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

Bobby Bland's purr-to-a-scream vocals quickly made him an R&B star in an era when rougher-hewn blues masters such as Muddy Waters and Howlin' Wolf had fallen from the charts. Bland, a former valet for B.B. King, established himself with both up-tempo workouts ("Farther Up the Road," "I Pity the Fool") and devastatingly subtle ballad readings ("I'll Take Care of You," "Stormy Monday Blues"). Greatest Hits, Vol. One is a generous sampling of the discs that made him a steady seller throughout the '60s. A second CD chronicles his work in the '70s after Duke Records, his longtime label, was sold to ABC. --Rickey Wright ... Read more

Reviews (2)

--
Along with Joe Turner, Jimmy Rushing and Screamin' Jay Hawkins, Bobby Bland was a rarity in the legacy of classic blues singers in that he was a singer who didn't play an instrument. However, unlike Turner, Rushing and Hawkins, Bland didn't come out of the jump/big-band tradition where such a dynamic was more commonplace.

The songs on this disc are not Bland's earliest recordings, but they are early, spanning 1957-1969 with an emphasis on the years 1960-1962, and they're his best and most seminal recordings. Not only that but the compilation comes at such a bargain price that even those unfamiliar with Bland would do well to pick it up.

Bland and his music, under the direction of bandleader Joe Scott, had a decided showbiz bent due to Scott and his orchestra that made generous use of horns as well as the usual guitar, bass and drums. The greatness of Bland was that his genuine and soulful stylings transcended the 'sweetening' agents of his accompaniment. That's not a knock on Scott and his orchestra though, for Bland's sound anticipated what came to be known as soul music in the '60s. Bland, well-groomed and dressed in a three-piece fronting an orchestra is something that really does it for me image-wise. He wasn't one of those other blues singers like John Lee Hooker who looked like a street musician thrown on a stage. Some would see Bland in a lesser light or less genuine than someone like Hooker because of his show and orchestra but that's b.s. Half those 'serious' blues musicians were just mailing it in and living on an image anyway, and these days they all are.

Included in this compilation is 'Farther Up the Road', Bland's first hit, later made more famous by Eric Clapton. On 'Cry, Cry, Cry' and 'That Did It' Bland loses his mind to a pleasing effect. The Brook Benton-penned 'I'll Take Care Of You' utilizes a haunting, spooky organ overdub that works as a nice wild-card element and 'Yield Not To Temptation' includes a manic hand-clapping beat and female backing vocals.

Great music, great price - what are you waiting for?

a great talent
Bobby blue Bland has always had the goods.this disc showcases his talent.i've also enjoyed the stuff that he has done with B.B.King.a good solid disc.his vocal style is one of a kind. ... Read more

Amazon.com

Another day, another Lightnin' Hopkins collection. It's only to be expected for a musician whose career lasted six decades, and whose recorded output was so profuse (often for several labels simultaneously) that the neophyte is hard pressed to determine which of the many albums, compilations, and box sets to acquire. One could do worse than this collection from Rhino Records, which includes classics such as "Coffee Blues" and "Mojo Hand," and even includes a few songs that aren't to be found on Mojo Hand: The Lightnin' Hopkins Anthology, generally considered the ideal collection for the beginning Hopkins aficionado. While hard-core fans probably have all these songs somewhere in their extensive collections, this CD is ideal for those seeking an introduction to the seminal bluesman. After all, he did help develop Texas blues, played a hand in developing the blues from rural to urban art form, and rode the 1960s folk-blues revival to one of the longest careers in blues history. Covering the 20 years of Hopkins's career between 1941 and 1961, the collection also provides a brief history of the development of the blues over the same period. --Genevieve Williams ... Read more

Reviews (1)

Lightnin' Hopkins Is the Real Deal
It's encouraging to hear contemporary artists like Keb Mo', Robert Cray, and Kenny Wayne Shepherd carry on the blues tradition into the new millennium. However, I'm always drawn back to the originals like Muddy Waters, Elmore James, Howlin' Wolf and of course Lightnin' Hopkins.

This newly packaged collection of songs from Rhino is an excellent companion to Rhino's 1993 anthology Mojo Hand. The Very Best of duplicates seven tracks from that release and focuses on Hopkins' work from 1947 to 1961, but offers enough new material to make this a worthwhile purchase. And with Hopkins' lack of loyalty to any one record label, no fewer than seven different labels are represented on this 16-track collection.

On many of these songs Hopkins performs solo accompanying himself on guitar (and adding piano on "Mighty Crazy"). On a handful of tracks he is backed by a bass player and on "Shotgun Blues," a second guitarist. Only on "Conversation Blues" and "Last Night Blues" is there a full band of bass, drums and harmonica (provided by Sonny Terry) backing Hopkins.

