Reviews (84)

The Greatest Music Ever!
In ''Robert Johnson : The Complete Recordings'', you will hear the most powerful blues there is. Robert Johnson's music is more than great, it's magic, it's indefinable. I've never heard anything like that and I know I never will find anything similar. He creates a blues world of his own where everything is possible. He brings you in his visions, his fears, his joys, his hopes, his loves, his travels... Also, his guitar skills are fantastic, his emotion is truely unique and his lyrics really define the everyday life of a traveling black blues musician in the 30's and also visions (or not) he had (Me And The Devil Blues, Hell Hound On My Trail, Cross Road Blues), inspiring incredibly dark and superb lyrics of an artist who died way too young.

Most people know Robert Johnson's story, so I'm not going to write it A G A I N, but I would just like to say to people who think Robert Johnson's music sucks because 'his singing is bad, he plays acoustic, he sings stupidities and the sound quality is awful' that they prove their lack of musical culture. Robert Johnson is without a doubt an icon in blues music, and music in general. He's - to me - the greatest musician ever (whatever the time period or the style). This Complete Recordings is definitely an item you should own, but we aware that the sound quality isn't as good as modern CDs (that box set was issued in 1990, and the tracks come from 78's of the 30's), but the music inside is extremelly powerful. Also be aware that this box set, who's said to contain each Robert Johnson's takes, actually doesn't contain 'Traveling Riverside Blues (take 2), which does appear on a more recent compilation called 'I'm A Steady Rollin' Man' (who also has the 41 other tracks available here). But that's a very small complaint, since they haden't yet realized - back in 1990 - that the second take of that song was on the 1961 LP : King Of The Delta Blues Singers.

However, this item is great and is one you should have in your collection. Whatever the kind of music you listen to, you will find yourself in admiration before the legacy a certain Robert Johnson left more than sixty-five years ago...

Robert Johnson: A True Blues Prophet
In 1990, Robert Johnson's complete recordings were released on CD. We don't have many photographs of him that survive (or that were taken). His complete recorded career consists of forty-one songs (some of them alternate takes) and he died in 1937, poisoned at the age of twenty-seven. What Robert Johnson didn't have the chance to do on this planet we can only imagine, but his legacy and recordings we can treasure forever. These songs are true blues. They are the raw, amazing products of a real blues prophet. If you want to know the history of rock & roll and the blues, buy these recordings. You will be in complete awe of the beautiful, soulful music that this man played. The Rolling Stones covered his two songs "Love In Vain" and "Stop Breakin' Down". Clapton played "Crossroads" with Cream. My band is playing a cover of his "Sweet Home Chicago". I am fifteen years old and I obviously wasn't around to hear what Robert was like in a live club environment in the 30s, but what we do have left of his legacy everyone should listen to and appreciate.

Best blues I have ever heard!
This is one of the first blues C.D.s I ever bought, and it is the best. I have since perchaced C.D.s by Muddy Waters, Charley Patton, Son House, Skip James, Blind Lemon Jefferson and several others, and while they are all very good none of them are as good as Robert Johnson. I definitely recomend this to anyone even slightly interested in the bles.

Features

• Original recording remastered

Reviews (34)

Guitar Heaven by Eric Clapton!
Few albums have had greater impact than the landmark John Mayall With Eric Clapton "Blues Breakers." Released by the Decca label in Britain on 22 July 1966, literally days after Clapton quit the Bluesbreakers and just a week before Cream's debut, it went all the way to #6, a pretty mean feat since Mayall's band had never had a hit single. This may have been a first in Britain.

Of course, this is the album that set the blues and guitar worlds aflame and established Eric Clapton's name worldwide as the most passionate of musical interpreters. If you haven't yet heard "Beano" (as the album is affectionately known, because Clapton is pictured reading "The Beano" comic book on its cover), then you ain't heard nuthin' yet!

From the album's first notes, you realize that you're in guitar heaven, as "Slowhand" shows us the way electric guitar can and should be played. Clapton's virtuoso playing is white-hot throughout. Playing with maturity beyond his 21 years, the young Eric Clapton was so influential that Gibson eventually reissued the (out-of-production since 1960) Les Paul model guitar, which Clapton then played.

John Mayall's Bluesbreakers served--and still serves today--as a finishing school for great musicians and sidemen (Clapton, Peter Green, Mick Taylor, John McVie, Jack Bruce, Aynsley Dunbar, Mick Fleetwood, Coco Montoya and others). Mayall's proselytizing the blues (he's 69 years old!), his songwriting skills, and his other musical talents should not be ignored nor taken lightly.

Clapton is God
This is the album on which Eric Patrick Clapton, Slowhand, emerged as one of the most innovative and original guitarists in the world. Clapton created a new sound when he combined a sunburst Gibson Les Paul Standard through a Marshall amplifier. And while blues guitarists like B.B. King, Bobby "Blue" Bland, Buddy Guy, Freddy King, Otis Ruch, Albert King had pioneered the electric blues guitar idiom, Eric Clapton brought it into the popular mainstream and transformed it. The blues guitar now became an integral part of popular music and rock and roll. This is where Claton showed how it could be done. He perfected on the Beano album of 1966.

