Reviews (2)

the real deal
If you like Mississippi John Hurt and Reverend Gary Davis, do NOT pass this one by. Lipscomb is a great singer and fingerpicker in the "songster" tradition. He is bluesier than Hurt (his straight blues have a heavy dose of Lightnin' Hopkins in them) but every bit as warm and tuneful. I bought this three months ago and it's still in heavy rotation.

An National Treasure
If you're searching for blues as a collector, don't miss this. Mance and his music is a national treasure. Listen to this and then listen to some of today's "blues" masters like Eric Clapton, Stevie Ray Vaughn, etc. and then you'll know where they got their mojo from. ... Read more

Reviews (9)

Soberb disc
Johnny Winter is only the best at blues style...His rough voice, his ultra blazing fast solos, his feeling and his slide tecnique made him a lengedary guitarrist from the last century to nowadays...

If you can, buy everything from him...each disc is a gem, and worth any cent paid on it. This 3rd degree is the best one! Don't even think of losing it! Buy, buy, buy. Nothing more to say.

One of Johnny's best....
No one can ever accuse Johnny Winter of being dull. Since the late sixties, Johnny's been blowing away rock and blues audiences with his growling voice and flamboyant guitar playing. An albino with an impressive mane of shoulder length white hair, Johnny Winter brings new meaning to the term "White Blues." In addition to his considerable musical gifts, Johnny Winter has always had a distinctive sense of style. Back in the seventies he was fond of capes and outrageous bell-bottoms. In the eighties and nineties, he began favoring black sleeveless shirts that showed off his extensive tattoo collection; some publicity shots showed him shirtless, revealing the huge multicolored dragon's head tattooed on his chest. Guitar slingers come and go, but Johnny Winter has established himself as an unforgettable persona in the annals of blues and rock music.

Like his music and stage persona, Johnny Winter's career has also been anything but nondescript. Believing they had discovered rock and roll's next guitar-god, Columbia Records offered Johnny a record-breaking advance back in 1969. Johnny and his band went from sleeping on floors to living in mansions virtually over night. Unfortunately, the rock and roll lifestyle took its toll on Johnny Winter; in the early seventies he was hospitalized due to a combination of substance abuse and clinical depression. After cleaning up his act, Johnny released the aptly titled "Still Alive and Well" and continued to play rock and roll throughout the mid seventies. In the late seventies, Johnny returned to his blues roots by teaming up with his idol Muddy Waters. Winter produced and played on such landmark Muddy Waters albums as "Hard Again" and "I'm Ready." In the early eighties, Johnny found himself recording for the prestigious blues label Alligator Records. Johnny recorded three albums for Alligator - "Guitar Slinger", "Serious Business" and "Third Degree" - before ultimately moving on to Pointblank Records in the nineties. Although all of Johnny's Alligator recordings are well regarded, "Third Degree" is arguably the best of the lot.

The first two albums that Johnny recorded for Alligator were both produced by Bruce Iglaur, the label's founder. Word has it that there was a great deal of tension in the studio between Johnny Winter and Mr. Iglaur, who has always had a reputation for stubbornness and perfectionism. For "Third Degree" production chores were taken over by Dick Shurman, and the result is an album that greatly surpasses Winter's first two Alligator efforts. "Third Degree" is the first Johnny Winter album to feature Dr. John on piano, and was the first album in years to showcase Johnny's steel guitar playing by including two acoustic tracks. In addition, Johnny's original bandmates Tommy Shannon and "Uncle John" Turner make a guest appearance on the Elmore James tune "Shake Your Moneymaker." "Shake Your Moneymaker" and "Mojo Boogie" are both wonderful showcases for Johnny's electric slide playing; he makes his Gibson Firebird scream and howl during his solos on these tunes. Another highpoint is the moody ballad "Tin Pan Alley" which features Dr. John on piano in addition to gut wrenching guitar and vocals from Johnny. "Evil on my Mind" and "Bad Girl Blues" are the two acoustic numbers, and Johnny's prowess with a National steel guitar does not disappoint. With its heartfelt performances and wide variety of blues styles, this recording is clearly one of the high points of Winter's career. "Third Degree" is essential listening not only for Johnny Winter fans, but for anyone with an interest in blues guitar

Essential Blues Guitar
No one can ever accuse Johnny Winter of being dull. Since the late sixties, Johnny's been blowing away rock and blues audiences with his growling voice and flamboyant guitar playing. An albino with an impressive mane of shoulder length white hair, Johnny Winter brings new meaning to the term "White Blues." In addition to his considerable musical gifts, Johnny Winter has always had a distinctive sense of style. Back in the seventies he was fond of capes and outrageous bell-bottoms. In the eighties and nineties, he began favoring black sleeveless shirts that showed off his extensive tattoo collection; some publicity shots showed him shirtless, revealing the huge multicolored dragon's head tattooed on his chest. Guitar slingers come and go, but Johnny Winter has established himself as an unforgettable persona in the annals of blues and rock music.

Like his music and stage persona, Johnny Winter's career has also been anything but nondescript. Believing they had discovered rock and roll's next guitar-god, Columbia Records offered Johnny a record-breaking advance back in 1969. Johnny and his band went from sleeping on floors to living in mansions virtually over night. Unfortunately, the rock and roll lifestyle took its toll on Johnny Winter; in the early seventies he was hospitalized due to a combination of substance abuse and clinical depression. After cleaning up his act, Johnny released the aptly titled "Still Alive and Well" and continued to play rock and roll throughout the mid seventies. In the late seventies, Johnny returned to his blues roots by teaming up with his idol Muddy Waters. Winter produced and played on such landmark Muddy Waters albums as "Hard Again" and "I'm Ready." In the early eighties, Johnny found himself recording for the prestigious blues label Alligator Records. Johnny recorded three albums for Alligator - "Guitar Slinger", "Serious Business" and "Third Degree" - before ultimately moving on to Pointblank Records in the nineties. Although all of Johnny's Alligator recordings are well regarded, "Third Degree" is arguably the best of the lot.

