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This package combines blues giant Howlin' Wolf's first two albums, themselves compilations of his singles released between 1951 and 1962. Apart from two tracks cut in Memphis with Ike Turner, these Chess Studios recordings are landmarks in the development of electric Chicago blues. The Mississippi Delta native's gruff persona towers over "Smokestack Lightnin'," "Red Rooster," "Spoonful," "Evil," "Wang Dang Doodle," "Back Door Man," and others that have become standards since being "discovered" by the Rolling Stones, Clapton, The Doors, et al. Almost as influential as Wolf's bottomless growl are the guitar playing of Hubert Sumlin and the writing and direction of Willie Dixon. An exceptional twofer value for such a weighty slice of American musical history. --Ben Edmonds ... Read more

Reviews (21)

The best from the best
Two unbelievably good albums - the first two, in fact - from THE king of electric blues. The patented growl, the lyrical innuendo and black humour, the AMAZING performances from the band, make every single song on this twofer absolute killers. Ultra-gruff swamp-blues mayhem that'll knock you dead.
The line-up of songs is almost a walking blues cliche now, but remember these are the originals (mostly) and done better than anyone since: "Red Rooster", "Wang Dang Doodle", "Back Door Man", "Evil", etc. A powerhouse collection.
Looking back, I remember when I was much, much younger reading about the early '60s UK R & B scene ('Stones, Pretty Things, Yardbirds, etc.), wondering why on earth all these geeky white guys idolised the likes of 'Wolf and Muddy Waters so much, when they had the likes of Elvis, Eddie Cochran and Buddy Holly to be content with. Well, no disrespect to those mentioned, but the wall-shaking vibe of Howlin' Wolf is something no such artist could argue with; these two discs make much of what passed for rock'n'roll in the '50s sound positively tame in comparison. Life-changing stuff, for sure. Get to it.

Maybe the best buy you'll ever do
Here are two classic Howlin' Wolf original albums collected on one CD, and it is some of the best blues music ever recorded. The Rocking Chair album must certainly have been one of Stevie Ray Vaughan's favourite album, because he recorded several songs from this one. I beleive this must be the best chicago blues album of all time. Moanin the Blues is just as great with songs as 'Evil', 'All night boogie' and 'Smokestack Lightning'. I have been a fan of Howlin' Wolf since I started listening to the blues in my teens, and his music continues to thrill and amaze me. I think you get your money's worth and more so if you get this one.

Still a great place to start
You could say that MCA/Chess' various Wolf compilations ("His Best", "His Best vol. 2", "The Genuine Article") have made this twofer-CD obsolete, but as an introduction to the great Howlin' Wolf it still ranks among the best.

The sound quality is not stellar (no remastering), but the songs certainly are.
"Howlin' Wolf / Moanin' In The Moonlight" brings together Wolf's first two LPs, the self-titled one usually called "The Rockin' Chair ALbum" due to the peaceful-looking picture on the cover of a rocking chair with an acoustic guitar propped up next to it...misleading cover art if I ever saw it!
One song has been omitted due to the lenght of the original albums, the liner notes say. A completely meaningless excuse since this CD only runs for 65 minutes, but what's even more odd is that the material from Wolf's first album comes after the songs from his second one, putting latter-day Willie Dixon-penned material before early Wolf-penned songs (these two albums were not conceived as such, they were merely collections of oreviously issued singles as was customary at the time).

But those are minor quibbles. This certainly isn't everything you could ever want from the Wolf, but it is an excellent place to start. Many of his most accessible "mainstream" blues tunes are here, usually written by Dixon: "The Red Rooster" with its muscular, slinky slide guitar riff, the propulsive "Down In The Bottom", the gleeful "Back Door Man", the catchy hard-rocking "Howlin' For My Darlin'" (erroneously titled "Howlin' For My Baby"), and the slightly-too-cute "Wang Dang Doodle", which became very popular even though Wolf himself didn't like the song.
But Wolf's own songs are here a-plenty as well, and those remain his most powerful: From the Rockin' Chair album comes the swaggering groove of "Tell Me", one of the most underexposed Wolf singles, and the Chicago blues classic "Who's Been Talking", a supremely funky arrangement with some powerful, syncopated drumming from Earl Phillips and a great piano part by Hosea Lee Kennard.

And "Moanin' At Midnight" is almost all Wolf, opening with his first hit single, the monster combination of the smouldering, piano-driven "How Many More Years" and the eerie "Moanin' At Midnight". The classic "Smokestack Lightnin'" is here, one of the pillars of early electric blues singles, and so is the menacing "Forty-Four", Wolf's take on Tommy Johnson's desperate "Cool Drink Of Water Blues" (retitled "I Asked For Water"), and a slew of rough, tough lesser-known songs like "I'm Leavin' You" (later covered by J.B. Hutto), "Somebody In My Home", "Baby How Long", and the wonderful early Dixon-composition "Evil".

Howlin' Wolf didn't carry himself with the statesman-like dignity of Muddy Waters, but his performances were the stuff of legend. A huge, intimidating man with a voice like heavy machinery operating on a gravel road, Wolf's early Chicago sides are some of the most awesome electric blues ever recorded, and no-one culd match the Wolf when it came to rocking the house (and scaring the audience out of its wits at the same time).

Wolf is not for everyone...even if you like a good dose of Muddy Waters, you may still be turned off by Wolf's glass-gargling roar of a voice and sometimes bleak - or downright frightening - lyrics. But if you are interested in classic Chicago blues, Wolf's classic Chess sides are a must-own. Chester Burnett in his prime remains the most overwheling performer the genre has ever seen.

Great, but "His Best" sounds MUCH better
this is great stuff as all of the reviewrs have noted, but if you want a truly remastered sound try starting with "HIS BEST" on the Chess label. much of the same songs, and WAAAAAY better sound. the songs he wrote himself on the first 1/2 of the CD are the best ones.

The beginning of it all-
This disc, which is a compilation of two early Howlin Wolf albums minus one track, I believe, is one of those seminal precursors to the music of the next four and a half decades (and counting). It's got that raw edge that's missing from so much of the music that followed it, and a depth and power that's frightening at times. Really, this is one-in-a-million stuff that might scare you. If you really dig on this kind of sound, you might enjoy "Spotlight Kid/Clear Spot" by Captain Beefheart, who picked up on this eccentric electric blues thread and ran with it past the endzone and out into the street. Tom Waits also has this feel in his bluesier material. But this will never be topped. ... Read more

Amazon.com

This 1971 collaboration between primal one-part-Delta/one-part-Detroit singer-guitarist John Lee Hooker and Southern California blues revivalists Canned Heat works in large part because all parties involved are a little off. Hooker, the most unsystematic of the major bluesmen of his generation, isn't a good fit for disciplined players; rather, he requires sidemen who play by feel. In harp player-guitarist Alan Wilson, the Crawling King Snake found a particularly sympathetic foil; sadly, Wilson died shortly after these sessions were completed. Roughly divided into spare, gritty Delta exercises and full-on boogie stomps featuring the full band, Hooker 'n' Heat is surely one of Canned Heat's crowning moments, which isn't saying that much. But that it stands as a milestone in Hooker's oeuvre is quite a statement indeed! --Steven Stolder ... Read more

Reviews (10)

Like Being Saved or Something
This album changed my life.