This is an excellent introduction (or addition) for fans of acoustic Texas folk/blues performed by one of the genre's greatest practioners. HIGHLY RECOMMENDED ... Read more

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Nakota Nation quartet Indigenous refine and expand their already impressive sound on their second studio full-length album, Circle. These twentysomethings prove themselves to be the most rounded of all the young guns. They embrace instrumental subtleties over rapid-fire blues scale exercises and emotionally engaging singing over howling vocals. And they write good songs, too--nine of the 11 tunes are originals, and all demonstrate grace, maturity, and soulfulness. The big organ with lightly distorted, snaking-guitar-lines sound works well for the group throughout. Thankfully, they deviate from the overtly (though capably rendered) Stevie Ray-ish sound of the opening track, "Little Time." The pedal steel-flavored album closer--famed Vaughn collaborator Doyle Bramhall's "The Moon Is Shining"--is a lovely, light-as-a-cloud number that definitely leaves the listener wanting more. Guitarist and singer Mato Nanji is truly a talent for the ages. --James Conde ... Read more

Reviews (46)

Great CD but different than previous two
Overall, this is a GREAT CD. The band's sound has matured a bit and congealed since "Things We Do", and as other reviewers have stated, they are claiming their own voice and style as a band. This CD is still mixed with Stevie Ray Vaughan influence (Track #1), but they offer a little funk (Track #7) and some Santana-like sounds (Track #4) on this versatile CD. You can surely hear the influence of Doyle Bramhall as a producer.

I opt for a 4-star rating rather than a 5 to compare this CD to their previous two. "Things We Do" rocked and had musical consistency, and "Live at Pachyderm Studios 1988" truly demonstrated Majo Nanji's amazing guitar ability. "Circle" departs from both in downplaying Mato's abilities. The blues-inspired lyrics were solid, but the music strayed a bit toward mainstream pop. In that way, I was disappointed. As much as I hate to say it, a couple of the songs reminded me of Hootie and the Blowfish. This is definitely a direction that I hope they will not go.

Nonetheless, if you like Indigenous as much I do, then be sure to add this to your collection. It is surely worth the purchase. See them live if you can. They are an amazing band!

Uplifting and Enjoyable Songs
This Native American quartet from North Dakota has put out a solid second CD. You hear influences of Stevie Ray Vaughn and in my opinion, a little Allman Bros (listen to Rest of My Days, track #9) in this band. Mato Nanji is one excellent guitarist and he and the other band members exhibit a maturity well beyond their years.

In an era when most new bands sound the same to me, this one immediately caught my ear the first time I heard "Rest of My Days" on the radio. A couple of other reviewers have said they felt the CD was too mellow. I enjoyed the variety of the CD. Powerhouse blues is great, but it's nice when you can pull off the "slower tunes" as well.

Highly creative, intelligent music; I'm looking forward to hearing more from this band in the future. I'm sorry I missed the chance to see them do a free concert in San Francisco last fall.

Mesmerizing
This music is mesmerizing. Beautiful, haunting!! Makes you feel how music is supposed to make you feel! I recommend it to anyone who listens to music WITH MEANING!
BRILLIANT!!!!!
My goal is to see them LIVE!!!

oh yeah
i love this disc, mato and co are currently the most exiting blues rock thing happening at present(opinion,of course) and this captures thier easy brilliance perfectly, theres not a dud on here with every song well crafted, performed, delivered and the lead playing just oozes grace. the live disc showed us some of the power these guys can play with, on here the song is king, it took a while for it all to sink in as i was just waiting for the next ten minute solo but now i just feel dissapointment when the disc is over, every song works for me, its a winner and i cant wait for the next cd from these guys.....

ANOTHER GREAT CD FROM IDIGENOUS
I just received this CD today and have only played it twice. Whenever I've reviewed a CD after such short aquaintence I've got
it wrong. However, this is easier than most.
This is not as good as 'THINGS WE DO'. It is mellower and does not show a lot of progress toward a sound of their own. It is still a brilliant CD and shows more facets to these incredibly
talented musos. Again no really weak tracks and great guitar playing ( not as exuberant as the first 2 CD's ) from MATO NANJI,
but he still is too close to SRV and HENDRIX in tone and phrasing.As they are the masters there is nothing wrong with this, I just thought with the undoubted talents of MATO NANJI he would develope a style of his own before long.
I will just have to keep buying their CD's untill he does and enjoy every moment along the way. ... Read more

Amazon.com

Austin's Lou Ann Barton displays her sassy blowtorch blues style splendidly on her third recording, on which she receives assistance from friends and former bandmates such as Kim Wilson, David "Fathead" Newman, and current duet partner Jimmie Vaughan (Do You Get the Blues). But Barton, a past member of both Roomful of Blues and an early edition of Stevie Ray Vaughan's band, doesn't really need much help; her amazingly rich, blues-drenched voice is a musical force of nature. Whether using it on a sizzling remake of Slim Harpo's "Shake Your Hips," digging deep into Irma Thomas's Crescent City classic ballad "It's Raining," or energizing "High Time We Went," Barton saturates her sound with raw emotion and unerring blues sensibilities. Even semi-novelty numbers like Lazy Lester's bayou funk standard "Sugar Coated Love" and the tough-woman anthem "You Can Have My Husband" somehow seem more substantial. She further accentuates her no-nonsense image with superlative takes on Barbara Lynn's "You'll Lose a Good Thing" and renegade country legend Wanda Jackson's "Mean, Mean Man." --Michael Point ... Read more

Reviews (1)

A Solid Effort
A very good effort from Lou Ann Barton. I had never heard of her before a friend in college at the University of Boston turned me on to her. This CD moves from slower blues to rhythm and blues with a very strong common demoninator, which is Lou Ann's voice. Very strong and hypnotizing. Her voice pulls you in and wraps you in a cacoon.