Clapton had begun the transformation of the electric guitar while he was with the Yardbirds. He had electrifying solos on the Yardbird's GOODMORNING LITTLE SCHOOLGIRL and on GOT TO HURRY. Clapton wanted to develop and evolve his guitar style with the Yardbirds. But when they decided to go commercial and release pop material, Clapton quit the band. But Beano merely continues where Clapton left off with the Yardbirds. Unlike with the Yardbirds, however, John Mayall lets Clapton take center stage and allows him to realize his vision of the electric guitar. What results is a landmark recording. This album had a major impact in transforming the electric guitar from a secondary instrument to center stage. Eddie Van Halen cited Beano as the album that most influenced him. Jimi Hendrix purchased a copy and wanted to duplicate Clapton's sound. Hendrix even bought a Marshall amp like Clapton so he could get that thick distorted sound that Clapton got on Beano.

Beano showed what you could do when you combined the blues and the electric guitar. The blues did not have to be a peripheral music form but could now take center stage. Claton showed everyone how. He had the vision and the commitment to make it happen. As Clapton himself said, he wanted to change the world and to shake up the music scene. And he did that with Beano.

The album opens with the powerful ALL YOUR LOVE, which Stevie Ray Vaughan covered. Clapton has blistering guitar solos. On DOUBLE CROSSING TIME, a song Clapton co-wrote with Mayall, Clapton's solos are searing. A nice touch to WHAT'D I SAY? is Clapton playing the Beatles' DAY TRIPPER riff in the second half of the song. Clapton scorches on Freddy King's HIDEAWAY. Clapton is on fire throughout the album.

There are two bonus tracks that comprise the single that was released at the time.

This is a must-own album for any guitarist. This is a landmark album that transformed the electric guitar and ushered in the guitar god or guitar hero. But Clapton was the first one. Clapton is indeed SUPERMAN INSIDE and God! Hear for yourself why they called Clapton god and why Jimi Hendrix wanted to first meet Clapton when he arrived in England in 1966.

Reviews (5)

Down At The Bare Wires
I bought this album on vinyl for £1 in 1970 in a second hand shop in Glasgow where the manageress didn't know what it was worth. I thought I had won the pools and when I played it I realised I had. The intensity and tightness of Mick Taylors guitar was far from the disappointment which those of us who had followed the Bluesbreakers through the 60s expected in the aftermath of Clapton and Green. I get the impression that my fellow reviewers are late arrivals to the Bluesbreakers unlike myself. However, if they listened to John's 70th Birthday album, Taylor is far and away the only musician on it who doesn't sound tired - he is as crisp and clean as ever, without having lost any of the passion of it. Crusade is not the best Bluesbreakers album but there is something about it (the indignation and grit that goes with any crusade maybe?) which gives it a diamond-like quality. It also contains in it the heritage(Guy, Rush, Williamson) so dear to Mayall and the religious light shines from it. Listen to 'Checkin on My Baby' and see if it wouldn't blow anybody (except maybe Walter Trout - another old Bluesbreaker) off the map. If you hear this as your first Bluesbreakers album you will probably buy them all through time. I have.

What makes a "great" album?
Fully agree with Tyler Smith's review - this is the most under-rated album of John Mayall's career. It builds on the sinuous anguish of its predecessor 'A Hard Road', even though the line-up has greatly changed and Peter Green is gone.

Amusing that Mayall's promise (on the rear sleeve of 'A Hard Road') that he wouldn't use brass was broken on his very next release. But it works, and I have long thought of these two albums as a pair - though 'The Blues Alone' was released around the same time, I think.

So, is it a great album or just a good one? In the absence of any real criteria for the use of these terms, I'm happy to call it great - it's always provided some thrills for me , notably the impassioned 'Death of JB Lenoir' and the skin tight groove of 'Pretty Woman'.

It was all downhill after that, and though he had his moments on 'Bare Wires' and 'Blues from Laurel Canyon', it's true that his predilection for "confessional" lyrics makes you wince. But on 'Crusade' there's none of that, and compared with the material he was to put out when he left Decca for Polydor, it's entirely above reproach. Even next to the immortal 'A Hard Road', this one more than holds its ground. Highly recommended.