I came across it quite by accident at a time when I had only a passing familiarity with "The Hook". What I heard here changed me forever. Hooker (clearly enamored with Alan Wilson), and Canned Heat (clearly even more enamored with their hero John Lee) add a sense of life and enthusiasm missing from most of the poorer Hooker records. John plays by himself for most of Disc One, and then is slowly joined- first by Alan Wilson- then by the rest of the band. The album which had started out slow and "melluh" and gradually picked up speed rollicks through a couple of rockers with a jubilant Canned Heat- crowned finally by a wild 12 minute romp that changes in beat and texture throughout.

This album is largely disregarded in the blues and rock press. The record is raw- complete with false starts and dialogue. Also, it was recorded during an unheralded and otherwise unproductive period for Hooker. It is, therefore, no surprise that not many people have ever heard this.

I'm glad I did.

For anyone, like me, weary of the overproduced and distant sounds of modern pop, rock and blues- Hooker'N'Heat is a gritty yet stunningly beautiful reminder of the power of live music. Six guys in a room- feeding off each other, bouncing off each other- weaving a rhythmical and melodic tapestry that rocks- then swerves and changes- and rocks again.

Hearing this music has forever changed my approach to recording- and to listening. Thank You John and Canned Heat.

-Matt

P.S. A mark of great music is that it inspires. Every time I hear this I immediately have to pick up a guitar and plug in because yes, John, "I Feeeeel GOOOD!"

"Hooker 'N' Heat" Best Blues Master, Rock Band Collaboration
There have been a number of albums produced over the years which match a legendary figure from blues music with some his admirers in well known contemporary rock or blues bands. Blues and other music critics often lambast these efforts and hold them in utmost contempt. Some of these sessions are truly awful but some come off well, such as "Fathers and Sons" with Muddy Waters and the Paul Butterfield Blues Band. "Hooker 'N' Heat," released on Liberty Records in 1970, stands as possibly the best example of generational meeting of the minds. Canned Heat was at the top of their popularity and Hooker was fading from the public eye somewhat. This record helped to revitalize interest in Hooker's music. Most of Hooker's best work, out of hundreds of recordings, many under assumed names, is solo, just "The Hook," his left foot and his guitar. On albums where he recorded with full bands or other accompaniment his rough, often uneven style, with a measure count that often varied, didn't mesh well with musicians accustomed to playing arrangements or standard blues classics. Sometimes the clash detracted from the product. The band Canned Heat had no such problems. It was obvious that he loved the band and they loved him! Bob "The Bear" Hite, the band leader, who usually provided the gruff vocals on much of the band's material, was a blues collector and historian and was well acquainted with Hooker's music and the band itself was rough hewn and unpolished but played with feeling and a respect for the music. Hite is not heard on the album. He wisely stood aside and gave the spotlight to Hooker. No band ever backed the Hook better. This was the last album for 'Heat member Alan Wilson, who plays harmonica and piano. Wilson would soon after be dead from poisoning and choking on barbituates while on a camping trip. Wilson plays inspired harp on this album and gets special recognition from Hooker for it. Wilson is one of the under rated harmonica players of our time and this stands as his memorial. With the recent passing of John Lee Hooker this album could be considered among his best work as well.

This is too intense...
When I first heard it, "Hooker and Heat" blew me away. It still does.

It doesn't get any better than this. Separately, Canned Heat and John Lee Hooker both produced excellent blues material, but together, they seemed to work off each other. It seems like the intensity of each got kicked up a level when they went into the studio to record this collection.

The recordings are stripped down, raw. My favorites are "Alimonia Blues", "You Talk Too Much" and "Peavine", but the rest of the set is great too. I guess if you're a blues purist or a member of some obscure mutual admiration society, the studio chatter is probably going to be offensive.

My personal opinion is that all of the extra stuff adds authenticy to the recordings. That's part of what makes this collection unique. After all, if I wanted to listen to some of the material on this collection without the chatter, I could do so by listening to one of dozens of other Canned Heat or Hooker recordings.

JohnLee Hooker and Canned Heat~ An Awesome combo!
This is an exceptional piece of Blues, with both John Lee and the Canned Heat crew bringing out the best in each other. I particularly enjoyed John Lee just talking with Canned Heat, on a very relaxed, self-revealing level. MUST HAVE!!

I wore out the vinyl and now have it on disc
I rank this as one of my top three albums of all time. I include beside it Bob Dylan's "Blonde on Blonde" and Lou Reed's "New York". All three albums can be played at any time of the day, in any mood, in any company. They all have a sound that continues from one track to the next.

You may have heard other Hooker albums, but this one is raw. You hear him talking in the studio, his foot stompin, his ideas "for when the band comes tomorrow". "I don't know how he's following me, but he does" he says about the harmonica.

Highlights: Messin' With The Hook, The Feelin' Is Gone, Send Me Your Pillow, Burning Hell, Peavine, and Boogie Chillen No. 2. ... Read more

Amazon.com

Etta James is the dues-paying blues mama. Throughout her tragic and storied career, Miss Peaches has successfully delivered her growling soul and soaring vocals to everything from Chicago blues to pop. Her voice is one of the most distinctive in the entire blues canon and The Essential Etta James captures it in its prime; 44 tracks cover her best Chess Records work from 1960 to the early '70s. And though her early R&B hits for Modern like "Roll with Me Henry" are not here, just about everything else is: the supreme balladry of "All I Could Do Was Cry" and "At Last," the sassy bump of "Seven-Day Fool" and "Pushover," the raucous soul of "In the Basement," and even bell-bottomed funk of "All the Way Down." But the finest evidence of James's versatility can be heard in her outstanding Memphis soul covers of "Tell Mama" and "Security." There's a lot of Etta James out there, but this is likely the best compilation of her work you're going to find. --Ken Hohman ... Read more

Reviews (15)

the best etta, and etta is the best.
I agree with a previous reviewer in saying that this is the best collection of Etta James songs ever. I can't say I have all her records, but I have a lot of them. If I could come back in the next life as a singer...I would want to have Etta's voice. Her way of expressing things. Her raunch, and her ability to make me cry with feeling. This woman can get into the heart of a song like no one else. And having seen her twice in concert I can say it is a show not to be missed. She is the soul of soul.

THERE'S NOTHING LIKE ETTA JAMES
In the early 60's Etta James was to R&B what Patsy Cline was to country. She could cross over and yet remain true to her roots, and that's only one part of a nearly 50 year career! From the velvety cross over soul of "At Last" to the hard driving Memphis soul of "Tell Mama", this is one legend who certainly deserves a wider audience than she has today. She ranks right up with Aretha Franklin as an influential vocalist. I took far too many years to discover her power. If you haven't given her a serious look yet, stop wasting time and begin here!