A very good introduction to Lou Ann Barton. I can't wait to get more and see what else she is up to. ... Read more

Reviews (2)

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

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

Reviews (9)

Superb!
Originally issued by Atlantic Records in 1959, "T-Bone Blues" compiled 11 singles recorded between 1955 and 1957, and the 1994 CD reissue added four bonus tracks (including "Why Not", which Jimmy Rogers would later record as "Walkin' By Myself" and credit to himself, and a soulful rendition of Leroy Carr's "How Long Blues").

Many of these sides are re-recordings of Aaron "T-Bone" Walker's classic 40s sides, like "T-Bone Shuffle", "They Call It Stormy Monday", and "Mean Old World", and while any self-respecting blues collection should include Walker's original Capitol and Black & White singles (Rhino's "Blues Masters - The Very Best Of T-Bone Walker" is a great collection of those early sides), "T-Bone Blues" is perhaps the most satisfying album Walker ever made.

The sound is simply magnificent for mid-50s waxings, wonderfully clear and crisp and realistic, and T-Bone Walker is backed by men like Junior Wells, Jimmy Rogers, Ransom Knowling, legendary arranger/pianist Lloyd Glenn, and saxists John "Plas" Johnson, Jr., Edward Chamblee, Mack Easton, and Earl Hines-cohort Andrew "Goon" Gardner.
And T-Bone's own playing and singing is superb as well...just listen to his inspired soloing on "Blues For Marili", "Mean Old World", the classic "T-Bone Blues", and this the definitive rendition of "Papa Ain't Salty". It's a delight to hear him playing with Little Walter Jacobs on the 1955 recordings, which include a swinging "Play On, Little Girl" and the fine bonus cut "T-Bone Blues Special", and Walker's re-recording of "They Call It Stormy Monday" captures the essence of the magnificent original version from 1947, this time with stellar fidelity.

There are a number of amazing instrumentals here, too...T-Bone Walker duels with his nephew R.S. Rankin and highly esteemed jazz guitarist Barney Kessel on the up-tempo scorcher "Two Bones And A Pick", and comes off victorious. He may have been best known for his slow, after-hours blues laments, but T-Bone could cut it with the best of them no matter if the tempo was set at 50 or 150.
The highlights on this disc are too many to mention...among the best of the lesser-known songs are the up-tempo "You Don't Know What You're Doing", sung by Rankin, and the jouyous instrumental "Shufflin' The Blues", but literally everything is worth a listen.
An essential addition to any collection of electric blues.

NOT A FROZEN STEAK
One of the pioneers of the electric guitar,T-BONE WALKER was a prime inspiration for CHUCK BERRY and many others blues and rock stars.MEAN OLD WORLD,T-BONE BLUES,CALL IT STORMY MONDAY and BLUES FOR MARILI remain essential stuff.It is impossible not to think of CHUCK BERRY when you listen to this guy;the guitar technique is virtually the same, but CHUCK is a better lyric writer.SHUFFLIN'THE BLUES is the closest T-BONE song ever came of rock.The quiet man from TEXAS has certainly deserved his place among the true practician of the blues.The sound quality here is good because these are 1955-56-57 recordings and not the original IMPERIAL that are also available.

Largely Unsung Major Influence
Most of today's blues guitarists cite B.B. King as a major influence, but if they really thought about it a little more they'd realize that they owe as much, if not more, to Aaron Thibeaux [hence the nickname T-Bone] Walker. Borm May 28, 1910 in Linden, Texas, and after performing in medicine shows throughout the state in the Twenties and Thirties, he latched onto the electric guitar with gusto after first hearing Les Paul and his monumental invention.

Following a stint in California with the Les Hite orchestra his first success on disc came in 1943 with Freddie Slack & His Orchestra when Riffette charted at # 3 on what passed then for the R&B charts, and # 18 on the pop charts. He then secured a contract with Black & White where, in 1947/48 he had five selections make the charts. One of those was the classic Call It Stormy Monday [But Tuesday Is Just As Bad], and in this collection you hear a 1956 re-make done with Lloyd Glenn on piano, Billy Hadnott on bass, and Oscar Bradley on drums.