The first two albums that Johnny recorded for Alligator were both produced by Bruce Iglaur, the label's founder. Word has it that there was a great deal of tension in the studio between Johnny Winter and Mr. Iglaur, who has always had a reputation for stubbornness and perfectionism. For "Third Degree" production chores were taken over by Dick Shurman, and the result is an album that greatly surpasses Winter's first two Alligator efforts. "Third Degree" is the first Johnny Winter album to feature Dr. John on piano, and was the first album in years to showcase Johnny's steel guitar playing by including two acoustic tracks. In addition, Johnny's original bandmates Tommy Shannon and "Uncle John" Turner make a guest appearance on the Elmore James tune "Shake Your Moneymaker." "Shake Your Moneymaker" and "Mojo Boogie" are both wonderful showcases for Johnny's electric slide playing; he makes his Gibson Firebird scream and howl during his solos on these tunes. Another highpoint is the moody ballad "Tin Pan Alley" which features Dr. John on piano in addition to gut wrenching guitar and vocals from Johnny. "Evil on my Mind" and "Bad Girl Blues" are the two acoustic numbers, and Johnny's prowess with a National steel guitar does not disappoint. With its heartfelt performances and wide variety of blues styles, this recording is clearly one of the high points of Winter's career. "Third Degree" is essential listening not only for Johnny Winter fans, but for anyone with an interest in blues guitar.

JOHNNY IS KING!!!
Of the 3 Alligator releases this is the best one in my opinion. It has everything. Slow blues, fast blues, acoustic blues, rockin electric blues, overall just a good selection of songs on this album. The title track is one of the most intense slow blues I've ever heard, the ABSOLUTE best version of that song ever recorded!! Mojo Boogie shows why Johnny is considered one of the best slide players ever. If you never heard Johnny Winter, and you like blues, then get this and be blown away.

My first JW CD, and still one of the best in my collection!
This album was my introduction to the great, under-appreciated Johnny Winter, and is still a classic among classics, in my collection. This one belongs in the Pantheon of Greats (along with Albert Collins' "Showdown" and SRV's "In Step" and Buddy Guy's "Stone Crazy."). You just can't beat the long, flowing, inventive solos---solos that just keep coming and coming, like Hitler's blitzkrieg! Songs like "I'm Good," "Broke and Lonely," "3rd degree," and others...still get played multiple times when this CD is playing. Its a shame he's now just a shadow of this, his former self. Seeing him live a few months ago---its evident he's a blind, feeble, old man. There will never be another Johnny ... ... Read more

Amazon.com

Curran makes both Getting It Right and Getting the Spirit seem easy; his retro blues doesn't give off so much as a whiff of the moldy fig, but neither does he descend into camp, parody, or self-parody. A recovering rockabilly, his heart is with the jump 'n' jive of Wynonie Harris ("Down Boy Down," the instrumental "The Groovy Jam"), but he can also raise a ruckus like Little Richard ("Heeby Jeebies"), head for Chicago (Little Walter's "Crazy Mixed Up World," "Leavin'"), or ease into a classy Duke-Peacock groove (Bobby Bland's "Honey Bee"). As a guitarist, he is solidly in the T-Bone Walker/B.B. King style, but with enough quirks that it never sounds like slavish imitation. His originals hold their own with the chestnuts, and he's such an assured vocalist that ballads like "Come Back" come off as well as the rockers. You'd be hard-pressed to find another album that's as much flat-out fun. --John Morthland ... Read more

Reviews (1)

Yo RESPECT!
That's what this guys's got. He is an amazing talent. He is a throwback to better days. What can I say ...Little Richard, Joe Turner, Little Walter, Iggy Pop...Balled up in one delicious man... Nick and his band are the real thang!!!!!!!!
Buy It!!! ... Read more

Reviews (3)

Nice Job of Gathering Stray Tracks
Jimmie Vaughan was one of the founding members of the blues/rock band The Fabulous Thunderbirds. And while this collection kicks of with a couple of T-Bird tracks (the instrumental blues shuffle "Extra Jimmes" and their breakout hit "Tuff Enuff"), the focus is on Vaughan's solo career, which has seen the release of only three albums in the past 14 years since leaving the T-Birds.

There are a couple of tracks ("DFW," "Good Texan") from FAMILY STYLE recorded with his younger brother Stevie Ray Vaughan in 1990. Following Stevie's death it would be four years before Jimmie released his first solo album, STRANGE PLEASURE. This is perhaps Jimmie's strongest album to date. The four tracks from this album (5-8) all written or co-written by Jimmie wouldn't have been out of place on his recordings with the T-Birds. The biggest stylistic change on these tracks is the addition of Bill Willis's Hammond B-3, replacing Kim Wilson's harmonica, giving the recordings a more soulful quality. Tracks 12-14 are from Jimmie's 1998 follow-up OUT THERE. The closing track, "Dirty Girl," is the only song from his most recent album, 2001's DO YOU GET THE BLUES. [Recorded on the Artemis label after Jimmie left Epic.]

Rounding out the album is Jimmie's contribution to the 1996 tribute album to his brother, "Six Strings Down," a couple of soundtrack songs, "Dengue Woman Blues" (from DUSK TILL DAWN) and "Cool Lookin' Woman" (from TIN CUP), and perhaps the standout track is the previously unreleased live version of "I Like It Like That" from an appearance on Live On Austin City Limits. [Note: The CD booklet gives a songwriting credit to Chris Kenner. This is a mistake. Kenner DID write a song by that title, but THIS is the song written by The "5" Royales guitarist Lowman Pauling--in fact, Jimmie introduces the song crediting Pauling!]