Ken Holman needs to know his stuff before writing a review
Ken while I agree with almost everything you say, I have to inform you of an error. The outstanding soul tune "Tell Mama" IS NOT the "Memphis Sound." It is in fact part of the immortal legacy of Rick Hall's FAME Studios in the Southern Soul Mecca of MUSCLE SHOALS, ALABAMA. Trust me check out the orginal liner notes. Or just check out the FAME Studios Website.

Oh, my, Miss Peaches...
This is an excellent cross-section of Miss James' vocal ability. It's all here - smoke-filled standards, rockin' R&B, scorching soul, and yes indeed, torch songs to put modern "divas" to shame. Though Etta's voice has spectacular range and emotional drive, these recordings do not contain the shrill vocal calesthenics forced on us by the 90's pop divas. The result was this ultra-quality collection, which I guarantee you will never loan out, even to your best friend.

MAXIMUM ETTA; You Keep "Telling Me, Mama!!"!
"Etta" Wails, "I'd Rather Go Blind", and ALL I can say is; "Yeah, me too, mama, PLEASE, just don't EVER render me "deaf"!! This "W.O.M.A.N."; can and DOES, "render me awestruck, not to mention, dumbstruck with her sheer "gutesy, simmering, beltin', sheer vocal force/power, and then DOES IT AGAIN, when she "ratches-down" that INCREDIBLE RANGE of her's (doesn't get any better than THIS, folks) and into her OWN "stylistic-trademark "cruise-control", to give us the treat of her "smooth, sly, earthy delivery of her "gentler?-side"; joking here, of course she does have it, and displays it, in all her multifaceted hues, and glory; her instintual brilliance of interpretation is unequaled, and unrivaled. THE MUSIC HEREIN. Well, the "raw jewels" at her absolute "zenith" are pretty much all here. Then they jusy casually drop in previous unreleased "gems", such as "I Never Meant To Love Him", now a personal fave of mine, and her OWN rendition of Aretha"s "Do Right Womam, Do Right Man"; and I'm certainly hard-pressed to say who's version is better. Different, not better. Two cds "chock-full", each containing 22 "cuts' and ALL "prime-Etta", in any style, or aproachto this staggering array of material. I take issue with "other prior posters" who said they weren't ALL "keepers", you can "Lose and Weep" all you want to. I can't find one "sub-standard" cut anywhere here. None. Personal fave "standouts": "Almost Persuaded", a blistering, searing "God"s Song" (That's Why I Love Mankind); and a true "barnburner" by anyone's standards, the aptly titled "Let's Burn Down The Cornfield"; and man, oh, man-does she EVER!! I certainly felt raw, and than "crispy" by the end of cd No. 2. (Appropriately, the "closer". Randy Newman has GOT to be "one proud papa" with these to two seminal/stellar "inteprets". Of course, by the end of this "rollercoaster-ride", over the course of these entire cds "contents", I was "slack-jawed"; and that's putting it lightly. Other noteables: "Waiting For Charlie (To Come Home)"; "Would It Make Any Difference To You", "Pushover""Payback", a bone-chilling rendition of "All The Way Down"; and "closer" on cd No.1, "Baby What You Want Me To Do"-LIVE! YEOWWW! This "comp." is a Very thrifty bargain at any price. Need I say it again? GET THIS "SET"!! You can't POSSIBLY lose. Promise!Lynn Luv, or; Nancy N. ... Read more

Reviews (1)

Good sampler
The trouble with the Blues Masters collection is that CDs like this one, which is compiled to showcase some great blues harmonica playing, is that it never tells the full story.
Howlin' Wolf is here, Sonny Boy Williamson (II) is here, Little Walter Jacobs is here, Jimmy Reed is here, but these songs generally doesn't rank among their best, since they were chosen primarily for the harp playing.

But if you already have the essentials by these artists, "Harmonica Classics" and its companion volume (excitingly titled "More Harmonica Classics") is a really good purchase, featuring several excellent lesser-known songs like Jerry McCain's "Steady", Big Walter Horton's "Easy", and Lazy Lester's superbly groovy "Sugar Coated Love". Just don't think that you can go out and buy the "Blues Masters" series and be done with. ... Read more

Reviews (1)

Ever get the phonograph blues?
What can anyone say about Robert Johnson that hasn't already been stated? The music he left us just has that feel of someone who has traveled the humid shadows of the early twentieth century, checked into every dive hotel and motel across the Bible belt, stomped his feet in more than a few juke joints, courted the devil and let everyone know about it, smoked a few cigarettes, drank his share of bottled magic and sadness, tasted love and was bitten more than once. The more you listen, the more your imagination is sparked.

This particular collection showcases the 29 songs he recorded - minus the variations. If you are a casual listener, this is a marvelous retrospective of the music. If you are more of a completist, then the critically acclaimed box set is what you want. To be honest, I'm not a big fan of the blues - in all its various styles. A few things I like are R.L. BURNSIDE - TOO BAD JIM, JIMI HENDRIX - BLUES and various things from MUDDY WATERS, SON HOUSE and HUDDIE LEDBETTER.

A quote from the CD liner notes by Tony Watts:
"If details of Robert Johnson's life are shadowy, there is nothing at all indistinct about his music which is full of the most elemental power imaginable. Obviously a driven man, he attempted to exorcise his demons through the medium of his songs..."

I sometimes wonder if it's because this guy left so few facts about his life behind, that his music becomes that much better? The popular story of his life's end is he was poisoned by a jealous husband he had cuckolded, and then buried in an unmarked grave after midnight. The king is gone but he's not forgotten: Does the mystery and drama of his short life actually float the music, add to its potency and make it transcendent above what it actually is? My recommendation is to take a listen for yourself. For whatever the reason, I can't stop listening to this collection of great songs. Personal favorites are - HELLHOUND ON MY TRAIL, MALTED MILK, LITTLE QUEEN OF SPADES, IF I HAD POSESSION OVER JUDGEMENT DAY, FROM FOUR 'TIL LATE and STOP BREAKIN' DOWN BLUES.

Enjoy. ... Read more

Reviews (2)

love that old style
I bought this for the song that I heard Nirvana do unplugged ("Where did you sleep last night") and fell in love with the whole CD. Of course, the recording quality is bad, and sounds like your listening to some songs through a tin can, but what do you expect from recordings made in the 1920's? It's fantastic music and inovative guitar work.

If you want to hear where your favorite rock music came from, get this CD.