In 1948/49 he had three more charted singles for the Comet label, including T-Bone Shuffle. That is also re-done in this set - this time from 1955 with Goon Gardner on alto sax, Eddie Chamblee, tenor sax, Mack Easton, baritone sax, John Young, piano, Ransom Knowling, bass and LeRoy Jackson on drums.

This album clearly reflects Walker's never-ending experiments with the electric guitar in small groups, and his pleasant, definitely bluesy voice frolics through the selections, most of which he wrote, except for You Don't Know What You're Doing where the vocal is handled by R.S. Rankin.

Four pages of informative liner notes by Ralph J. Gleason top up an excellent buy. You won't be disappointed.

guitar playing never sounded so sweet!
one of my favorite blues cd's. the recording quality is superb for a late 50's album. i like his voice, which has a lot of depth and range. however, the main attraction here is his exquisite guitar playing. no wonder he was such an influence on blues guitarists b.b.king, otis rush, buddy guy, and countless others.

Excellant!!!
This is one of the best blues's CD's I have. The music and vocals are so smooth... I can't seem to stop listening to it. You can't go wrong with this one - check it out! ... Read more

Reviews (5)

More blues and less rock on this one
Marcia is a fine singer who writes many of her own songs, though she is never afraid to record covers where they are suitable. Her albums can be almost relentlessly upbeat, as with Hot tamale baby, but this is generally a much sadder album - more like one would expect from a blues singer.

Marcia still demonstrates her Jerry Lee-ish piano playing here, on the opening Red beans, the third track Down the road and particularly on her cover of Joe Ely's Fingernails, but those are not typical of this particular album.

More typical is the title track, in which Marcia painted her house blue after her man left for good, or St Gabriel, about being sent to prison and later being released with nowhere to go.

This is a fine album that demonstrates Marcia's ability to sing a variety of different types of song.

Marcia Ball is just awesome
I found this one by accident, but it turned out to be a great find. I was in a used CD store and picked up a CD by Luther Allison. It had been repackaged and shrink wrapped. When I popped it into the CD player, out came this very vibrant female voice singing a song that I would later find out is called Red Beans. It caught my attention and in what seemed like no time at all, I was through the entire CD. I played it twice more before I finally managed to find out who this was and print out a list of tracks.

Every track is great and my favorite of the bunch is Fingernails. Since then, I have gotten more Marcia Ball CDs (on purpose!!) and can't say anything negative about her.

PS: I HAVE purchased this CD and I love it even more than I
thought I'd would from hearing her interview and excerpts at the House of Blues. "St. Gabriel" still sings to me, but there is not one bad track on this CD, and will play them all over and over. Not all CDs past that test. Sometimes I'll buy a CD and only like one or two tracks.

Enjoy, enjoy, enjoy.

Awesome Blues: Especially St. Gabriel moves me to my toes..
St. Gabriel should be the poster song for battered wives... and all the other songs are wonderful too. Heard her songs at the House of Blues website ... and craved some more. I shall buy this one here and also Gator too. Recommend her for anyone who loves the Blues!

First experience with Marcia
I first heard Marcia Ball wailing out a song on the radio when I was traveling through Glenwood Springs Colorado several years ago. The beat and lyrics of 'I keep my fingernails long so they click when I play the piano' captivated me so much , I rushed to a phone and called the local radio station to find out who the artist was. That day I purchased this album and have been a fan since. Her unique cajun style and excellant intrumental accompaniment will have you tapping your foot to her music. Enjoy! ... Read more

Amazon.com

Here's a bountiful blues buffet from deep in the heart of Texas, courtesy of the long-running Austin City Limits television series. Texas talents--including Lightnin' Hopkins, represented by a suitably idiosyncratic "Rock Me Baby"; the razor-sharp Albert Collins, ripping through "Travellin' South" in front of a horn-powered band; and W.C. Clark, the godfather of the Austin blues scene, who sparkles on a song by hometown hero Willie Nelson--make the most of their spotlight time. And, naturally, there's Stevie Ray Vaughan, who leads Double Trouble through a tight and tasty "Love Struck Baby." Jimmie Vaughan's tribute to his blues brother, "Six Strings Down," follows in an example of the collection's creative sequencing. In like manner Gatemouth Brown's "Born in Louisiana" leads into Dr. John's New Orleans version of "Since I Fell for You," and Clark's rendition of "Ain't It Funny How Time Slips Away" segues into B.B. King's personalized cover of Nelson's classic "Night Life." The honorary Austinites, including a rambunctious Buddy Guy and a solo Rory Block, also make considerable contributions, the best probably being Taj Mahal bouncing through "Queen Bee" with Ben Harper on slide guitar, although Keb' Mo's straightahead "Tell Everybody I Know" isn't far behind. --Michael Point ... Read more

Reviews (4)

A great compilation!
This is a great sampling of the blues. B.B. King does an excellent "Night Life", his guitar is fabulous! One of my favorites is W.C. Clark, who I had never heard before. "Queen Bee" is the best Taj Mahal I have heard. Miss Lavelle White, Stevie Ray, Lightnin' Sam, Collins....I could go on and on. The recording quality varies very little from track to track, which is expected from Austin City Limits, as they are one of the few TV program which delivers excellent sound. Don't pass this one up!