Reviews (11)

A Masterpiece from two Incredible Guitarists
Nearly any Clapton album would be nice enough to own, (particularly those from his early days) but an album containing the talents of both Clapton and Duane Allman is truly remarkable. Their meeting is almost legendary, and the inevitable result was Clapton's invitation extended to Allman for a recording. What ensued was their creation, "Layla and Assorted Love Songs." The music itself is a combination of blues standards, ("Nobody Knows You When You're Down and Out" and "Key to the Highway") Clapton's ballads ("Bell Bottom Blues" and "Why does Love Got to be So Sad") and good ol' fashioned rock (the title track, and Hendrix's "Little Wing"). The album came during Clapton's depression as a result of his love for George Harrison's girlfriend at the time (Harrison being his best friend). The resultwas pure magic, and the song "Layla." Clapton was in fact too bashful to use the lady's name, and instead substituted the name of a Persian legend, Layla. Allman filled in on slide guitar, along with "Key to the Highway" while Clapton sung his heart out. Bobby Whitlock's organ and piano melds beautifully with the blues from Clapton and Allman, and percussion from Jim Gordon and Carl Radle is a nice compliment. Although all the songs on this venerable album are good, the title track smokes, while "Have You Ever Loved a Woman" brings in the blues and "Little Wing" veers off into Hendrix's psychadelia. It makes for a powerful work. In all seriousness, this is a must-have.

Clapton's Masterpiece
One can hardly use too many superlatives when describing "Layla..." It is one of the essential recordings of
British blues, of '60s rock, of '70s rock (since it straddles two decades), of blues-rock, of guitar-rock, and of
rock 'n' roll in general. From the searing blues of "Key to the Highway," to the passion of "Little Wing" and
"Bell Bottom Blues," this album represents everything that Clapton fans love about him. Of course, the title
track is a musical monument in its own right, and its two halves (driving blues-rock opening, soothing but
emotional instrumental coda) neatly summarize the entire album. And, you know it's a great record when you
find yourself loving lesser-known album tracks even better than its radio classics. "Keep on Growing" and
"Anyday" are, in this reviewer's humble opinion, simply transcendent.

When people insist on listening to "classic rock" stations, and claim that no one makes good records
nowadays, "Layla" may very well be what they have in mind. It's what great rock is supposed to be.

The best album of all Clapton's career
Despite being a real Cream fan, I've never subscribed to "Clapton is God" theory. However, Derek and the Domino's LAYLA AND OTHER ASSORTED LOVE SONGS is, I believe, one of the greatest rock albums of all time. The musicianship is absolutely incredible, the songs are amazing, and I think that it features Clapton's best blues playing of his career.

I recently rebought this on CD. I had it on tape from when I was a kid, but I wore the darn thing out.

All of these are love songs; ballads, blues numbers, and straight out rock. Duane Allman plays rhythm guitar and backup vocals on many of the selections, and the effect on the energy is palpable. This is infectious rock and roll at its finest, played with a maturity and sincerity that I think is really hard to find anywhere else, and is listenable in any context. All the songs are complete and balanced; there is no self-indulgent excess here, and the band is tight. Although these are all love songs, the main reason why this album just plain WORKS is that there is no typical rock adolescent fixation on sexuality, and there is no hyper-sincere self-pitying narcissism that marks most rock love songs from the seventies and early eighties. Just look at the "monster ballads" for sale on late-night TV, and you understand that its only by our nostalgia and camp humor that bands like Journey still get by.

LAYLA totally transcends that. There is real content, real sincerity, and superb playing that takes this album to a higher level. Clapton's writing and arrangements are perfect. The covered tunes are great selections; various in style and translated perfectly by the band. Each song holds up on its own, and the album as a whole is unsurpassable. "I Looked Away" starts out right away with a straight forward, tightly played song. "Bell Bottom Blues" is a classic in its own right; Clapton, no great singer by any measure, nails this one. The 9+ minutes "Key to the Highway" is a great blues romp that is never tedious. "Why Does Love..." is a frantic balls-out jam. The cover of Hendrix's "Little Wing" almost makes for an off-note with its pretentious intro, but having two singers and great guitar solos makes it a wonderful tribute to Jimi. "Layla" of course is the one everyone knows, a 7-minute song with the 4-minute ending; a glorious excess. My personal favorite, however, is the last tune: Bobby Whitlock's solo "Thorn Tree in the Garden," which is so soulful and elegant I wish it were more well-known.

Reviews (4)

Son House is the real deal. Listen and learn
Son House taught Robert Johnson the slide blues. Son House taught Muddy Waters. When Son House started performing at Blues festivals again in the mid 1960s, some of Muddy's younger band members would start to go off for a smoke or whatever when the old man came on stage. Muddy wouldn't let them. Muddy Waters would tell all his band members to be quiet and pay attention when the man played because even compared with Muddy, this was the real deal.

Rediscovered in Rochester, New York, relearning to play the guitar, (how this country abuses the masters that come from its people, particularly its Black people), put back on the stage by the folk revival's blues section.

People outside of the blues life focus on the guitar playing or the rhythm of the singing, but where the power comes from is the feeling and the words that are put together, the life and the meaning of the blues. Son House in his youth and his old age, on this and his other sides, always gave it.

