiful. Front porch, sitting in the shade & doing some blues. Nothing complicated, no show boating, no playing to the crowd (Mustang Sally:) a blues album for the true blues lover. Songs from John Lee Hooker, Frankie Lee Sims, Willie Dixon, Son House, Johnny Shines,Jack Owens & Robert Nighthawk fill this cup to the brim. The playing is wonderful but it is the SINGING people, the voice, the human instrutment that just blows your mind man.. Man, you just seemed to forget what a powerful & soulful singer Mr. BG can be. He is just vocal dynamite on this CD. BOOM, BOOM, BOOM. The CD starts out with Skip James tune HARD TIME KILLING FLOOR, an epic to hard times. Nail this bad boy to the floor BG. You got me feeling it Buddy, a desperate man indeed ,hoping for hope. CRAWLING KINGSNAKE, JLH chestnut, has Buddy crawling the floor for his lady. Sexy little number folks. Frankie Sims LUCY MAE BLUES next in line, done easy friends, no hurry, no worry, laid back. CAN'T SEE BABY (Jack Owens) talking about a man & wife in love but they can't get along. Been there, done that, have t-shirt.You can feel the hurting Buddy, yes I can.. LOVE THE LIFE I LIVE (Willie Dixon) once again, taken down a notch to take full advantage of Buddy's voice. LOUISE MCGHEE (Son House) nobody has the power of Mr. House but Buddy does a real sweet job on this tune. That Louise McGhee was indeed a heartbreaker who men did not forget. MOANIN' & GROANIN' (Johnny Shines) one of best vocal tracks on CD. BLACK CAT BLUES (JLH) man moanin' bout bad luck & troubles. In other words LIFE. BAD LIFE BLUES lady done wrong song that is on EVERY blues CD. Good man treated bad. Poor, hungry, down in the dumps the man can't get a break. One of best tunes on CD. SALLY MAE (JLH) starts with Buddy banter about JLH. Nice t ouch. Real sweet vocals on this one. ANNA LEE (Robert Nighthawk) starts with real sweet riff. Man wants woman song. Another of my favs here. End it with LONESOME HOME BLUES (Willie Borum) slow, easy tune with Buddy lightly touching these lonesome blues. I feel the pain Buddy, I do. Buddy has done an OUTSTANDING blues CD. Wonder if it will sell ? We shall see.......

A Blues Legend That Just Gets Better!
I have to admit I was a little hesitant about this cd when I heard it was all acoustic. I love Buddys stinging and blistering electric guitar solos, but man oh man is this cd a real blues treat! Buddy Guy is the real deal and he has no problem proving it here! Eric Clapton and BB King lend a hand on "Crawlin' Kingsnake", and Clapton plays on "Lucy Mae Blues" as well. Buddy's vocals are right on and at times make your spine tingle as you really find out here what the blues are all about. Every song on this one is great, my favorites being "Crawlin' Kingsnake", "Moanin' and Groanin'", and "Black Cat Blues". If you love the blues then this cd will definetly put you in blues heaven! Thanks for the great music Buddy!

This is an essential recording
Buddy Guy has done it again. This recording is simply one of the best I have ever heard and was engineered beautifully. And to make it even more special, B.B. King and Eric Clapton make an appearance. This is an essential Buddy Guy CD.

Blues Listener
First of all this CD is the best. It realy doesn't matter that these are covers and not Buddy's usuall style, but it's all good. This is blues as it's ment to be, and also could someone tell me why people call this CD a "Country Blues" CD. If it's acoustic and finger picked it's Delta Blues (like Robert Johnson). Any way most of the lower star reviews say something like this isn't Buddy's style, once again, the songs are good, he does them good, usuall style or not it's still a good CD.

Scorching blues
This recording is my favourite blues CD ever. Buddy's voice is smooth, full of emotion and gutsy. The backing is rich and funky. It's personal, cut from the heart.

I imagine it's like having him at your kitchen table and pulling out his guitar...there's not much in the way of production overlaying the acoustic sound.

If you like blues this should form part of your essential collection. ... Read more