Must have original blues
Lead Belly was the basis of todays modern blues. If you have ever heard the gospel blues of the early 20 th century you must have this album. Blind Willie Johnson, Son House, and Lead Belly these were the original deep rooted spitually agangst singers. ... Read more

Amazon.com

Released in 1979, this live album is a gem, from the enthusiastic audience (who cheer every line of opener "Mannish Boy") to Muddy Waters's killer guitar to vocals that tease and deliver by turns. The slide work is what to listen for here, especially on "Howling Wolf," where Waters gives any guitar virtuoso a run for his money. There are other special moments as well, including the absolutely killer timing on "She's Nineteen Years Old," the rock-bottom-deep vocals on "Baby Please Don't Go," and the slow sensuality of "Deep Down in Florida." The only shortcoming of this CD is that it's so short: there are only seven songs here, which will leave any listener wanting more. --Genevieve Williams ... Read more

Reviews (17)

Muddy was still in command.
Muddy was the man. And this disc proves it. On every single one of the tracks on this disc we hear an older Muddy still in full command of that special sense of timing and vocal control that made his name synonomous with blues. He teases us with a slow, stalling intro to a rocking version of Mannish Boy. He introduces Nineteen Years Old, playing to the crowd: "If she wasn't a young girl I wouldn't be arguing over her. I'm so carried away with young women that I'll kill anyone about one of'em." Highlights like these abound, and live audiences hoot their approval the whole way through. Also of note is some stellar instrumental work. James Cotton blows some searing harp on Nine Below Zero, as does Jerry Portnoy on Baby Please Don't Go. Both Johnny Winter and Pinetop Perkins cut loose on the marathon Deep Down in Florida. And, of course, Muddy displays his usual impressive chops on the slide. Buy this album and put it in your CD player at high volume. The results are electric.

Steamy!
This latter-day album gives the listener a chance to hear Muddy Waters playing live with the band that he recorded his 1977 comeback LP, "Hard Again" with.
The musicians include Joe "Pinetop" Perkins, Johnny Winter and harpists James Cotton and Jerry Portnoy, and the crowd greets every song and every solo with enthusiastic response.

Muddy Waters himself plays slide guitar on a couple of tracks, and while his improvisations are more enthusiastic than melodic, the band is generally quite tight, and the highlights include "Mannish Boy", "She's Nineteen Years Old", "Deep Down In Florida", Sonny Boy Williamson's "Nine Below Zero", and a powerful rendition of Big Joe Williams' "Please Don't Go".
The atmosphere is great, and so is the music. Seven tracks is a little on the short side, and the sound isn't quite as three-dimensional as on "Chicago 1979" or "Muddy Waters At Newport" (or the stereo cuts on "Mojo"), but "Muddy 'Mississippi' Waters is nevertheless a really good latter-day Muddy album.
Look out for the expanded 2004 re-release...

Vital Mckinnely Morganfeild
If you don't have it please get it just wish it had more live music .

MUDDY AT HIS BEST
I picked up this Grammy winning live album (his 3rd of 4 Blue Sky releases) on vinyl after seeing Muddy open for Eric Clapton at the Capital Centre (R.I.P.) on April 26, 1979. After being blown away by this blues legend, it struck me that over half of the audience (which was still straggling in) had missed the best part of the show (and would never know it). As good as Muddy is on record, he is truely in his element on stage. Therefore, I just had to add this live album to my collection. When I upgraded my stereo system, this is one of the first CDs that I purchased. If you like Muddy, you'll love him live.

Howlin, Screamin, N' Slidin
What a performance, thank GOD it got recorded! The whole band is at the top of their game, and Muddy just smokes!

Muddy and the audience feed off each other's enthusiasm - making this a very special live recording!

This is nothing short of a MUST HAVE release for the blues fan!

For those of us who never had the chance to see Muddy perform live, this is as close as you can get.

Put it on, turn it up, close your eyes, and ENJOY! ... Read more

Amazon.com

This is the infamous "somebody-put-something-in-the-Waters" LP from 1968. A relative hit for Chess, it features the exalted bluesman bellowing over psychedelicized arrangements that owe more to Steppenwolf than Willie Dixon. Waters himself complained that the drums were too busy and the lead guitar sounded like a cat's meow. Not a bad critique. --Steven Stolder ... Read more

Reviews (22)

Not excactly horrible, just superflous
With the exception of a terrible rendition of the Rolling Stones' "Let's Spend the Night Together", "Electric Mud" isn't unbeararble to listen to, it's just not particularly good either.
Muddy Waters' vocals are fine, sure, but the psychedelic arrangements and aimless guitar wailing doesn't suit the songs.

Guitarists Pete Cosey, Ronald Faulkner and Phil Upchurch, who back Muddy Waters on these eight songs, are probably quite talented players, but Muddy's brand of tough, downhome electric blues suffers greatly at the hands of extended fuzzy solos, manic drumming, and occasional wailing soprano saxophones which bounce around aimlessly like loose basketballs.

If you're really into 60s psychedelia, you might like "Electric Mud" just fine. If you're into the blues, don't waste your money on this album, which is neither original nor particularly well executed; rather it's a classically wrongheaded, crass update of the blues for a supposed "modern" audience, and everything here is readily available in much, much better versions.

A Crime Against Humanity!!
The reviewers below must be joking. This is an abomination - probably the worst album I've ever heard. I'm not a purist, just a lover of good music - and even Muddy recognised that this was awful. Much maligned? It really can't be maligned enough. By any standard this is truly dreadul - an attempt by an ill-informed record label to make Muddy Waters more accessible to white audiences. How? Who knows. Do yourself a favour, if you're after "Electric Mud", go for either "Hard Again" or "I'm Ready" (both produced by Johnny Winters). Poisoned chalk and an epicurist's cheese!

Flower Power Mud!!
A great combination of Muddy's powerful blues growl, and the musicianship of some of the best psychedelic players-Phil Upchurch, Pete Cosey(who later played with Miles Davis), etc.. Howlin' Wolf did an even wilder album at the same time(1968), with the same musicians, which I would like to see released on cd. I know a lot of people consider this a stinker, but I like this strange compelling mixture of tradition and modernism. FOUR STARS!!

I Don't Get It. This Sure Ain't The Muddy I Know & Love
Just a lot of fuzz-tone and reverb...over-done, over-produced...over rated.

Not as bad as the critics say it is.
Aside from the pointless meandering of "She's Alright," this isn't a bad album. It certainly isn't the Holy Grail of blues, but it isn't as bad as Waters or the critics say it is.

In case you don't know, Muddy Waters, in 1968, wasn't making any more hits. In a desperate attempt, Chess Records decided to put him with some avant-garde jazz musicians and make a Jimi Hendrix like album.

It's not that bad. I Just Want To Make Love To You fits in perfectly with Are You Experienced, and I really like Mannish Boy. Let's Spend The Night Together is quite good, even though everyone disagrees with me. The only song I hated was She's Alright, which went on and on with pointless soloing, and an instrumental version of "My Girl."