So Like Muddy Waters, I would like you to know that
Son House is the real deal.
Listen and learn

Son House, King of the Delta
Son House is the most important and influential Delta Bluesman to ever live he was a major influence to Muddy Waters & Robert Johnson and every one else including me. Buy this C.D. it is very essential stuff this is hardcore Delta Blues there are some trks with Son House in a band setting with Willie Brown and others (perfect example of what a DeltaBlues jam session probally sounded like). These are field recordings and I mean they were actually recorded outside on trk.4 "Shetland Pony Blues" you actually hear a steam locomotive (train) go buy in the background. If your a aspiring blues guitar player get this if your a fan of the Blues your C.D. collection is seriously lacking if this is not part of it. also get "Masters of the Delta Blues, The Friends of Charlie Patton" all of Son Houses earliest recorings are on there (1930) with some other Delta Blues Legends

The Real Blues--Raw and Dirty
This collection is essential to any blues collection...you cannot truly appreciate the blues until you've heard these recordings.

Son House is my favorite blues performer. No one--not even his proteges Robert Johnson or Muddy Waters--could match him when it came to the raw emotion. Sure, Robert inspired later blues-rock giants like the Rolling Stones, Eric Clapton, Led Zeppelin, Aerosmith, Stevie Ray Vaughn (to name a few...) and Muddy revolutionized the blues by 'inventing' electricity. But this collection, when coupled with the album "The Complete Recorded Works of Son House & the Great Delta Blues Singers" (ASIN: B000000J26--recorded in 1930; another essential disc), offers the listener a true glimpse into history.

The first few tracks include House singing and playing guitar with his band: Willie Brown (who has since attained legendary status as his name is mentioned in Robert Johnson's lyrics; he was also was the central character in the 1986 movie "Crossroads") on harmonica, and Fiddlin' Joe Martin on mandolin. These songs are amazing. The only word I can use to describe House's slide guitar technique is FEROCIOUS. His mixture of slams and slaps, when combined with the shouts, moans, and grunts of his vocals, is nothing short of frightening. "Walking Blues"--which, of course, was a hit for both Robert Johnson and Muddy Waters but was written by House--is one particular standout. It is nearly seven minutes long (House is famous for his "epic" performances...in concert, his songs were known to exceed twenty minutes), a relentless barrage of blues. "Levee Camp Moan" is another strong point. The rhythms and shouts are incomparable.

Perhaps the best analogy is "a frontal assault on the soul".

The remaining songs are House's solo efforts, although the striking force has not deminished at all. In fact, they may be even more powerful--it's hard to believe that only ONE guy is singing...!

Editorial Review

Editorial Review

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• Original recording remastered

Reviews (40)

The original "heavy metal" album
Led Who? If you ever wondered why Beck is considered a guitar great, then just listen to this incredible record. The attack and fuel which JB exerts on some of the cuts on this work have yet to be surpassed. Rod Stewart shows that he is one of Rock's greatest vocalists, and the interplay between he and Beck is stunning. Rock My Plimsoul, basically an amped up revision of the Broonzy blues classic Rock Me Baby, is played as tightly, nasty, and nonsense free, as anybody could possibly play a song. Any young, aspiring guitarist should buy, listen, and try
to emulate the sounds which Jeff exhibits on this wonderful
set. This record is not about flash or trickery, but rather focuses on just playing some great bluesy and ballsy Rock and Roll. Beck's fusion jazz albums are ok, however, they lack real substance. This recording is virtually composed of nothing but substance. If you can handle the truth, then buy it. If you can't, then keep buying the ... that passes for music today. This is one of those masterpieces that is not only a great listen, but also serves as a great educational tool as well.
Listen and learn. Zeppelin was sitting in the wings waiting and watching, and look how well they did by imitating what Jeff and his group originated. One of the most influential albums of all time! Essential, relevant, and very enjoyable. By the way, get the Jeff Beck Group's second album Beck Ola as well. It is almost as good, and unfortunately the outfit destroyed itself soon after its release. If you own Truth and Beck Ola, then you have virtually most of Jeff Beck's seminal, relevant, and truly essential material. If he wasn't his own worst enemy, then you truly wonder just what he could have accomplished if he only stayed a bit more focused and exhibited just a little more self restraint, with regard to his musical career. Oh well, at least he made this record, and it alone is a greater achievement than the best work of all but a select handful of musical artists. It's that good!

Excellent blues rock
This album, coupled when I bought it with "Beck-Ola," showcases Jeff Beck during his blues period. "Truth" is a wonderful bit of blues rock from the opening cover of the Yardbirds' "Shapes of Things," to the closing cover of "I Ain't Superstitious," this album is great. Beck demonstrates his ability to deliver concise, cosmic, and utterly original solos throughout this blues excercise. There is no more original guitarist in rock's history save Hendrix, and even then I'd hate to have to live on the difference. Jeff Beck never received the commercial success of any of his peers, yet he also never played so over-the-top as Hendrix and Page have, preferring to dole out his brilliance in small doses. There is really no bad song on this album, and there are some really beautiful ones as well. His version of the classic "Greensleeves" should be standard guitar instruction for anyone and the mild hit "Beck's Bolero" (with an uncredited turn by Jimmy Page on bass) is another successful creative leap. The singing is provided by a young Rod Stewart and the bass (except "Bolero") is provided by Ron Wood. Most songs are blues based and the guitar work by Jeff Beck is superb. I urge you to buy this album and gain an understanding of why this guitarist is truly the greatest.