While on the surface, it seems odd to compile a collection like this for an artist with so few solo albums to draw from, it's nice to have these songs all in one place. [Total running time - 71:55) HIGHLY RECOMMENDED

Quite outstanding!
I consider Jimmie Vaughan a living legend. Not only did he teach kid-brother Stevie Ray how to play the guitar but he co-founded a group that helped bring blues-rock back to prominence, the Fabulous Thunderbirds. He's played with all the legends and even shared the stage with Jimi Hendrix!
This CD is really very good. Featuring a couple of songs with the Fabulous Thunderbirds, a couple with Stevie Ray, songs from his own albums and a smoking previously-unreleased-live "I Like It Like That," this CD OOZES blues guitar licks and cool Texas vibe that only Jimmie can deliver. His "less is more" guitar style is VERY cool and his voice is easy to listen to. The songs are mostly upbeat and danceable with one slow blues cut "Dengue Woman Blues" that drips with Texas cool!
I only gave this CD 4 stars out of spite...that "Brothers," the guitar "conversation" with Stevie Ray off of the "Family Style" Cd wasn't included. I thought it appropriate for sentimental reasons only. I would LOVE to hear more unreleased early Jimmie/Fabulous Thunderbirds material too!

one cool texan!!!
this cd will be in the cd player for sometime to come. this cd could have easily have been a 2 disc set worth of material. the remastering job here is very nice, and the tracks just smoke with bite and plenty of soul. the live version of "she likes it like that" is worth the price alone. do yourself a favor and pick this one up!! ... Read more

Amazon.com

All-star jams can go two ways. They either turn out a muddled mess, or inspire everyone involved to new heights of musical synergy. Fortunately for blues, R&B, and soul fans, Triple Trouble belongs firmly in the latter category. It helps that Castro, Jones (guitar), and Hall (sax, harmonica) have different strengths, which complement one another nicely. It also helps having the renowned Double Trouble on board; one couldn’t ask for a tighter, tastier backup band. Together, this group ranges all over the musical map, from traditionally-inflected blues ("Raised in the Country") to James Brown-style funk ("Cold Funk"). With Telarc Records’ clean, crisp production every note comes out clear, showcasing these three artists to their best advantage. They might not be superstars, but they’ve got their mojo workin’. --Genevieve Williams ... Read more

Reviews (8)

Ooh Wee
Just got it, sat in the driveway and listened to the whole thing! I was always a a big Jimmy Hall fan but Lloyd & Tommy kick it up about ten notches. Great, great, do some more. If you ain't got it you had better get it!!!!!!!!!!!!

can't get much better than this!!
I am very in to Tommy Castro's music as well as Jimmy Hall's, but the Lloyd Jones tunes were a big surprise. I have seen these guys perform together with a different rhythm section and they always pleased the crowd. Double Trouble is at their best on this cd.
The Lloyd Jones opening cut has a rockabilly feel to it. Tommy is well, Tommy and he could sing the phone book and make it sound soulful. Jimmy Hall's Midnight tune shows his raw power as one of the best out there today. Just wish he would hit the road more often. I love this cd, period.

Triple Trouble
Lots of fun!! Though, disappointing not to have more new material from Tommy Castro, he is a strong addition to the CD. Great to have Jimmy Hall finally coming out with some new recorded material!

Buy It, Buy It Now!
This CD rocks. pfttt for psychoanalytical hooeey about "blue-eyed soul." The only reason that Tommy Castro and Jimmy Hall can play this music, aside from their complimentary musical expertise, is that they've lived it. You can't get these sounds playing in your basement. It comes from the blues life lived. My hat goes off to the finest musicians on this CD and to anyone smart enough to include this in their collection.

Fun to listen too; Highly recommended
I've been a Castro fan for years and joining him up with Jimmy Hall and Lloyd Jones is a nice treat. You could tell these guy's were having loads of fun recording this one. Wouldn't it be nice to keep this group together and come up with some new stuff, maybe even tour. If blues, R&B, and soul are your thing, then get this one, crack open a cocktail, turn up the volume and enjoy. ... Read more

Reviews (4)

The classic 1960's Arhoolie sessions!
Although these are not as powerful as her Peacock recordings of teh 50's, one should not overlook her Arhoolie sides fro mthe mid 60's(to late 60's). Ball b' Chail is a classic, as well as the Gospel tinged Wade In The Water and Sweet Little Angel(covered fro meveryone from BB King to Etta James). This is a powerfu lset of rockin' blues, and a couple of slower ones too ,but for the most part this is great jump blues and the msuic swings, stomps, and jumps, as well as rocks! Even the slower stuff rocks! Big Mama dodn't recrd too much that wasn't worth listening to ,and aside from her Peacock recordingd. these are her msot essential sides, and are a major highlight of a long lustrious career as a blues diva! Also Mama Thornton has influenced everyone from rock singer Janis Joplin to new blues diva Candye Kane. Thornton was a powerful singer, and this cd should not be overlooked, and should be essential to blues fans. Even myself, strictly a fan of rockabilly music, love all of Thornton's work from the 50's and 60s'.

Exellent rockin' blues and rollicking r&b and jump blues
This cd features Mig mama Thornton hollerin' her way thru a versitile set of jump blues, slow drags, and rockin' blues. Although if you want to make a 1st purchase of Mama thornton start with Hound Dog-The Peackock Recording, as a 2nd purchase you can't go wrong with these somewhat later sessions. Lot's of fun, rough and roudy blues.

there ain't enough stars in the universe .
There just ain't enough stars in the universe when it comes to
rating Big Moma Thorton.

Excellent Blues
"Big Mama" is truly a legend. I've listened to this CD many many many times and each times I'm surprised by how much I enjoy it. There are several slower tunes, but if you've got the rhythm in your soul I don't think you'll be disappointed (in particular "Wade in the Water"). I myself enjoy hearing different versions of different songs so i found BB King's Sweet Little Angel (I don't know if it was his originally but that's where I knew it from) and the Janis Joplin standard Ball and Chain to be wonderful.

On that note - Ball and Chain is - as thornton does it - a different and nonetheless amazing song. ... Read more

Reviews (3)

An Excellent Blues-Rock record, music for the working man
One of the best blues based rock albums ever made. Jimmie Vaughan's guitar matched with Kim Wilson's vocal and blues harp makes one hell of a cd, I own this one on vinyl as well.