I'm sure Muddy was really pissed off that he couldn't make a real blues album, but this is ok. Then again, I always liked the electric blues of the 60s. Listen first, then buy it if you like it. ... Read more

Amazon.com essential recording

Simply one of the greatest live blues recordings ever. Hooker plays alone at Soledad, yet the real thrill is hearing him backed at Greenwich Village's Café Au-Go-Go in 1966 by Muddy Waters and his band, including pianist Otis Spann, unsung harmonica giant George Smith, Francis Clay on drums, and guitarists Sammy Lawhorn and Luther Johnson. All are at the height of their abilities, but it's Hooker who works like a hoodoo conjurer, making misery rain down in "Seven Days" and "When My First Wife Left Me." This August night's reading of "I'm Bad Like Jesse James" ranks among the most intimidating vocal performances ever taped. His guitar and baritone singing sink to rarely heard depths of the blues--that secret place in the music (known only to its absolute masters) where it becomes an elemental force. --Ted Drozdowski ... Read more

Reviews (12)

Classic, Must-Have
Miles Davis once told John Lee that, "You sound like you're buried up to your neck in mud" (that's a good thing if you tell the blues). This CD is deep. Raw. Painful. In fact, "I'm Bad Like Jesse James" hits so hard that you get scared just listening to the song. This live compilation, especially the 8 tracks from the Cafe au Go-Go which are backed by Muddy Waters band (yeah, THAT Muddy Waters), is a must-own for anyone who wants to experience the depth and power of John Lee Hooker. This is the blues in its finest 70 minutes. Awesome.

Great Live
This is my favorite live recording of early John Lee Hooker material. The CD has two different live recordings. The first eight tracks were recorded at The Cafe au Go-GO in in 1966. The last five tracks were recorded inside Soledad Prison in 1972. The last song on the CD, "Bang, Bang, Bang, Bang" which was changed later in his career to "Boom, Boom, Boom, Boom", is probably the best recording of this song that I have heard on any of Hooker's CDs. This recording is raw, rough, and powerful, just like the man himself!

John was right, way back in 1966, when he first sang the song (also on this CD) "I'll Never Get Out of These Blues Alive." Rest in Peace, I drink one bourbon, one scotch, and one beer to you.

A Real Transformation
Despite Hooker being in his prime and having a great band at the Cafe Au Go-Go, I found the tracks from his performance there tepid. It sounds like he was trying to tone down his act for an ofay audience. Really - it's not a lively performance. So, that part of the disc gets three stars.

However, the tracks from Soledad Prison are scalding. "What's the Matter, Baby", "Boogie Everywhere I Go" and "Bang, Bang, Bang, Bang" in particular absolutely cook. That part of the disc gets five stars.

Superb, gritty live blues
This CD reissue combines John Lee Hooker's "Live At The Cafe Au Go-Go" album with five songs from his "Live At Soledad Prison" LP (the other two songs from that LP had John Lee Hooker, jr. doing lead vocals, which is probably why they aren't included).

The eight Café Au Go-Go-tracks feature Muddy Waters and his band backing John Lee Hooker, and Hooker performs some of his best songs in rough, tough arrangements, topped by his hoarse, expressive baritone voice.
It's a little bit unusual to hear John Lee Hooker backed by a full band, but the arrangements work exceedingly well, and Hooker is in no way overwhelmed by the presence of three more guitarists (Muddy Waters, Sammy Lawhorn and Luther Johnson), and pianist Otis Spann.

Highlights include a truly menacing "I'm Bad Like Jesse James", a swaggering, swinging "One Bourbon, One Scotch, One Beer", a tremendous, slow "I'll Never Get Out Of These Blues Alive", and a soulful "When My First Wife Left Me", to which Otis Spann adds some truly magnificent piano playing.

On the Soledad tracks, which are also band-backed, Hooker lays down great renditions of "What's The Matter Baby" and "It Serves Me Right To Suffer", with the twin lead guitars of Luther Tucker and Charlie Grimes smouldering behind him.
"Lucille" is a great, mid-tempo boogie, and "Bang Bang Bang Bang", an alternative version of "Boom Boom", which rocks every bit as much as the MTV version did twenty years later.

If your idea of what the blues should sound like is latter-day B.B. King or Robert Cray, this might not be your thing...these recordings are far from polished and very much full of grit, but if you like your blues raw and ragged, this is indeed the real deal. One of the finest, most autenthic live blues records I have ever heard.

Awesome
Classic John Lee. Worth it just for "Bad Like Jesse James".....gives me chills.... ... Read more

Amazon.com essential recording

This is probably the best Wolf compilation there is in terms of comprehensiveness and digestibility. The problem with collecting the works of prolific artists is that there's so much material; fortunately, Chess made some good selections. Chronicling Howlin' Wolf's career from Memphis, through Chicago, and on into his later years. There are snippets of interviews, as well as the classic tracks you'd expect: "All Night Boogie", "Howlin' For My Darling", "Evil", "Forty Four", "Spoonful", and "I'd Better Go Now." This box set is a bit much to swallow if you're not already a fan of the Wolf, but if you are, this is a great way to get his best work in one place. --Genevieve Williams ... Read more

Reviews (7)

He's the Wolf!!!
If life were a college course in Blues Appreciation, at least three aural textbooks would be required listening: the Complete Recordings of Robert Johnson and the Chess Boxes of Muddy Waters and Howlin Wolf. Just purchasing a CD or two of any of the other blues masters will suffice (for awhile anyway), but these three giants produced so much listenable and danceable music that nothing less than complete box sets will do. Even at 71 tracks, this set still feels incomplete; where is Wolf's fabulous live recording of "Highway 49" from the Newport Folk Festival? Or "Do the Do" from London Howlin Wolf Sessions, featuring Eric Clapton and Hubert Sumlin's fantastic guitar figures? But these are minor quibbles. How can you argue with an album that starts with a lonesome Wolf moan ("Moanin at Midnight") and ends (well, one track from the end, anyway) with a frail Wolf teaching a roomful of top blues acolytes (Clapton, Steve Winwood, Bill Wyman and Charlie Watts) how to play acoustic guitar on "Little Red Rooster" the way Charlie Patton himself taught Wolf some 40-50 years ago? What an experience! His powerful, gargling-battery-acid voice (only Blind Willie Johnson and Captain Beefheart had more abused throats) now a shadow of it's former self, his commanding presence still moves the assembled royalty of British blues-rock to "get on it" and produce a memorable take. In between are too many highlights to mention, including "Killing Floor" (probably the only song set in an animal slaughterhouse), "Back Door Man" (later covered memorably by the Doors), "I Ain't Superstitious" (also covered well by Jeff Beck Group and Savoy Brown), and most memorably, his signature song "Smokestack Lightning." As a bonus, there are several snippets from an interview recording just a few years before his death in which he reveals how he got his name, how he got started playing the blues, and the "hidden" meanings behind both "Smokestack Lightning" and "I Asked Her For Water". These glimpses into the real, behind-the scenes Wolf persona, each about 30 seconds to one minute long, are priceless. Throughout the set, Wolf is supported by first-rate musicians, particularly the aforementioned Sumlin, who was such a good guitarist that he was "borrowed" regularly by the likes of Muddy Waters and Little Walter, but always made his way back to Wolf's pack. This set and all it's great music should keep most listener's happy for hours. Now, when will some great writer take up the challenge of giving Howlin' Wolf the biography he deserves? (Waters and Walter already have fine bios.) Until then, the Wolf fan will just have to make do with the (excellent) liner notes from this set and play it once again to hear the magic of the Wolf moanin' at midnight, or at any time of day he so desires.