A defining moment in proto-metal and hard rock
Jeff Beck never attained the success of other hard rock/proto-metal artists like Led Zeppelin, but he was just as important and influential. On his debut album "Truth", Beck lays down the law for hard rock guitar playing, and his fantastic band showed everyone how to do the rest.

Beck's days with the Yardbirds don't go untold - the opening track is an interesting and inspired cover of the old 'birdie's hit "Shapes of Things". Some people don't like it as much as the original, and maybe it's not as psychedelic or as bouncy, but I think it is a fine performance. Beck and his band really shine on other tracks, though. "Let Me Love You", "You Shook Me" and "I Ain't Superstitious" are all highlights and some of the hardest rocking tunes in the set. The fine crew of musicians supporting Jeff includes Ron Wood's incredible bass (which at times rivals Jack Bruce), Mick Waller's thundering drums, and Nicky Hopkins' awesome piano and organ work. John Paul Jones of (later) Led Zeppelin fame even contributes some organ work on "Ol' Man River", the latter of which is also a showcase for Rod Stewart's fantastic vocals.

"Truth" is often described as the blueprint for Led Zeppelin's first album. There is no doubt that "Truth" was a huge influence on the Zep (Jimmy Page's guitar work echoes Jeff's leads on "Let Me Love You" very clearly). There are very direct similarities between the two: "Shapes of Things" is Beck's "Good Times Bad Times", "Let Me Love You" and "I Ain't Superstitious" are "I Can't Quit You", "You Shook Me" was done by BOTH groups (I like Beck's version the best - rawer and more dynamic, although too short), and "Morning Dew" and "Ol' Man River" = "Babe I'm Gonna Leave You". Rod Stewart's vocals must have influenced Robert Plant hugely.

Let's see, of the tracks I haven't mentioned yet, let's start with "Greensleeves" ("Aye, that's a lovely toon"). Although this track is often described as a weak point, it's one of my favorites. As noted in the liner notes, it *is* a lovely "toon". Fantastic guitar playing (as usual from old Jeff). Okay, "Rock My Plimsoul": basically a slightly altered cover of B.B. King's old standard "Rock Me Baby". Not really a highlight of the album, as it offers nothing really new, but it's still a good track with great playing. And, "Beck's Bolero" seems to be the "big" track, according to everybody. Seeing as it features Jimmy Page on second guitar and Keith Moon of the Who on drums, it is one hell of a performance and one hell of a track. It's awesome. I also have to mention "Ol' Man River" as being one of my favorites. No, it doesn't feature devastating guitar-work, but it's a great song with *amazing* singing by Mr. Stewart.

Editorial Review

Reviews (1)

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Reviews (2)

White-Bread British Blues
"Mr. Wonderful" is fairly unexceptional, competent '60s British blues. The overall sound - as might be expected - is extremely similiar to John Mayall's Bluesbreakers, with a touch more emphasis on guitars. In addition, the influence of Elmore James is almost too obvious - the album not only features "Dust My Broom," but 2 or 3 other tracks that sound just like it.

Not a bad album, but not essential either.

Reviews (13)

A nice idea well realized
On "The Robert Johnson Songbook", and its 13-track companion volume "Hot Foot Powder", Peter Green goes through all of Robert Johnson's twenty-nine recorded songs. Or rather through twenty-seven of them, according to the track list here on Amazon, which doesn't feature "Kind Hearted Woman Blues" or "Terraplane Blues" (they are both on my CD, however, but that may be a European thing).

The arrangements are mostly acoustic, featuring guitars and dobros, piano and the occational harp, and while former Fleetwood Mac-guitarist Green's vocals aren't excactly powerful, he sings with a lot of soul and an impeccable sense of rhythm, sounding in fact very much like Eric Clapton.
Bad Company's Paul Rodgers guests on a couple of tracks, and vocal group Street Angels 98 lend a distinct gospel-like flavour to "Last Fair Deal Gone Down".

This isn't aggressive electric blues with lots of fiery lead guitar, rather it's mellow and rather faithful to Johnson's original readings. And virtually every song is excellent, from the classic guitar/piano duet on "When You Got A Good Friend" and the harp-driven "Stop Breakin' Down Blues", to the Paul Rodgers-sung "I Believe I'll Dust My Broom" and the delightful low-key rendition of "Sweet Home Chicago".
And Robert Johnson's version of "Walking Blues", which rather it incorporates the rhythm, the phrasing and even the main slide guitar riff from Son House's "Death Letter", sounds even more than usual like "Death Letter". Not that I'm complaining, I love that song!