An Excellent Bar Band - A Mediocre Recording
With the release of the single 'Tuff Enuff' in 1986, the Fabulous Thunderbirds earned the public's attention. The song is a high energy bass-thumping R&B number with an unforgettable shimmering rhythm guitar - great Texas roadhouse blues. The album 'Tuff Enuff' is a collection of blues, rock & roll, and R&B - excellent bar music. Unfortunately, in this case, the fervor of a live act (especially after two of three beers) doesn't translate well during the recording session. The Fabulous Thunderbirds are a legitimate blues band, but nothing here matches the vigor of the title song. Producer Dave Edmunds attempts to cover the band's shortcomings with "speed playing." 'Amnesia,' 'True Love,' 'I Don't Care' and 'Down At Antones' are played at what seems like 100 MPH. What's the purpose in playing 8 and 12-bar blues at breakneck speed? Fast may get the crowd on the dance floor in front of the band "live," but the muscle and exhilaration just isn't here.

A great Cd
I first listened to this CD when is was 17 years old and I was blown away. This is a good way to get introduced to the blues. The title track is rockin and a songs such as "Look at That, Look at That", "Wrap it Up", and Two Time My Loving, can stand up against any other songs to come out during the 80's. In an era where hair bands were everywhere this no nonsense band struck gold with this release. Some people know the T-Birds as the band with Stevie Ray Vaughns brother in it but they were much more than that. They are still together minus Jimmie but this is the one where everything clicked ... Read more

Album Details

Produced By Nick Lowe. ... Read more

Reviews (2)

How Do You Spell Blues?? T-B-I-R-D-S!!!
In 1982, the Fabulous Thunderbirds, looking for fresh inspiration, collared touring mate and Rockpile band member Nick Lowe and asked him to produce their new album. The result, T-Bird Rhythm, boasts some of the strongest origninal material and performances since the early, heady days of Girls Go Wild and What's the Word. Kim Wilson, Jimmie Vaughan and company have always been a first-rate dance band and "Tear It Up" is the rocking, flailing, twisting dance number that opens the set. Great riffs from Jimmie and a superfine dance beat laid down by drummer Fran Cristina. Then, "How Do You Spell Love"? M-O-N-E-Y is the answer of course; we've all known plenty of people like that! Vocalist Kim Wilson is at his shouting best in that number and harpist Kim Wilson plays some fine licks in the next number, the r and b standard, "You're Humbugging Me." Fabulous harp groovin'! "My Babe's" beat is ninety miles and hour and, once again, dancers will wear themselves out trying to keep up with it! Killer!! Possibly the best song on the album is the closing number "Gotta Have Some/Just Got Some". Kim belts out a classic TBird swagger as he sings about "I Got to have some....I'm going to get some...Can't live without none....I know you thought I wasn't going to get it...but I just got some!!!" (Some what? Just listen to the song and fill in the blank yourself!) Keith Ferguson, on his last TBirds album as bassist, Fran Cristina on pounding drums, Jimmie Vaughan with great slow blues licks, and Kim on wailing, crying harp make this number a bona-fide classic! Outasite!!! So if you are looking for a great blues-rock album to party, dance, or just to listen to, check out TBird Rhythm today. You'll learn, like so many others, that the way to spell great blues is T-B-I-R-D-S!!!

Fabulous Five Stars for the T-Birds
Growing up in the 80's I became sick and tired of hearing the Thunderbirds' overplayed pop hit Ain't That Tuff Enuff. I wanted to discover if ther was any substance to these fellows beyond the "top 40 realm". Lo and Behold there is prior to Tuff Enuff !

This is a highly infectious funkafied rock and blues album.Kim Wilson has a gifted knack for belting out the white boy, blue eyed soul vocals. The only track that may border on tongue in cheek humor is the rap-like spoken The Monkey (about a trio of monkeys sitting in a tree discussing the evolution of man).Gotta Have Some/Just Got Some is a two-in-one-song which is a gritty blues number about a man down and out who by the second phase of the track rises to the top ! Again, Wilson astounds us with his heartfelt take and soulful vocals on the blues. Other material on this project borders on rock-a-billy but seems to do its best when in the rock n' blues mode...The real plus or hidden gem about this type or style of music is that it carries no indication it was produced in 1982. For all the listener knows, this material could have come out of the 50's,60',70's ( even the 90's) It is truly a timeless and classic style or genre by a vastly underrated American rock and roll group. ... Read more

Album Description

Import exclusive budget-price compilation for the boogiepiano master. The greatest days of this early R&B hitmakerincluding the legendary 'Chicken Shack Boogie'. Featuringthe best quality mastering, high quality packaging,slipcase & a 16-page full color booklet (includingdiscography, biographical notes & photos). Over two hoursof music. 2002. ... Read more

Reviews (1)

A good value.
Amos Milburn is a boogie woogie legend. He also deserves credit as being a real founding father of rock n' roll. This double cd set is a good buy. The reason I gave this one a 4 instead of a 5 rating is because there are a few tedious straight blues numbers, only suitable for a real collector of period material. "Birmingham Bounce" is a hard rocker and make this cd worth getting alone, but you'll also find the ones that made him famous like "Down The Road a Piece" (covered by chuck Berry) and "Chicken Shack Boogie". This set's "better than chicken fried in bacon grease". ... Read more

Amazon.com

New releases from Little Freddie King are as rare as tours by the Mississippi-by-way-of-New Orleans blues-guitar legend. Signing with the Fat Possum label, the partnership joins King's low-fi but honest juke-joint blues with an imprint that knows how to market this raw sound. Part John Lee Hooker, part Slim Harpo, King's grubby, swampy, backwoods approach won't be mistaken for his unrelated namesake Freddie King's, even at the Texan's most primitive. Joined by right-hand-man drummer and songwriter "Wacko" Wade Wright (who also shot the cover photo), Little Freddie locks onto a riff and rides that groove for an entire song.