Enjoy!

This is a Texas blues mirror!!
Texas is a State,full of hot deserts,but this cd shows that not only hot deserts...Texas always have hot blues with great icons of this musical style. We must reverence this contribution,specially the legendary SRV,and the great melodic voice of Delbert Mc Clinton! If you don't know what is the Texas Blues Twister,just buy this cd and.........

Vintage Guitar magazine review:
This greatest hits collection assembles fifteen performances from the famous television series "Austin City Limits." As a tribute to the televised music venue, it's a fine CD. And as a live blues disc it doesn't get much better than this. The recordings range from Lightnin' Sam Hopkins' "Rock Me Baby" from 1978 to Delbert McClinton's "Leap of Faith" from 1997. In between, are hot numbers from Albert Collins, Jimmie Vaughan, Keb' Mo', Gatemouth Brown, Dr. John, Buddy Guy, Taj Mahal, Miss Lavelle White, the Neville brothers, Rory Block, and W.C. Clark. That's quite a lineup. Among the best tracks here, however, is Stevie Ray Vaughan's blistering performance of "Love Struck Baby" from 1983, when he was near the peak of his powers. B.B. King also turns in a fine "Night Life" from 1982 packed with his trademark vibrato and phrasing. Hot stuff.

Feel it to your bones!
Not only is this the Best of Austin City Limits, it is the best collection of blues I have heard in a long while. From Taj Mahal to Miss Lavelle White, each performer gives their all to make one feel like they are sitting in front of the stage, listening to the souful sounds being emitted. Fantastic! ... Read more

Amazon.com

This 16-track anthology spans the first decade of albino Texas blues guitarist Johnny Winter's career, especially the early (1969-'73) Columbia albums that built his legend. While some purists have groused at his often manic precision, this collection makes a point of underscoring his impressive range as a musician. The fervent gospel-blues of "I'll Drown in My Tears" showcases Winter's vocal stylings (and is one of several tracks featuring brother and frequent sideman Edgar), then segues neatly into the spare, acoustic heat of the dobro-'n'-flute rarity "Come On in My Kitchen." But the emphasis is on Winter's showy rock star turns and the collaborations with his potent band (and fellow axeman Rick Derringer and his cohorts from the McCoys, of "Hang on Sloopy" fame) on "Rock and Roll Hoochie Koo," "Still Alive and Well," and forceful live workouts of "It's My Own Fault" and "Mean Town Blues." His original, late-'60s power trio is on display here, too, and that small, formidable outfit can't help but emphasize the debt that Stevie Ray Vaughan and many of his musical progeny owe Winter. Indeed, Winters's bassist in the trio was none other than Tommy Shannon, who would enjoy another turn in the spotlight a decade later in Vaughan's Double Trouble. If American electric blues is your gospel, this collection should be one of its cornerstones of faith. --Jerry McCulley ... Read more

Reviews (4)

Great starter CD
This is a great CD to get you going into the world of Johnny Winter.

I'm not too thrilled about the Rick Derringer tune but a little bit of everything is covered here. From the rocking 'Johnny B. Goode' to the slide playing on 'Highway 61 Revisited' to the shredding on 'Hustled Down In Texas' to the melodic blues of 'It's My Own Fault', this is a great buy.

Best of Johnny Winter
This is a nice CD that covers the early years of Johnny's career. His range in many aspects is one of a kind. Its nice to feel the music rather than just listen to the music. For all you young rock and blues fans take notice, Johnny truly is an American guitar legend. Go out and get this one now!

Best of
An excellent introduction to the early years of Johnny Winter. It shows the scope of this often overlooked musician. A true american genius. "Johnny B. Goode" a ripping version that Chuck Berry would be proud of!!! And he plays it in the key of "B". "Come on in my kitchen" is a beautiful slide piece. And the best tune, in my opinion, "It's my own fault", shows off his vocal range and phrasing and a million guitar licks that every guitar player should know. Awesome and inspiring.

A GREAT CD BUT A BOXSET WOULD HAVE BEEN BETTER
The songs on this cd are great & sound great. I would recommend this to any Winter fan new & old. Most of the songs came from the first two recordings Johnny did for Columbia. My complaint is that there is alot missing here. There is no way you can release a BEST OF from this guitar god on only 1 disc. This disc should have been joined by a disc 2, 3 & 4 with a nice booklet & put in a box. But for now, this will do just fine. BUT IT!!! It's killer tunes from the master of blues/rock. ... Read more

Reviews (2)

just the funkiest !!!!!
i have loved johnny guitar watson since 1977 (real mother4 ya)and yes ,have tracked down the albums and cds in merry old england!!this is the grooviest from the out attack of "i need it",to the slow burn of "since i met you baby".this is probably the mans most complete recording,for my money.i would guarentee you would not be disappointed with this.jgw was never massive in uk apart from soul underground,and those who got his groove remained loyal.those of us who love this mans music should spread the message.