Footnote about voice of Howlin' Wolf
In his excellent review, "anders_pj" stated that nobody has ever copied the sandpaper voice of Howlin' Wolf. Well, there is one significant exception. This is the voice of Captain Beefheart (born Don Vliet). IT IS AN IDENTICAL COPY of Howlin' Wolf's. Captain Beefheart is a genius and one the most creative musicians to come out of the U.S.A.

The ultimate Wolf collection
This is a sublime, exquisitely packaged collection of Howlin' Wolf's awe-inspiring brand of blues.
Just under 3½ hours of music, opening with Wolf's eerie, wordless "throat singing" on 1951's "Moaning At Midnight", and ending with the opening track, "Moving", off his final studio album.

A lot of people have covered Wolf's songs, but none have come close to matching his ferocious sandpaper voice, and Howlin' Wolf in his prime was without a doubt the most electrifying performer the Chicago blues clubs had even experienced. Standing 6'4" and weighing 275 lbs in his prime, Wolf towered over everybody, literally as well as figuratively.

Starting off as a strict Charley Patton-imitator, Chester Arthur Burnett showed up in the juke joints of Mississippi in the late 30s with one of the first electric guitars anyone had ever seen, and when he finally started recording (for Sam Phillips' Sun Records in 1951), he was 41 years old and had been performing for two decades down in the cotton belt.
He suddenly had two hits on the R&B list at the same time ("Moanin' At Midnight" and the clanging, piano-driven "How Many More Years"), and in the winter of 1953, Wolf headed out of the South (in his own brand new $4,000 car), settling in Chicago, Illinois, where he would record for Chess Records right up until his death from kidney failure in January, 1976.
"-I'm the onliest one", he said, "-drove out of the South like a gentleman!"

"The Chess Box" collects every hit the Wolf ever had, as well as B-sides, album tracks, rare acoustic solo performances, and a few short interview snippets. The only thing that could have made this collection any better would have been a fourth CD of live tracks.
The first CD collects Wolf's singles from 1951-1955, including the up-tempo, R&B-styled "Mr Highway Man" (excellent piano playing by Albert Williams), the Charley Patton-classic "Saddle My Pony", a remake of John Lee 'Sonny Boy' Williamson's "Bluebird" (oddly credited to John Lee Hooker), the classics "Evil" and "Forty-Four", and the harp-driven "Just My Kind".

The first fifteen songs feature Wolf's original lead guitarist Willie Johnson, after which Lee Cooper takes over.
Johnson's aggressive, fiery guitar playing suited Wolf's songs perfectly, and he was surrounded by a slew of excellent blues pianists, from Ike Turner to L.C. Hubert, but around 1955 a more fixed band constellation started to take form, featuring bassist, arranger and composer Willie Dixon, and a fabulous young guitar player, Hubert Sumlin, who would stay with the Wolf right up until his death, and who became an idol for guitar players like Eric Clapton and Jimmy Page.

Disc 2 is even better, mixing Wolf's originals with Willie Dixon's more contemporary compositions. Highlights include the all-time blues classic "Smokestack Lightnin'", composed by the Wolf himself, and featuring some of his best harp playing, as well as axe-men Hubert Sumlin and Willie Johnson playing side by side (one of only two side where they appear together).
And then there's Wolf's sublime take on Tommy Johnson's awesome "I Asked Her For Water (she brought me gasoline)", Dixon's "I Ain't Superstitious", "Shake For Me", "The Red Rooster", "Howlin' For My Darling" and "Down In The Bottom", and the classic "Sitting On Top Of The World". The supremely catchy "(Meet Me) Down In The Bottom" features Johnny Johnson on piano and Jimmy Rogers on guitar, but it's Wolf himself playing the fills and the main slide guitar riff heard during the intro and the instrumental break, and he plays as well on "The Red Rooster", "You'll Be Mine" and several other tracks.

Disc 3 opens with one of Willie Dixon's best compositions for Wolf, the up-tempo, almost blues-rock-like "Hidden Charms". Backed by two sax players, Donald Hankins and Elmore James' saxist J.T. Brown, Hubert Sumlin plays some of his greatest lead guitar, and many consider his 18-bar solo the best guitar solo ever recorded.

Dixon's other contributions, the silly "Three Hundred Pounds Of Joy" and "Built For Comfort", are almost novelty songs, but the superb arrangement makes them work.

And the rest of the disc features mainly Wolf's own songs, plus a powerful rendition of "Dust My Broom", and a 1970 recording of "The Red Rooster" featuring Eric Clapton, Bill Wyman, Charlie Watts and Stevie Winwood.
The sax-augumented "Love Me Darlin'" rolls along like a steam train, creating a magnificent groove, and Wolf's gravelly vocals on "I Walked From Dallas" and the awesome "New Crawling King Snake" must be heard to be believed.

CD 3 also includes two interesting acoustic solo performances, as well as the funky "My Mind Is Ramblin'" and "My Country Sugar Mama" (fine harp playing by the Wolf), and the menacing "Commit A Crime".

But the best song on the disc (and probably the best song of Wolf's career) is without a doubt the magnificent "Killing Floor", Howlin' Wolf's own composition and one of the defining classics of electric Chicago blues.
It opens with a supremely catchy guitar riff from Hubert Sumlin (Buddy Guy is playing the acoustic slap-back rhythm guitar), and the two-sax horn section of Arnold Rogers and Donald Hankins plays soul-revue stabs. And when the mighty Wolf finally opens his mouth it becomes clear that though Led Zeppelin and Jimi Hendrix may have nicked the riff, the song itself belongs forever to the Howlin' Wolf, and those who dare try to cover it do so at their peril.

An essential addition to any serious collection of electric blues.

A must for true blue Blues fans
This is an excellent set. It covers a wide range of time and includes a diverse group of accompanyists. Howlin' Wolf is one of the great Blues Men. The booklet is really helpful in learning the history of the man and his music. I highly recommend the boxed set.