Loops on "Looking for My Woman" and a remix of "Chicken Dance" only add to the primal atmosphere, as they did for fellow Fat Possum act R.L. Burnside, who also experimented with the technique. King remains relaxed and connected as he apparently improvises lyrics between jagged guitar licks that make Bo Diddley's seem slick in comparison. With bass, drums, and occasional harp accompaniment creating a thunderous canvas for such a stripped-down affair, King talk-sings these low-down songs with appropriate gruffness. Tough yet tensile, he finds common ground between the sparse backwoods blues of his Delta birthplace and the more urbane but still crude funk-strains of the Crescent City's dark alleys. --Hal Horowitz ... Read more

Reviews (3)

This is as raw as it gets!
Thanks to the gang at Fat Possum for, once again, finding a unique and deserving bluesman and giving him a chance to reach a much larger audience. This CD is really Little Freddie at his best,down and dirty! If you like your blues a tad ragged and raunchy,you GOTTA check this one out!"Crack Head Joe" is the kind of song that shows you that Freddie has a real unique way of telling a story and the talent to make a great song out of it as well."Tough Frog to Swallow" is a much better song than the song clip demonstrates(who picks these clips anyway?).Freddie has had a big following overseas for sometime now and hopefully this CD will win over a whole new set of fans here in the States!Check It Out, Cabman

Gut bucket;New Orleans delta Blues
I got to give it to Fat Possuum!They keep finding these unknown old masters of the Delta/country blues.Little Freddie King sounds like a cross between Asie Payton, Slim Harpo and John Lee Hooker with that New Orleans juke feel and the Remixes are good also. Little Freddie is right up there with T-Model Ford, Robert Belfour and R. L. Burnside.Great CD!

Fat Possum Does it Again
Little Fredie kings earlier releases would lead you to believe that he wouldn't fit in well with the rest of the Fat Possum Roster.But this release proves that he fits in just as well as R.L. or Paul Wine Jones.King's music owes more to John Lee hooker and Lightning hopkins and even Junior Kimbrough (a La Crack Head Joe) than to Freddie King, unlike previous releases.The sound here is absolutely raw.Fat possum makes sure that he fits perfectly in by adding there trade mark Remixes to such songs as "Looking For my woman" and "Chicken Dance(Remix)". Fans of Fat Possum will want this. ... Read more

Album Description

The buzz is getting out!In the March 2000 issue of Guitar One Magazine titled, "BEST IN THE U.S.", Monte Montgomery was chosen as one of The Best 10 (unknown) Guitarists in America.The article states:"Monte Montgomery was the first artist chosen for this column (the first to make our jaws drop!).His scorching yet musical solos, combined with great pop sensibility in his songwriting, are what cought our ear.But when you consider that he's playing those Van Halen-esque solos on an acoustic guitar with distortion, it becomes a slam dunk" - Guitar One Magazine. ... Read more

Reviews (96)

Great guitar, great lyrics, great voice, Great Music!
I first heard "When Will I" on one of our public radio stations and was completely floored. Monte Montgomery? Where has this guy been? This CD (Mirror) showcases a rare combination of songwriting, singing, and guitar-playing ability. The unbelievable musical and technical feats that he pulls off is even more impressive in that its all done with an acoustic guitar!

The opening track on the CD, "Hopin' that you'd slow down", gets you hooked on its melody from the start. The next track, "mirror" (over 6 minutes long) really showcases his guitar prowess, making it hard to believe he is wringing this sound out of an Alvarez Yairi acoustic guitar! Controlled overdrive feedback with an *acoustic*? Its true. You can almost picture a kid in high school pulling off Hendrix and Buddy Guy riffs with a beat up electric-acoustic and cheap amp. "Let me go" and "I know you by heart" slow down the pace a bit with beauiful melodies and lyrics. The catchy "All I can do" and "Tear down the wall" makes you wonder why the pop-radio stations aren't playing these songs every 40 minutes. But what sets them apart from mainstream, generic pop music is the truly intelligent, *meaningful*, crafy lyrics that stand behind these songs. Monte hits the minor chords in "Took too long" in Mark Knopfler-esque fashion. "Whirlwind" really drives -- with more great "acoustic" guitar and lyrics: "it must be hard to look so frail while sharpening your claws". The highlight of the disc is the live Austic City Limits "When Will I". He absolutely tears up the fretboard and your fingers will hurt just *listening* to this song! The inside harmonics he hits its truly a feat in and of itself. An added plus is that you can watch the video clip since this is an enhanced CD. The closing track "Magnolia" is a beautiful ballad that eases you back down to reality.

Can't say enough about this CD. He will equally appeal to Eric Johnson and Stevie Ray fans as well as James Taylor and Jim Croce fans. Music that truly crosses many genres and is appealing to the casual listener as well as to the musician.

Simply Awesome...Do yourself a favor and listen to this!
All the words have been used...Rich Voice, blazing guitar, outstanding rythem.I was fortunate to catch Monte, Chris and Phil on Austin City Limits, otherwise, being here in the mountains of VA I probably would not have heard of him so soon. If you caught the show (ACL) and thought that was good, just wait 'till you hear the CD. The things Monte can do with an old Alvarez acoustic guitar will leave you speechless. This is one of the few CDs in my collection that I wont skip a track or two on.Chris Maresh plays bass here and he is also a world class musician, in my opinion. I will be looking up his compilations. He and drummer Phil Bass lay out an outstanding rythem that will leave your foot patting long after the music has been turned off. "Mirror" is going to leave a mark on a lot of folks.

A must have for every collection
When I saw Monte on Austin City Limits, I felt like I had been grabbed, picked up, and taken to a new place. He's inspired my own guitar playing. Most concerts when seen in person will either entertain you or get you excited. Monte does both of those things once you get over the shock of seeing him play and realizing it's just one guy on guitar. The "When Will I" live cut from Austin City Limits is absolutely incredible, I only wish there were a DVD of that performance available. Everyone should have this CD in their collection, and everyone should see him live at least once. At Milwaukee's Summerfest, about a third of the crowd knew what they were there for, the rest were just sticking around after Marcia Ball, and from those whose jaw was not frozen in the dropped position, I repeatedly heard the phrase, "That's not natural". It may not be natural, but this kind of musical talent proves that there is a God, and he does give a few of us some pretty incredible talents.