A Great Album
THis Album is a Must.Johnny Guitar'Watson is a Great Underrated Talent.He Is a Genius.As Writer,Arranger,Producer,Instrumentalist&Vocalist Johnny Guitar Watson is one of the baddest ever.This is a Great Album.this Grooves are Timeless. ... Read more

Reviews (13)

Classic album.
Bobby Bland is one of my favourite singers for decades, and on its initial release this album set new standards for R&B singers. Almost every track on this CD is a classic of the genre: "I pity the fool" and "St James Infirmary" could almost be described as "classic classics" they were so definitive at the time. It was such an advance for a blues singer that one reviewer then described it as "two million steps from the blues". Bland went on to become one of the most highly regarded R&B singers of his generation, influencing the singing style of later singers like Tyrone Davis.

"Bobby Blue's" Blues
Bobby "Blue" Bland has been a well-known and well-loved favorite around Louisiana for more years than I can count, and I believe this is THE BEST of his many albums. This stuff gets in your blood, right down to your bones. Can you imagine lyrics that make you want to cry but vocals that just make your HEART SING??? Listen to this album a couple of times and you'll know what I mean. It's addictive, even if you aren't a real blues fan. This one should be in everyone's collection. Go, Bobby!

LOVE this record
These raves are all right on the mark - this is transcendent. Funny thing is, it kind of took me awhile to get it. I liked, but never loved, my lp, but a year or two after getting the cd it all clicked into place. I think sometimes exceptionally profound music takes a while to sink in. I'm sure glad I stuck with this, and trusted all the folks who said it was a classic. It's now a treasured favorite.

Brace yourself!
Good God almighty! If you have any affinity for any kind of music, buy this album! The effect this astonishing collection of singles had is still felt more than forty years after its initial release. The songs are simply stunning, and Bland's voice is truly phenomenal. Any singer who ever belted out a single note OWES Bobby "Blue" Bland. For those who have heard nothing but the man's latter day work with Malaco, this is nothing short of a revelation. This was one of the most amazing voices on God's green earth. He's somehow like a cross between Ray Charles, Nat King Cole, and Brook Benton, but with the strength of all three combined. Listening to this will make you realize how right B.B. King was when he said, "Me and Little Milton, we did alright, but NOBODY could move a crowd like Bobby Bland."

My only complaint is that these songs and the album itself are over far too early. Some of the songs barely make it over two minutes, but that was how they were done in those days. But I can't stress the greatness of this album and the magnitude of its impact enough. Along with James Brown's Live At the Apollo, this is arguably the most important and influential Soul album of all time.

One of Bobby's Best
I have been listening to this album since 1967 and still can't get enough of hearing the great songs on it. I have it on vinyl and CD.

Every track is great, particularly this version of "St. James Infirmary"

If you are a Bland fan, make this a must have for your collection. ... 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

Reviews (16)

Johnny Bees Goode!!!
Discovered by New York club empresario Steve Paul in 1968, and signed to a hefty, six-figure contract, Johnny Winter stayed true to his Texas rock and roll, r and b, and blues roots on Second Winter, his 1969 offering that many people consider his best album. Most artists either scatter their best material over the entire album or place the best songs near the front for maximum listening effectiveness. Second Winter is one of the few albums I know where (to me) the best material is saved for last. The album starts out fine with the searing "Memory Pain," a tribute to addiction recovery with scalding lyrics, and an intense vocal performance from Johnny. The next two tracks, "I'm Not Sure," and "The Good Love," are good, not great songs; again, it's surprising that Winter (or his record company) should choose to place such mediocre material first. Then comes brother Edgar Winter's tinkling saloon piano, and right away, you know your in for something special with the first of two fabulous Little Richard covers, "Slippin' and Slidin'." Edgar's greasy roadhouse sax playing and Johnny's fiery guitar solo put you in early rock and roll heaven! Next, Johnny gives an impassioned vocal performance of Richard's "Miss Ann," filled with warmth, humor, and passion. Too much! Then, a first-rate rendition of the Chuck Berry standard "Johnny B Goode," makes the overplayed chestnut seem fresh and new. Winter also proves that Bob Dylan, like many great poets, has roots in the blues with his honking, shouting version of "Highway 61 Revisited". Outa Site! (as we used to say in the Dark Ages!). This superfine CD closes with four fabulous originals: The guitar-laden "I Love Everybody," the horn-driven "I Hate Everybody," the hard-driving "Hustled Down In Texas," and the ultra-psychedelic, marching beat, guitar-on-mega-overdrive swagger of "Fast Life Rider." Take me home, mama! So, if you love great Texas blues, particularly of the pre-Stevie Ray Vaughan, psycho-killer variety, grab a listen to Second Winter today. It bees goode!!!