Will keep you Howlin at the moon all night!
Essential for any blues fan..... ... Read more

Amazon.com

The premise behind this compilation is somewhat unusual: classic tracks, yes, but classic tracks recorded by John Lee Hooker... and friends. Charles Brown, Eric Clapton, Ry Cooder, Los Lobos, and Bonnie Raitt are only some of the performers who appear here, and the tracks, selected from recordings made by the prolific guitarist since 1988, show that Hooker hasn't lost his touch. Among the highlights, there's a smokin' duet with Raitt on "I'm in the Mood," a rendition of "Boom Boom" with a guest appearance from Jimmie Vaughan, and a reprise of Hooker's 1956 hit "Dimples" with Los Lobos backing up. Mention must also be made of the lone solo track on this CD, the acoustic "Tupelo," which hearkens to Hooker's Delta blues roots. There are also three previously unreleased tracks, which are probably the real reason to get this compilation. --Genevieve Williams ... Read more

Reviews (13)

Simply said, this album is a must-have for all Hooker fans.
Blues fans will be pleasantly surprised by this recording pairing the master himself with some of the finest musicians alive today. Special mention should be made of "I Cover the Waterfront" and "Don't Look Back" which feature the soulful voice and guitar of Van Morrison, as well as the familiar touch of Carlos Santana in "The Healer". Last, but certainly not least, adorers of Bonnie Raitt will love the playful duet she and Hooker provide in "I'm in the Mood".

BUY THIS CD, lower the lights, crank up the volume, and be swept away. You won't regret it.

A bluesmaster!
The photos of John Lee Hooker,at the booklet inside this cd,show us how old is this man,but no doubtly,his musics are still one of the most beautiful things at the modern blues. This album is marvellous in all the ways.The participation of artists such,Bonnie Raitt,Van Morrison,Ben Harper,Eric Clapton....is a great gift for John Lee Hooker,and all of the bluesfans! The voice of John Lee,is pure,fantastic,and .... eternally!

"Blues"
This 1998 compilation draws from John Lee Hooker's guest star-heavy Virgin/Point Blank albums, mostly ignoring the solid Hooker-songs in favour of the attention-grabbing, star-studded duets featuring Robert Cray, Bonnie Raitt, Eric Clapton, Jimmie Vaughan, Los Lobos (!) etc.

Almost all the duets from "The Healer", "Boom Boom" and "Mr Lucky" are here, the good one ("I Cover The Waterfront" with Van Morrison) and all the mediocre ones.
John Lee Hooker's original versions of these songs are almost all significantly better than these overblown re-recordings, which means (as Stephen Thomas Erlewine said in his review) that this disc is primarily for listeners who like to think they like Hooker, but really just want to hear Eric Clapton wail away.

Super CD
Absolutely a gem no doubt about it. You will not go wrong with this cd.

Some Blues Greatness Here
If you love the electric blues and blues slide guitar, this is a must-have album for your collection. Many of the songs are instantly recognizable blues patterns that have set the style for generations of blues and rock superstars. John Lee Hooker is on a par with B.B. King, Robert Johnson and other classic great blues artists. The repertoire of session musicians from the likes of Carlos Santana, Jimmy Vaughn, Bonnie Raitt, and Eric Clapton are not to be missed. John Lee Hooker set a blues standard - get this album. ... Read more

Reviews (2)

One that lives up to its title
A lot of compilations have a title similar to this one, "the best of someone or other", yet still leave a lot to be desired.

That's not the case with this excellent Rhino collection, however. It may not be the definitive word on Aaron Thibeaux Walker (you'll need the two Capitol/Black & White and Imperial box sets for that), but it is the best single-disc retrospective available, and if you are looking for a really good sampler of T-Bone Walker's music, this is it.
Almost all of Walkers best-known songs are here, including his self-penned classics "They Call It Stormy Monday", "Mean Old World" and "I'm Still In Love With You", and "The Very Best Of T-Bone Walker" is an ideal starting place for the curious or the casual fan.

A Nice Restrspective of T-Bone's 1945-1960 Output
The electric guitar innovator gets the Rhino treatment with this 16-track collection of Imperial, Rumboogie, Capitol, Atlantic, Comet and Black & White sides. This is by no means the definitive collection of Walker's work, but it does serve as a nice retrospective of his 1945-1960 output.

If you were born after 1960, a little refresher is in order. T-Bone Walker influenced at least two generations of blues guitarists. Albert Collins, Freddy King, Eric Clapton, Jimmie Vaughan and the late Stevie Ray Vaughan are but a few. For those who think of "Stormy Monday" as an Allman Brothers song, think again. And Eric Clapton didn't create "Mean Old World."

This compilation serves as a nice primer. It includes the aforementioned classic "Call It Stormy Monday (But Tuesday's Just as Bad)" and "Mean Old World Blues." Also featured are "Papa Ain't Salty," "How Long Blues" and "The T-Bone Shuffle" and many more.

As usual Rhino offers the listener extensive, well reseached liner notes (this time by Billy Vera). The booklet comes complete with rare pictures and individual track information (personnel, songwriting credits, chart position, etc.). Kudos to Rhino for doing an excellent job, This compilation rates a strong B+. However, T-Bone merits more than 16 songs. A two CD set featuring some well-chosen rarities and underappreciated gems would have made this an A+ offering. ... Read more

Reviews (9)

An Amazing, Inspirational Recording.
I had never heard of Alberta Hunter until a good friend introduced her to me via the original vinyl recording of "Amtrack Blues". Made when she was 83 years young, the recording is absolutely fantastic. Her backup musicians are incredible, the sound quality is excellent, and Alberta is an absolute hoot! Alberta's vocal quality on this record is much more interesting than her earlier, younger period. Her age and wisdom are evident, and this only makes her more appealing. "Handyman" is positively hilarious. No one's ever recorded this song with such incredible wit and naughtiness - at 83 no less! If you like the blues - this deserves a place in your collection.

Absolutely incredible
I'm absolutely blown away by this recording. Alberta Hunter may have been a blues singer but her phrasing and breath control (at 83!) are fantastic. Quite a few jazz singers could learn a thing or two from listening to her.

Her Voice and Her Rhythm are Complex and Unbeatable
These 'standards' are anything but; Alberta Hunter's versions are unbeatable. She has that kind of voice and rhythm that seem so natural and yet, like Billie Holiday, defy the human range thus placing her in the pantheon of jazz greats. She is earthy yet refined and completely in touch with the band, she moans and cries at places that you'll find yourself wondering how she got there. "Darktown Strutters Ball", "Georgia Brown" and the intensely down and dirty "My Handyman" are sensual, comic and dramatically original-your body will react- guaranteed. Unpredictably fresh, this late great senior citizen packs all she's got and all we need, right in to each piece. I have given this CD as a gift to many people and they have all been smitten and grateful. Decidedly worthwhile.

Brilliant
Produced by John Hammond, this is a simple, sweet, swinging collection that showcases the incredible talent of 83 year old Alberta Hunter. It has the feel of a live recording; the supporting musicians and Miss Hunter are obviously having a grand old time. In a world where every singer thinks he or she is an artist, Alberta Hunter provides an object lesson in real artistry.