The Most Awesome Album!
Wow! This is Monte Montgomery and Texas music at it's best. For that matter, it's just plain ole good music at it's very best! Mirror has some of the most intricate and breathtaking guitar licks I've ever heard. Both the lyrics and tunes from this album are soulful and touching. This album is more than worth the buy, if you like MUSIC. I dare anyone to find a single artist who could outdo Monte Montgomery's playing AND singing ability on this album!

The Best Monte!
I've been listening to Monte for a few years now. I've re-listened to all his CD's and seen him in concert many times. That said, I've come to the conclusion that this is the "best" Monte on record, so far. It makes for a great starting point for the uninitiated. The guitar playing is excellent. The songwriting is first rate. The tone is set from the first song and hits a very nice stride with the title song "Mirror". A similar pace continues throughout with a nice change of pace in the ragae inspired concert favorite "When Will I". Hard to pick a favorite. The ballads are typically not the strongest Monte material, but are very good on this record. All in all, his most consistent effort and the best showcase for his considerable guitar skills. A solid 4-1/2 star effort. ... Read more

Reviews (3)

What an incredible talent !
Forget about Clapton and Hendrix or Page-one listen to the first track on this cd will convince you that Johnny may have been the greatest guitarist ever in the history of Rock n Roll. 1955's classic "Space Guitar" cooks- I mean the stratocaster played by Johnny is on fire-it will blow your mind the first time you hear it-it just cooks from beginning to end. This cd also contains his 2 top 10 R@B classics "Those lonely,lonely nights" and one of my all time favorites from the early 60's "Cuttin in". So much incredible talent in this man and as with so many Black artists it saddens me that he never recieved the recognition he deserved. Etta James said her whole singing style particularly her ballad style was based entirely on the phrasing and enunciation of Johnny and I can hear it when I microscopically examine her music.Whenever some writer gets around to documenting the true story of RocknRoll( which hasn't been done to this day) the story of Johnny "Guitar"Watson will take up as many pages in that book as Elvis and The Beatles do today in literally every Rock chronical you pick up. What a great artist and what a great cd . On the instrumental spectrum of things Rock n Roll may have started when "Space Guitar" was laid to wax way back yonder in 19 hundred and fifty five.

A requiem for a forgotten hero
Johnny Guitar is a bad, bad man. He's been kept off of many blues fan's radar far too long and it's time he got his due. This brother got down and dirty with some nasty licks, but could also put you in a frenzy with his impassioned singing on such shoulda-been classics as "Cold, Cold Heart" and "Cuttin' In". This CD includes sides he did as a solo artist as well as nuggets from his session work days. THE O.G, the original Gangster of Love.

this man was bad!
before he became a super funakteer in the 70's in the 50's&60's he was a blues&rock-n-roll guitar playing genius.he is very underrated but this disc showcases the many talents of this man not to mention his influence on many guitarists & musicians in general. ... Read more

Reviews (3)

USA's Huge Musical Contribution
Every time I hear a really great blues recording, like this one, I realize anew that this is where we achieved our finest moment in making a permanent, unassailable contribution to modern music. If you hear other, more modern, and most especially WHITE singers, doing these numbers, they are NOT the ones that did it first. Black Americans are the absolute center of this music and these women, every single one of them, is the real thing, the first modern musical artists. I really liked the idea too of breaking these albums up into special sectors with this one focusing solely on the authentic blues women. The male artists in this genre are very different from the women so it really makes sense to listen to them separately. Sometimes I feel as if the UKers might be leaving us in the dust musically but not when I listen to this album and the others like it, forming the core of America's musical contribution to the best of what we hear today. I think this would make an especially great gift to a friend in another country who thinks our major contribution was Elvis Presley. In fact, it might even make a great gift for Americans who remain oblivious to this national heritage and contribution!

Great Retrospective
This is a great CD set for the Blues afficionato as well as those just getting their feet wet. The songs cover the spectrum from classic to contemporary, and the recording sounds excellent. The closest thing I have to a complaint about it is that it might have been nice if the songs were organized more chronologically so that the musical and stylistic evolutions were more gradual and kinder to the listening ear. Still, this is by far my favorite collection, and my most listened to blues CD.

Dynamite music, great fun.
This is without a doubt one of the most enjoyable and fun CD sets I've heard in a long time. I am even ordering two more sets for a friend to give as gifts. It would be hard to pick favorites here, but Ruth Brown, Candye Kane, Alberta Hunter and Bessie Smith would be at the top. Anyone who likes vintage and contemporary blues would do well to buy this set. ... Read more

Reviews (4)

The Master of the Telecaster
Albert toured extensively during this time and the Union Bar in Mpls. was a usual stop. I was lucky to attend these shows and many others featuring Albert and his band.
His shows began with the band warming up with Casey Jones (drums) or A.C. Reed (sax) taking vocals. When the crowd was good and ready, Casey would lead into the instrumental "Frosty". After building up fury, he would announce "Ladies and Gentleman, here for you in Mpls, by way of Houston Texas, The man that cuts so deep he gets into your soul, the master of the Telecaster, Albert Collins!Albert Collins!!" With that, you would hear Albert, but not see him. He'd come into the bar playing, wringing vibrato from his Tele. Albert would then launch into any of his trademark tunes. The songs presented here are a showcase of his talent and what he did night after night.
During "Mind to Travel", Albert would get out the 200 foot guitar cord and wander both rooms of the Union, often stopping to sit at your table, talk, have a drink, and all the while wailing in his unique open-tuned and capoed solo style.
"Cold Cuts" features A.C. Reed helping on vocals, and Johnny B. Gayden's awesome bass solo. He played what we called his "Popeye" solo many times to adoring crowds.
This recording takes you back to the nights when the weather was frigid, the beer frosty and the music searing. A nicer more approachable group of musicians you won't find anywhere.
Please buy this and relive Albert's glory days. You won't be sorry.

Riffs Of Wisdom
Phenomenal and Riveting. Dr. Collins proves that he is the master of the Telecaster, and shreds all night with a sound that is completly out-of-site. Do yourself a favor and add this little gem to your music collection.