Disappointing
I had heard a lot of good about John Dawson Winter III's second LP, 1969's "Second Winter", and I already own several of his albums, so I went and got this one as well.

I really like the tough blues-rock Johnny Winter played on albums like "Johnny Winter", "The Progressive Blues Experiment", and "White, Hot & Blue", the stuff he did with Muddy Waters, and his pure blues album "Nothin' But The Blues".
But this album is equal parts generic rock n' roll and glorified rockabilly ("Miss Ann", a predictable "Johnny B. Goode") and badly dated psychedelia ("Memory Pain", "The Good Love", "Fast Life Rider").
There are a couple of exceptions, sure, but nowhere near enough to make this a great album.

If you like late-60s psychedelic hard rock, you might like "Second Winter" as well, and Johnny Winter's take on "Highway 61" is quite good (although not nearly good as treacherous reviews had led me to believe), but all in all I found "Second Winter" to be quite unoriginal and rather unimaginative, and the least memorable Johnny Winter-album I have listened to.
2 1/2 stars.

A lil thrill
the first official Johnny Winter lp kinda sucked but this lp picks up the tempo and is quite enjoyable!
If you have extra cash grab it.

Second Winter
Sweet lord. Five stars is not an adequate rating for this recording. Buy this disc now. Buy it for "Fast life rider" alone. Johnny and the boys hit a groove so stupendous, and tear it up on that song so astonishingly that you wish the song would never end. Quite simply put, this is one of the best hard blues albums ever recorded. And then there's "Memory Pain"...and "Hustled down in Texas"... whew, man.

Thank me later.

Blues-Rock Guitar Nirvana
Johnny Winter at his finest. He shreds through Dylan's Highway 61, jams with brother Edgar and adds about 10 chapters to the blues-rock bible. The original vinyl was great. It was a three sided double album; side four was blank! ... 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

Reviews (1)

I keep coming back and wanting more.
Three independently good solo jazz singers meld together compellingly. I keep giving copies away. ... Read more

Amazon.com essential recording

Forty-three tracks of the seminal bluesman's recordings for Aladdin in the 1940s, The Complete Aladdin Recordings is a must-hear. Performing alone with his guitar or with sparse accompaniment--usually pianist Wilson "Thunder" Smith--Lightnin' dishes out the best of Texas country-blues. Starting off with "Katie May," Hopkins's first recording for Aladdin, the two-CD set winds its way through the guitarist's years with the label, showcasing what he was up to before his decline in popularity and eventual revival with the folk boom of the 1960s. Those expecting the almost-rock & roll of the latter period won't here any of that here, but they will hear its germination in such rollicking tunes as "Big Mama Jump" and "Let Me Play with Your Poodle." Definitely required, not only to hear the best of early Lightnin', but to hear the best of Texas country-blues. --Genevieve Williams ... Read more

Reviews (7)

From the Cotton Patch to the Big City
Learning at the knee of legendary Bluesman Mance Lipscomb, Sam "Lightnin" Hopkins blazed an incendiary trail through the urban Texas landscape.

These early tracks show the base upon which he built through the 60's and 70's. His concerts were often legendary, including one unforgettable night when he played at the University of Houston, on the same night as Abbie Hoffman was giving a speech across town at Rice University, at a far more ballyhooed event.

I know for a fact, because I saw them, and I was one, that most campus politicos chose to attend to Lightnin' instead of Abbie. Us Texans do know our roots.

Unforgettable moments of his concerts included such nicities as his swigging from a half-pint of Bourbon, and playing for as long as the tips came in. Late in the evening, his foot would become loose and begin pounding out the rhythm of the bass lines which his drop-thumb played. And a sly grin would sneak across his life-worn face. This was when he would impart his greatest wisdom to us.
He's a legend who has been missed.

From a man who loves the blues:
Many bluesmen have come and gone, but certain ones seem to have been around forever. Their music predates the fancy new singers, and while those new guys rise and fall, the old bluesmen stay the same, unchanged by time and just as beautiful and appealing as ever before.

Lightnin' Hopkins is one of those classic blues singers. Like Robert Johnson, John Lee Hooker, and all the rest, Hopkins is one of the founders of the blues - whoever plays the blues today is merely standing on the shoulders of these legends.

This collection of Lightnin' Hopkins recordings is truly worth investing in. The quality of the music cannot be contested, and the enjoyment of listening to them cannot be underestimated. And you can't beat the price! Where else can you get over 40 classic blues tunes for this price?

If you enjoy classic blues: get this album, sit back, and watch the world around you slow down for a while.

An Overlooked Founding Father.
There is a lot of John Lee Hooker here, and a lot of other stuff as well...

There early stuff has the wonderful gritty feel of Hooker's early pieces like "Teachin the Blues," but then the two start to part company.

Lightnin' has an endearing high pitch vocal style that immediately seems wrong for a classic blues musician, but grows on the listener until you cannot imagine the music any other way.

The later recordings make use of fun upright piano and slightly rocky tempos.