A (very) late bloomer?
Amazing woman,Alberta Hunter recorded this wonderful album at the age of 83 - great survivor of the original blues craze of 1920's,she was a contemporary of Bessie Smith ( Bessie's very first hit "Downhearted blues" was actually written by Alberta Hunter!) and all the other blues greats,and somehow she endured all the way up to 1978. when she recorded "Amtrak Blues".Yes,you can tell its an old voice,but she had such a character that made listen pure fun - her version of this old standards are simply undescribable,she sounds like great old lady,sometimes even dirty (You never heard "My Handy Man" if you didnt hear this one - in comparison,Ethel Waters version from 1920's is simply nice little song,Alberta makes a listener blush).Interesting,I found this late Alberta Hunter period much interesting then her younger phase.In the 1920's and 1930's she was never such a character as here - just as late albums by Ida Cox,Sippie Wallace or Victora Spivey shows,these women actually got better with age.This album is really heart-warming,showes that character never dies,age doesnt mean anything and one is young as he feels. ... Read more

Reviews (1)

Living music
In the 1930's, father and son John and Alan Lomax travelled through the South, collecting field recordings for the Library of Congress, in order to form a permanent record of the country's musical heritage. In 1942, six volumes of these and other recordings were released on thirty 78's. This collection is a remastering of the third volume of this series.

The music is deep and vital; the sound quality - though as to be expected of "field recordings" cannot detract from the power of these spirituals, chants, laments, and worksongs, recorded by ordinary people - laborers, clergy, prisoners - in their ordinary settings.

The record is essential listening for anyone interested in the history of Jazz, Blues, and Folk in America. ... Read more

Reviews (30)

More Than Just Five Stars
Yes, that is the truth about "Moodfood" by Moodswings. It is not hard to explain why their "Aural medication for tired minds" sounds so perfect, as we all know that many musicians usually offer nothing more than just a music. Fortunately, "Moodfood" demonstrates that some "other" musicians are able to use the same tools to produce an almost abstract art work. It consists of many different elements so that every single song is given a different pattern, while hole the project sounds like a one-piece music ride that evokes your spirit. While many ones like to mention the "Spiritual High-Trilogy" as the culmination of this album, I would like to highlight "Rainsong" as well. The song is some kind of "intermezzo" filled by the beautiful voice of Linda Muriel. I am also glad to mention Jeff Beck and his outstanding guitar solo in "Skinthieves". Finally, the above trilogy is something that deserves every positive comment (you just choose your lovely words). "Spiritual High (Part I)" is indeed an introduction to the main part ("State Of Independence " by Jon Anderson and Vangelis from "The Friends Of Mr. Cairo, 1991) that features the voice of Chrissie Hynde. But hey, there is something more ! The third part is colored by the legendary speech of Dr. Martin Luther King Jr. Awesome! Moodswings are Grant Showbiz and J.F.T. Hood. After I first heard this album, I fell in love with it. Forever! "Moodfood" in the world of music is its Eiffel Tower. Someone could make another one, but...

«Aural medication for tired minds»
That's what the inlay booklet say. And, to be honest with you all, this is pure truth.

I bought this almbum since I am a HUGE Vangelis fan, and a version of State Of Indepence (or Spiritual High as Moodswings call it) was on this CD.

I never thought that "a version from someone else" would impress me EVEN more than a version by Vangelis himself (with Jon Anderson, in this case).

This CD is incredible nice. All the songs are great. The last one, Hairy Piano is a Gem, and all the others are incredible nice too.

Spiritual High, is, as you might guess, my fav, but all the CD is great. The inclusion of Martin Luther King Jr's "I Have A Dream" speech on the 3rd. movement of Spiritual High was totally acerted and makes the CD even more enjoyable.

So, let's dream away, let's ease our tired minds... let this aural medication heal you...

Incredible!!
Still one of the best CDs I have ever listened to. I am a fan of mostly hard rock however enjoy any music with emotion and soul. This CD is deep, uplifting, and joyous. I recommend it to anyone with ears.

I think this is a bit overhyped
Ok I heard one song off this album "Spritual High" actually hearing the whole 15 mins of it and thought it was good, so I figured the rest of the album would be good...well I think I was wrong. First off the carryovers into each track aren't as good as they should be, the first track "Throw off the shackles" sounds exacly like "Spiritual High" I mean common. After awhile it starts to get real cheezy as if I am hearing music off early CD-ROM video games. Once it got to 100% total success it actually worked out and then "Microcosmic" which is alright which leads into the "Spritual High" sequence, we then reach "Thiland" which isn't bad, then it comes to Hairy Piano which just isn't good.

So to conclude, if you are looking for an ambient album, look elsewhere, cause I hate to say it, this doesn't really go anywhere, there goes 30 bux I'll never see again.

Great unknown album that mixes rock, techno, ambient sounds
As a fan of both rock n roll and ambient, new age music, I found the ultimate album to satisfy both tastes in one sitting. Moodswings Moodfood was put out in 1992 by a pair of producers/musicians, Hood and Showbiz. (James Hood is former drummer for the Pretenders.) The album flows well from beginning to end, carrying a few themes throughout. There are a few vocal tracks, including a wonderful rendition of the Anderson/Vangelis song Spiritual High with Chrissie Hynde on vocals. Another favorite of mine is an instrumental, Skinthieves, that includes blazing lead guitar by one of rock's greatest guitarists, Jeff Beck. This is one album I don't play selectively. It's strong from beginning to end and is worth a listen for folks who like quality electronic music that mixes a variety of styles. ... 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

Reviews (18)

A pretty nice album to listen to
I was about 18 years old when Wolf came to Europe to tour and make recordings like this one. I remember the excitement at the time, though I didn't get to see the great man in person. This album is a fine record of that epoch.

An excellent album that I have had for several years and still play regularly, especially in the car. You have the Wolf on vocals with the Rolling Stones rhythm section and Eric Clapton playing some nice stuff on lead guitar. with Stevie Winwood in there somewhere too.

I have heard better versions of Wang Dang Doodle, but the rest of the songs are excellent.

A unique album that showcases Howlin' Wolf, the like of whom we will not see again. However, I am not sure that this is his very best work, as I have a Live In Europe album from a 1964 concert in Bremen that has Hubert Sumlin on guitar and that wonderful pianist Sunnyland Slim in the band, along with Willie Dixon on bass, and to be honest, the somewhat younger Wolf sounds vocally stronger, as he really stretches out with a great band in a live performance. But this London album is still a nice listen and gets three stars from me.

As I have posted a number of reviews, here is what I mean by my star ratings:

* A really worthless CD
** A CD that has some good stuff, but some major defects.
*** An OK CD that will please fans of the artist in question.
**** An excellent CD that represents the best work of the artist in question and can be bought with confidence.
***** An absolute classic that is the best, or among the best, of its genre. Your collection should start here.

An American Howlin' Wolf in London
Some collaborations of "superstar" musicians and Blues Legends just don't work out. This one certainly does, though. The impressive list of musicians includes Eric Clapton, Stevie Winwood, Bill Wyman and Charlie Watts. Hubert Sumlin, Howlin' Wolf's lead guitarist is also present, although Clapton takes the lead ro