There isn't a whole lot to complain about here, actually. This is Robert Johnson's songs, after all, and while Peter Green has updated the arrangements to a certain degree, he doesn't really alter any of the songs enough to offend any Johnson lovers. A little bit more variation might be nice, but "The Robert Johnson Songbook" is a perfectly good record as it is.
And it's successor, "Hot Food Powder", is even better, so don't forget to pick up both of them.

Drop-Dead Gorgeous
I admit I was disappointed when this CD came out. Since Peter Green had returned to performing and recording in 1996, I was hoping for new songs from him. A whole album of Robert Johnson covers? Why?

After listening to this, however, I began to appreciate it more and more. Nigel Watson and Peter Green manage to be respectful without being overly reverent, well aware that they're updating Johnson's classic songs for contemporary audiences. (It's worth noting that the only Peter Green compositions to appear on any Splinter Group CD are re-arrangements of ... old Peter Green songs.) Peter's voice is getting pretty creaky, but on this record it's warm and husky, just hoarse enough to give you the feeling of someone who's lived the blues. The piano and rhythm work are excellent, as are Nigel Watson's singing. And a special word for the Street Angels backup singers, whose performance on some tracks gives them a gospel feel that's entirely appropriate to the material.

There's no point in comparing this to Robert Johnson's originals. However, you can compare it to Eric Clapton's new release, by contrast a rather dry, lifeless exercise that goes in one ear and out the other. If you're a Clapton fan, you can string me up and call for the executioner, but first... listen to this CD. It's a must for any blues fan.

(And don't forget to buy "Hot Foot Powder", the follow-up album with more delicious blues!)

Delta Blues, London Style
I bought this CD back when it was issued but hadn't listened to it much until recently when Peter Green's fellow British guitar wizard Eric Clapton issued his own tribute to Robert Johnson called Me and Mr. Johnson. Although the two CDs are very different in both approach and sound, I like them both. The one I would pick as the "best" would depend on my mood on any given day. But if its "authenticity" you seek, then Green's Robert Johnson Songbook comes closest to the Delta Blues sound.

Since I have not actually heard most of Johnson's own work, I won't inject myself into the "what would Johnson do?" speculations. I have a feeling that he would be pleased and amused that so many white boys see him as a blues god and want to cover his music. However, I have heard all these songs before covered by a variety of artists from across the rock and blues spectrum, so I can comment on their relative merits.
There is a lot to like here. Green and his sidekick Nigel Watson put their hearts into this recording and serve up some very tasty Delta Blues, London style. I like the whole CD, but my favorite renditions here are of Phonograph Blues, a gospel-flavored Last Fair Deal Gone Down, a slow, Stones-like Love in Vain Blues, the mournful Stones In My Passway, the macho I Believe I'll Dust My Broom, and the swinging Sweet Home Chicago.
The CD comes with an informative booklet that compares and contrasts the lives of Robert Johnson and Peter Green. It also offers some intimate observations on how the idea for this tribute was born. If you like the blues in general and aren't a stickler for note-for-note authenticity, then I recommend The Robert Johnson Songbook highly.

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Reviews (19)

better of the two
this debut album is the better of the two original blodwyn pig albums; i really don't like the modern alchemist, but everything else is first rate. unfortunately, nobody can keep straight what songs belong on what albums. there are american AND european versions of both. the stunning " see my way" belongs to the first u.s. album-but it is on the getting to this cd. i think they should just put out a 2cd set with both albums and any spare b sides, live stuff etc. this is like abrahams' old band, jethro tull, but more far out and challenging. dear jill and it's only love are two stand out tracks. abrahams was a fine vocalist and songwriter in addition to being a splendid guitarist. and jack lancaster was, along with traffic's chris wood, among the better sax players in rock music at the time. bassist andy pyle and drummer ron berg, who surprisingly would one day end up with the kinks, give fine support on bass and drums, respectively. a solid, assured debut that will please tull fans, jazz/blues rock buffs, and 60's enthusiasts.

BUTCHERING THE PIG'S LEGACY
I agree with the complaint about missing tracks: whoever rereleased Blodwyn Pig's two studio albs did them (and listeners) a huge disservice by swapping tracks (although this may have actually "improved" Getting to This a bit, it ruins Ahead Rings Out). If they had left the original release intact, I'd be giving this at least 4 stars. If you want to hear all of the Pig's best stuff, you'll need to buy both CDs. Too expensive.

Features

• Extra tracks
• Original recording remastered

Reviews (53)

This WAS Jethro Tull...
A band's debut album usually falls into one of two categories. It's either an underrated and often overlooked masterpiece, or it's weak compared to the band's other efforts, and recommended only for true fans of the band. Sadly, Jethro Tull's 1968 debut album falls into the latter category.

If you've only heard the band's radio hits, or their seventies stuff when they began combining medieval folk music with rock and roll, you're in for a huge shock, and not necessarily the good kind. Most of the tracks on this album are of a blues rock sort. Read on for track-by-track comments.