Not as earthy as Hooker, not as blue as Muddy, not as orchestrated as B.B., Lightnin has nicely balanced sound that may not always stictly qualify as blues.

Please note: this is a two-disc set! For $12! Ka-Ching.

Blues as personal as a hushed conversation
Sam Hopkins was a throwback - a vanishing breed, the troubador, the street musician...and his music was/is intensely personal. Lightning's lyrics and delivery combined with his guitar licks and irregular measures are unique. It's not music to boogie to although I have; it's music to reflect on, to enjoy Lightning's wry humour and observations. Rough around the edges but that's part of its appeal. Most fans will tell you that he was like no other.

Bright, beautiful Lightnin'
No praise can be too high for this landmark set. This is where it all started; if Lightnin' Hopkins had made no other music, these 43 tracks recorded from 1946-48 in Los Angeles and Houston would have cemented his reputation as a blues great. As it is, you see where everything came from. Four of the first nine tracks feature pianist Thunder Smith on vocals, and these are less enjoyable. The rest feature Lightnin' playing clever, conversational, concise Texas blues with verve and brilliance. Sound on a couple cuts is rough, but generally is quite good. Don't listen to all this music at once, but do listen. And the price for these 43 gems is astonishing. Get this set! ... Read more

Reviews (3)

Fine, but not as good as their first
This is a reprise of the wonderfully successful first album these two did together. It is worth having not only for their obvious enjoyment working together, but for the terrific job in "Let The Good Times Roll".

Otherwise, this is not as good as the first effort, which I thought had much more wide range of songs. Make that your first purchase of these two.

A party!
BB and Bobby throw a great party here, beginning with Let the Good Times Roll. The beauty of this record, as with "BB and Bobby -- Together for the First Time Live" is the spontaneity of the live recording. Bobby tries to persuade BB to play some requests, a fan gets up on stage -- the fun of this record could never happen in the studio.

A very good value
I enjoyed all but two of the tracks on the original cassette I bought some time ago. An excellent version of both "Let the good times roll" and "The thrill is gone". ... Read more

Reviews (4)

They're all here
The reviewer who said that SRV was not on this set obviously did not read the liner notes, which indicate that SRV played on the Lonnie Mack tracks from the Strikes Like Lightening sessions. The other artists the reviewer stated that were not there ARE, but are not the featured artist on the tracks.

I bought this set, and the 25th, when they came out and was really wowed by what I heard. Houndog Taylor is my favorite, followed closely by Koko Taylor and Albert "Master of the Telecaster" Collins. There is some really fine musicianship, great feel, and real respect for the blues displayed on this set.
Higly recommended.

Some good old blues
Amazon keeps inter-mixing the reviews for the 'Alligator Records 20th Anniversary Collection' album and the similarly named 'Alligator Records 20th Anniversary tour' album. So I will include a review of both here to set the record straight.

The 'Collection' album is by far superior to the 'tour' album. The collection has many artists on show and offers a bit of everything. The best tracks are AC Reed's 'These blues are killing me' with SRV brilliant on guitar, Little Charlie and the Nightcats with 'Rain', Roy Buchanan's classic 'Drowning on dry land', Koko Taylor with 'That's why i'm crying', Katie Webster with 'Pussycat Moan', Son Seal with 'Going back home' and Hound Dog Taylor and the classic 'Give me back my wig'. The album is uneven as you would expect for a label show case but well worth it as a introduction to a variety of blues styles and artists.

The 1993 20th aniversary tour album has only Li' Ed, (the late) Kattie Wester, Elvin Bishop, Lonnie Brooks and Koko Taylor. The album does typify Alligator records music that by my definition is mostly reasonable blues without being great. This live album has plenty of energy and is listenable, but fails to scale the heights I expect of the blues.

I discovered most of my favorite blues artists from this CD
Alligator records has some serious talent on it's label. Many of them are big names that you will recognize if you have been into blues for very long. I have tried samplers from other blues record labels and have been very disappointed with the mediocre talent on their label. Usually there are only one or two people -out of fourteen or fifteen - that stand out on other blues samplers. You will recognize that the vast majority of artists on Alligator Records are true talents - even if you don't like their style. This album is definitely worth the investment.

good,better,best
Alligator has compiled a very good collection of its artists on this CD. It has Iceman , SRV , KOKo , Son Seals, Johnny Winter and many other of the best of the blues. If you buy it, find some storage for the rest of your collection, because you won't remember who they are. ... Read more

Album Description

UK budget-price box-set for one of the inventors of the new blues, that is the blues one hears today as played by BB,Albert & Freddy King, Gatemouth Brown, Eric Clapton, ChuckBerry & numerous blues-influenced rock groups. T.BoneWalker was the first bluesman to play the electric guitar,a renowned showman who electrified his audiences. He is the original source. 90 tracks are included in this set & the44 page booklet tells the story of one of the great musical innovators of the 20th century. 4 standard jewel caseshoused in a slipcase. 2002. ... Read more