Gotta have this one!............
This is another favorite live electric blues recording. Albert absolutely makes that guitar sing. This guy should be at the top or near the top of any list of great eletric guitarists past and present. The only complaint is that there isn't more material here. Just 7 songs and about 36 minutes worth. All of it is good though. From the beginning you know your listening to something special.

..............socks

Classic early Collins
If you like electric guitar blues, this is a must-have.

All the tracks are good, but "Things I Used to Do" is my favorite. He plays the first couple of verses just like the original (Guitar Slim) version, then he really cuts loose in pure Albert Collins style. It's like he's saying, "I know where this comes from, but this is how *I* play it.". ... Read more

Reviews (2)

Deceptive Packaging, Great Music
I purchased a "book" format box set called "Stevie Ray Vaughan and Double Trouble - The Collection" because the price was very enticing for a three-disc box set, as advertised in the Tower ad. When I arrived at the store, I realized the "The Collection", one in a series of such collections by Columbia/Epic artists, was simply a re-packaging of this original box set, expanded versions of his first three albums, rather than a budget-priced "best-of" box that I expected. Well, I bought it anyway, and I'm glad I did. This is indeed the best way to introduce yourself to SRV's early releases, and the price is right. (Some fans may argue his first three releases contain most of his best work anyway.) The bonus tracks may seem repetitive as listed, but they are in fact very tasty alternate takes of the final versions. So don't let the deceptive packaging by Columbia/Epic fool you - both these collections are one and the same. And they are great.

Texas Flood/Couldn't Stand the [BOX SET]
The best way to get all the original albums at one time. The music speaks for itself. ... Read more

Amazon.com essential recording

Clarence "Gatemouth" Brown's 1950s recordings fuse the energy of big-band horns, the shuffles and boogies of R&B, and his own white-hot guitar leads. Greatly influenced by fellow Texans Blind Lemon Jefferson and T-Bone Walker, Brown absorbed their smooth, melodic, single-string solo technique, but added a rough-edged intensity to his explosive style. The slow blues "Dirty Work at the Crossroads" added Jimmy McCracklin's rolling piano to Brown's bold and brash guitar work, but it was the 1954 instrumental "Okie Dokie Stomp" that put Brown on the map. With blaring horns urging him on, Brown attacks the music with ferocity. "Ain't That Dandy" is another instrumental guitar romp, while 1959's "Just Before Dawn" features Brown's swinging violin. --Marc Greilsamer ... Read more

Reviews (4)

"Gate" opens many many doors
The Peacock Recordings are wonderful, to me, who came late (just in the last 15 years) to Gatemouth's army off fans. His fiddle sizzles, his guitar is immediately recognizable - a veritable signature style. It's hard to distinguish between these tunes and most of his recent releases. To say that is a curse to some but to my ears it means he has ploughed many many different rows and yet the Gate imprint is on every one. Fans or would-be buyers should also check out his "new world" (somebody else's term not mine) recordings with a Namibian drummer and Ry Cooder. Better yet, if you can find it, check out his "Making Music" album created with Roy Clark (yes, Hee Haw's Roy Clark, 5 or 10 times winner of artist of the year in circles around Nashville). A veritable how-to for about six or seven different kinds of blues-ish music. Buy this Peacock album, play it (or inflict it) on friends because they will only - ears open - love it. It is musicians like Gatemouth who make the blues so personal, so enduring, so powerful. A living history that I pray will be still accessible twenty, nay, 50 years from now.

Gatemouth's swinging blues...
T-Bone swings, B.B. swings, and Gatemouth swings. Rare blues violin performance shines. A1 sound quality. You must have one.

Rare violin blues.
Although most tracks are guitar blues, the finest part of this compilation is, needless to say, "violin blues". It is a shame that this phenomenal blues violinist recorded only one violin blues song.

Raw, Untreated Bayou Blues
He's from New Orleans, but this CD is pure Houston bayou blues. The telecaster broadcasts like a megaphone being electrocuted. The vocals are powerful. This CD jams; modern day pretenders will go back home after listening to this piece of plastic and practice, practice, practice. ... Read more

Reviews (5)

A Blues Legend Makes His Guitar Sing!
Albert Collins unleashes the soul of blues guitar on this album! From beginning to end this recording cuts to the listener's core, as Collins' guitar performs musical surgery with a master's skill! All of the songs are great, but the real gem is "Stormy Monday." Collins' version is simply outstanding! In this song Albert Collins truly pierces the very soul of the listener, and lifts it to a higher place! The guitar solo is breathtaking! This album is full of great music, and should be owned by every real fan of blues. Buy it now and experience the depth of a blues legend.

Explosive mix!!!
This cd is really an explosive mix,blended with the great presence of this power trio in one of perhaps, the best "Live"performances ever released.Casey Jones on drums;A.C. Reed on sax and the "Iced-hot Man" Albert Collins is really an explosive mix you must try on!!!

Blues that WILL not let you sit down
It is impossible to describe the raw energy of this CD. Don't even think of sitting down! Your foot will be tapping inside of 30 seconds flat. You will be dancing in the kitchen. The greatest legal pick-me-up since caffein. It's like stickin' your finger right into the Blues socket when your momma isn't lookin'. It feels so fun it must be bad.

Carefully save this CD for that dark, grey day when you just don't have the get-up-and-go to do what you have to do that day. Then insert this CD and crank the volume waaay up. It could save your life.

A MUST for any blues collection
This is definitely one of those CD's that no blues collecter should be without. Albert Collins' mastery of his craft shines, shimmers, and shakes in this soul-searing example of what the blues is all about.

on cd finally!!
one of Albert's very best recordings!! Having thrown my record player away about 10 years ago I'm really happy to find this CD. There's at least 1 alligator I appreciate..

Just buy this record!!!! ... Read more

Reviews (2)

Master Bluesman & Songster
Mance Lipscomb is one of my Heroes.A Master bluesman; whose repertoire included over 250 songs. One of Greatest Accoustic Bluesman who ever lived. This album showcases his broad repertoire of Blues,Rags,Spirituals,even Spanish music.This album is definitive Turn-of-the-Century Texas Country Blues ;Don't get much better than this!!!