My Sunday Feeling - The only thing remotely close to a hit on this album. It's not bad at all. 4/5

Some Day The Sun Won't Shine - The most country-sounding thing on this album. 3/5

Beggar's Farm - A gloomy rocker in which Anderson does done excellent flute playing. 3.5/5

Move On Alone - A jazz-influenced rocker. The style used here reminds me of that used by Chicago. 3.75/5

Serenade To A Cuckoo - The first instrumental, this one heavily emphasizes woodwinds (flutes and the like.) 3.75/5

Dharma For One - Another instrumental, basically a continuation of the last song. 3.75/5

It's Breaking Me Up - A blues rocker in which Anderson just doesn't sound like himself. 2.75/5

Cat's Squirrel - Excellent hard rocking instrumental. One of the stand-out tracks here. 4/5

Song For Jeffrey - Not sure who Jeffrey is, but his song is one of the weakest on here. 2.5/5

Round - Very short and pointless instrumental. 2/5

This album may be Jethro Tull's first, but make sure it's not YOUR first. I suggest starting with either Benefit or Aqualung, as this album will more than likely give you the wrong impression about the band. However, if you enjoy blues rock, I think you'll enjoy this album, regardless of who you are. But if you want to get into Tull, get either Benefit or Aqualung! Don't get a hits compilation, as they deprive you of too many excellent tracks. This album is for TRUE TULL FANS ONLY.

[IF YOU MUST BUY THIS ALBUM, GET THE RE-ISSUE BECAUSE IT CONTAINS BONUS TRACKS.]

Jethro Tull Play The Blues
"This Was" is Jethro Tull's debut album from 1968. Led by the charismatic singer/flautist Ian Anderson, this first incarnation of the group, rounded out by guitarist Mick Abrahams, bassist Glenn Cornick and drummer Clive Bunker, deliver an exceptional platter of blues-flavored rock. Though the album has a sort of low-fi feel to it (Anderson says in the new liner notes that the album only costed $1200 to make, and the recording of it was simple), "This Was" is still an excellent beginning for this most-excellent band. The band's playing is amazing, and many Tull classics are found here, such as the dirty blues-rock of "My Sunday Feeling," the groovy "Beggar's Farm," the light-hearted instrumental "Serenade To A Cuckoo," the rockin' "Dharma For One" (featuring a great drum solo by Bunker), and the jaunty "A Song For Jeffrey." This remastered edition of "This Was" also comes with three bonus tracks: the bluesy "One For John Gee" (the band's tribute to the manager of the Marquee Club where they used to play in the early days), the classic Tull rocker "Love Story," and the beautiful yuletide number, "Christmas Song." Shortly after the album's release, Mick Abrahams left Jethro Tull and was replaced by guitarist Martin Barre, who has remained with the band ever since. But this is where it all started for Tull. Although they would totally top themselves with their outstanding 2nd album, "Stand Up," "This Was" remains a first-rate debut album for one of rock's all-time greatest groups.

Features

• Extra tracks
• Original recording remastered
• Import

Reviews (1)

Energético blues rock
No hay consenso claro respecto a cual es el mejor disco de Ten Yeras After (para mi Undead), y tampoco se toma mucho en cuenta su debut, pero para la segunda generación de blues británico (Free, Fleetwood Mac, Groundhogs, Savoy Brown) este disco es una buena adición, si bien el grupo aún no ha desarrollado todas sus ideas. Obviamente y como en cualquier producto TYA lo que prima aqui es la guitarra de Alvin Lee, uno de los mejores y más rápidos de su época. Debió haber sido una sorpresa para los ingleses descubrir a tan formidable guitarrista tocando con tal habilidad y aplomo en su primera aparicion discográfica. No es justo en todo caso dejar de mencionar al resto de la banda, quienes aunque en un segundo plano tambien ayudaron a hacer más sólido el sonido TYA.

Reviews (16)

Johnny's Best CD
While "Progressive Blues Experiment," "Nothin But..." and "Let me In" are all excellent blues CDs, his first for Columbia is the best. With an allstar band including Willie Dixon -b, and Walter Horton -hca, and brother Edgar -p, Johnny lays down some serious real blues on this one. "Dallas" is the very best I have heard in the Robert Johnson vein. "Be Careful With A Fool" is amazing and "I'll Drown In My Tears" gets at least five repeat plays every time I put it on. If there is a list of essential blues albums, this one most definately must be on it.

One of Winter's best and bluesiest
On this fine 1969 set, Texas blues-rocker Johnny Winter is backed by some very authentic blues stars, legendary composer/arranger/bass player Willie Dixon among them, and hugely underrated harpist Walter "Shakey" Horton also makes an appearance.
Also, some of the bass playing is handled by none other than a young Tommy Shannon - later of Stevie Ray Vaughan's backing band Double Trouble.