The one to come back to
This CD and its companion vol. 1 comprise one of the very best introductions to country blues. Mance's texas style country guitar is clear as a bell and a perfect complement to his voice. Mance described himself as a songster rather than a bluesman, because he played a variety of music. I bought and wore out the LPs of these two CD collections--after you listen to it to define country blues, then you study it to learn the subtlties of the deceptively simple work. "Bumble bee" is an interesting contrast to the Memphis Minnies cover of the "same" song. His "Titanic" stands head-and-shoulders above similar "folkie" attempts at the subject. Mance's monotonic bass line adds a kind of texture to his songs that can't be matched with the more familiar alternating bass. The CDs add several songs to the original. There were 5 LPs covering basicly the same material. This one you will come back to again and again and again. BUY IT(THEM). ... Read more

Reviews (2)

The King of all recordings by Freddy King
The majority of the Freddy King collections available cull material from the several albums King recorded for Shelter Records in the late 1960s/early 1970s, and from live recordings of the same period. Those recordings are great, but this record stands tall as King's very best -- indeed, it is one of the great electric blues albums ever. King's playing and singing are in top form, the band is tight and swingin', the production unobtrusive. King's guitar playing is vibrant and lyrical, and he knows just when to turn it on and get frantic (check out the second half of the Tore Down solo). But what really makes this album stand out is King's singing. King was a perfect combination of the electric blues singers who came before him -- somewhere between B.B. King, Bobby Bland, and T-Bone Walker -- and the pure timbre of his voice always shakes me down. As another King, Albert liked to say, "If this don't get you you got a hole in your soul." The previous reviewer noted that Eric Clapton eventually came to play like King. But he could never sing like King. Just another reason the album is so aptly titled. If you're reading this, you must be thinking of buying this record, so do so, now. Ah gar-un-tee you won't be disappointed.

This important album influenced E.C. in the 60's
Freddy King was an electric blues pioneer, with a beautiful voice, a song writing talent and an original, distinctive, tasteful guitar style. His staccato guitar stabs and "fluted" vocals are fluid. Although not currently as famous as BB -- he really should be. Eric Clapton cites this album as a major influence on him in the 60's. In interviews, Eric has commented that he felt Freddy King had beaten him to it when he first heard him play guitar, and that if he (EC) were lucky, he "might be able to learn to play like that"(!). Judging by the Beano album, EC did indeed learn to play like that. An album of historic importance then, but rarely seen in the stores (or even on-line) these days. Shame!

This album contains enough great classic blues songs to be classed as a greatest hits. They are songs that have stood the test of time. I find this CD sounds somehow a little duller than some other CDs with many of the same songs -- I suspect this might be due to poor re-mastering(?). I think I would have prefered a slightly rawer version -- probably live though (just a personal preference). I also tend to prefer this straight-ahead blues music over the popular surf-style songs such a san-ho-zay -- but this is a good collection none the less, and can be recommended. ... Read more

Reviews (4)

A rarity...
This one is a rarity in today's music world... a blues album that is diverse, creative, completely true to the music & is loaded with smokin' guitar work that somehow escapes the cliches. If you want the next Stevie Ray you are in the wrong place, but this one has feel to spare, even when reworking classic blues tunes. I sure dig it...

A New Voice for Old Music
I hadn't listened to James Blood Ulmer's music in a while, so I wasn't really sure what to expect. I was used to his freer, jazzier recordings such as Tales of Captain Black and No Wave. I was very pleasantly surprised by No Escape. This is Chicago blues at its finest, without the requisite B.B. King-style solos. Instead, Ulmer and his band bring their own voices to the music, without fundamentally changing the structure of the blues style. It shows that a creative artist can continue to be creative even with an old format.

Cosmic Roadhouse Blues
This is far and away James Blood Ulmer's best blues record to date, and it only further solidifies his 21st century re-invention as one of the blues most authentic voices. He's joined by a stellar cast of New York City players, including Vernon Reid, Charlie Burnham, David Barnes and Olu Dara. The first thing that comes to my mind is that this is what the band would sound like at a cosmic roadhouse (and you know there is such a thing). Saddled-up and belly to the bar on a Friday night would be Jack Kerouac, Ken Kesey, Jerry Garcia, Sun Ra, Rahsaan Roland Kirk, Robert Johnson, Ernest Hemmingway, Billie Holiday, Janis Joplin, Rosetta Tharpe...and they'd all be hollerin', shouting out amens, tipping big and diggin' Ulmer's blues. Check out Jimmy Reed's "Goin' To New York," interpreted in 2003 jug band style or how about "Bright Lights, Big City," as a 'round midnight blues complete with a tap dancer and Olu Dara blowing that slow drawl Mississippi trumpet. You can envision the smoke hanging heavy in the air. Ulmer's own tunes "Are You Glad To Be In America" and "Satisfy" are brilliant, performed completely solo. Put these next to any other classic acoustic blues and tell me his approach isn't as authentic in its singular identity. What I'm trying to say is that he doesn't sound like Leadbelly, Son House or Lightnin' Hopkins, but he sounds like James Blood Ulmer. His sound is as pure and completely unique as any of the masters. It wasn't influenced by any of the aformentioned because Blood is one of those aformentioned. From the same land, the same headspace, the same values, the same struggle, but on his own individual journey and path. Other tunes like "Come On," "You Know, I Know" and "The Hustle Is On," swing in a loose, heady rockin' style that will get the room jumping. The two highlights that make this disc an absolutely essential recording for 2003 are "Ghetto Child" and "Trouble In Mind." Any description would fall short from doing them justice. All I'll say is buy the disc and dig for yourself. That there is the real deal. As deep, as soulful and as blue as the blues get! No Escape From the Blues for sure...

Christagau's review informs us
Vernon Reid's bid to turn Ulmer into the ranking 21st-century bluesman phase two... New York. .. Reid's banjo cakewalking away with "Goin' to New York".... the tap solo and Olu Dara cameo that break up the famed "Bright Lights, Big City," ...Jimmy Reed songs. Ulmer solos. ... Read more