What you think of this will probably depend a little bit on how you feel about Johnny Winter's "strangled" vocal style, but the music is great. "Johnny Winter" mixes soulful slow blues (a sizzling rendition of B.B. King's "Be Careful With A Fool", the horn-laden "I'll Drown In My Own Tears"), tough electric blues-rock (a take on "Good Morning Little School Girl" and a great, swaggering "Leland, Mississippi Blues"), and a couple of superb acoustic numbers which show off Winter's masterful slide guitar playing (the Son House-like "Dallas" and Robert Johnson's "When You Got A Good Friend").

Walter Horton shines on "Mean Mistreater", Winter himself plays some really excellent blues harmonica on "Back Door Friend", and younger brother Edgar Winter plays excellent piano on "I'll Drown In My Tears". Johnny Winter handles all lead and slide guitar duties, and his playing is varied and tasteful as always...fiery without resorting to meaningless shredding.

A fine, solid album, and a great purchase for fans of Mr Winter's pure blues records. It is obvious from these reviews (I shall name no names, and certainly not say anything about anybody's reviews being less than helpful, let alone inane) that some fans prefer his most generic rock n' roll records rather than these more original ones, but if you enjoy the bluesier side of Johnny Winter's talents, this is for you.
4 1/2 stars.

Editorial Review

Reviews (13)

Willie Dixon - I AM the blues
Ignore the "official" review and then find this album on VINYL.

I purchased this LP back in 1974 on vinyl and still listen to it every so often. The sound quality on a good system is just superb.

That the official review complains about the sound quality simply tells me that the CD was poorly mastered which is such a shame because this album is a joy to listen to.

Go hunting online and find the vinyl version - it's well worth the hunt !!!!!!!!!!!!!!!!!!!!

Willie's best.
Willie Dixon wrote some of the greatest songs in the blues catalogue. Where he is a more accomplished arranger, composer and bassist his performing abilities aren't bad at all. He's not quite up to the level of Muddy, Wolf or Sonny Boy, musicians who made his tunes famous, but he wasn't far behind either. The band is solid, the production a bit off, but overall a great album. Definately Willie at his best. Highly recommended...Simon

Reviews (8)

Peak performance by a legendery entertainer
A true standout, especially when you compare the performances on this album to some of Mr. Hooker's other work. The studio musicians all seem to blossom here, with J.L.'s incredible vocals, in creating this classic. It ranks with my personal top 10 alltime albums, way up there. Universal and current messages abound, and is a lot of fun too (check out "House Rent Boogie"..."Hit Kix U").

Endless Blues
I bought this album soon after its initial release in 1971 and was blown away. It holds up even after 30 years and will continue to do so. Some critics have dismissed this album as another example of aimless jamming by some white guitarists in awe of a blues icon. I completely disagree. Sure, many of the tracks are over 5 minutes: and yes these are jams. But they anything but chaotic and unstructured as some listeners have suggested. There are fine contributions from the likes of Steve Miller, Mel Brown and the late Jesse Ed Davis (listen to Davis' snake like notes and brittle playing on the jam Pots on, gas up high). For the blues mood in extremis check out Kick Hit 4 hit Kix U and Sheep out on the foam. The rhythm section of Gino Skaggs (you want to learn blues bass playing, listen to this cat's clean playing) and Ken Swank (fine drumming) on most tracks (late Carl Radle and Jim Gordon of Derek and the Dominos appear on the remainder) is rock steady. I emigrated to Canada as a 15 year old in 1971 and this was the album that got me into blues. I have worn out two double albums and have presented copies to numerous friends to illustrate how joyful blues music can be. Its wonderful that the CD is available once more to delight blues fans every where. The 5 stars are for the content and for the seminal role this CD has played in shaping my musical education.

Features

• Import

Reviews (4)

grunts and groans
aint no ROOTSY OR BLUES,affectionary, BUT ME THINKS this stuff belchas a fine wallop out of the speakers theres all sorts of pitches, punches what awalloping Jam resin soaked thick goo with SMOKE THATS GOT BOTH NOSTRILLS FLARING, too good to be true. mint rush circa seventy.

Lacks Consistency!
Future Blues was originally released on LP in 1977 and was released in its original form on CD July 1, 1994. This is a different Canned Heat then what one came to know and love in the 70's. Gone is Henry Vestine on guitar replaced by Harvey "the Snake" Mandel. The result is a heavier, darker, guitar tone than on other Heat albums. Make no mistake about it Mandel can flat out play. The guitar solo on "So Sad" for example, is burnin' hot and in all respects is first rate. The CD also contains rehashed versions of "Going Up The Country" in "Shake It and Break It" and a slightly faster version of "Let's Work Together". It also includes and an out of place big band swing number called "Skat". Finally, Dr. John put's in an appearance in the heavily "Hooker" influenced number "London Blues" which, on the LP version represented the opener for side two of the album. The best cuts are the harp laced "Sugar Bee" and the entire side two or, "London Blues", "So Sad" and "Future Blues".