Wicked Grin
Average Customer Review:
Audio CD (13 March, 2001)
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Editorial Review

Wicked Grin is wicked indeed, just as sharp and clear and perceptive as you'd expect of an album of Tom Waits songs performed by veteran bluesman John Hammond. That basically sums up what Wicked Grin is all about; only one song on the album, the traditional "I Know I've Been Changed," wasn't written by Waits. This gorgeous recording should appeal to fans of both artists: Waits's songwriting is as incisive as ever, and Hammond explores each song to its fullest potential as he makes it his own. Waits produced the album as well. Between them, the two musicians achieve a kind of synthesis that makes for a damn fine collection. The first few songs kick things off nicely, evoking urban images, specifically of New York City, that stick in the mind like a tune running through your head that won't leave. Then there's "Shore Leave," with a sort of dark harmonic drone behind everything that makes the whole song downright spooky; the bittersweet "Fannin Street," which almost sounds like one of Johnny Cash's sweeter songs; and the Spanish-inflected "Jockey Full of Bourbon," which is capable of raising goose bumps. The format of this collaboration is perhaps a bit unusual--though there's a long history in the blues of artists covering other artists' work, it's usually done after the artist being covered is safely dead and can't object--but it works so well that it makes an excellent argument for continuing the practice, even if it's doubtful that most such pairings could be as successful as this one. This may well be one of the best releases of 2001. --Genevieve Williams ... Read more

Reviews (39)

WHAT IF BARRY MANILOW SANG TOM WAITS?
Okay, Tom is one of those artists who's music transfers well to almost anyone's interpretation. They are just damn good songs, and it's hard to mess up a good song. But listening to this music is like hearing Tom Waits emasculated, or maybe a Stepford Tom Waits. Hammond's voice and delivery doesn't even approach the pathos or spirit of Tom's. Sure it has a nice "Blues groove", but the spirit of Waits is lost in this recording. If Tom's music is smoked brandy,this music is a blended daiquiri with a paper umbrella. Holly Cole, who is, sometimes, so upbeat I want to slap her, gives a much more sensitive, gritty, and moving performance of Waits' songs than this Julie-Andrews-Guy. If you want mediocrity, buy this cd. If you want artistry, pass it by.

Essential postmodern blues--
Since the day this disc came into my life, it's consistently been one of my faves for those "what's it all mean" kinda moods. There is true wisdom in Tom Waits's wordplay, and true power in the thumping, thudding skronk that backs it up. It's heavier than rock and deep as Dylan. I can picture John sitting in a half-lit bar somewhere in the middle of a crowded city on a rainy night, howling these offbeat blues poems to an audience of a dedicated few hipsters. I could only hope I'd be worthy enough to get a seat in there.

Tom cat yowling in the nicotine dark.....
If you're familiar with both John Hammond and Tom Waits, you've probably guessed (correctly) that this album was not going to contain the average coverage of Waits' song catalogue. It's the bizarro bluesy side of Tommy the Cat that gets covered here, as opposed to Waits the jazzbo or Waits the down-and-out saloon crooner. Hammond and band give a earthy kick to such Waits growlers as "2:19," "Get Behind The Mule" and "Buzz Fledderjohn." With Waits himself in the producer's chair (and adding guitar and, on one track, a harmony vocal), Hammond makes these sound as earthy as Howlin' Wolf (city) or Charley Patton (country), and gets you as psyched about his interpretations as, hopefully, you'd get about Wait's own versions. The only less-than-stellar track is "Shore Leave," which doesn't cut it put side-by-side with Waits' version on his album, SWORDFISHTROMBONES. But that's a minor gripe with the rest of the album to consider. I hope Hammond will think about a sequel to this album, as there's lots of Waits in them thar hills just waiting for the right kind of venue. This album is a good start ... Read more

Asin: B000059T5O
Subjects:  1. Blues    2. Contemporary Blues    3. Pop   

Big Wide Grin
Average Customer Review:
Audio CD (05 June, 2001)
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Editorial Review

Every photo included in Big Wide Grin's booklet has Keb' Mo' looking just as pleased as punch. The material on his fifth album is likewise overwhelmingly cheerful, a series of upbeat meditations on family life that, while occasionally idealized, are usually refreshingly realistic. It's this realism, the implicit understanding that families are frequently assembled out of far-flung components rather than adhering to some nuclear ideal, that makes Grin such a winner. That principle informs songs such as "I Am Your Mother, Too," addressed to an adopted child, and "Color Him Father," about the entrance of a stepparent into a family. The whole album is, in fact, a family affair, with members of Mo's family occasionally pulling background-vocal duty. Big Wide Grin is a summertime album for those still young enough to have the summer off. Fortunately, there's just enough bittersweet mixed in to keep the result from Pollyanna-hood. After all, what's the point of being reminded to count your blessings if you don't realize that that's what they are?--Genevieve Williams ... Read more

Reviews (40)

His most misunderstood album.......
What a lot of reviewers fail to realize about this album is that it is NOT blues! It was simply a chance for him to try something new. I think it's great that he wants to include his son on his album and feels comfortable enough as a musician to do so. His true fans realize this by not trying to group him into one category.But I guess I'm a little different than some of the other reviewers here.I am NOT a Blues fan.I am a music fan.Plain and simple.Charlie Daniels once said "There's only 12 notes in all of music.Labels don't mean a thing." So if you like music, this is great album (as well as his others), but if you only listen to blues....well this may not be for you.

Nope, Not the Blues
It would be easy to say Keb' Mo' sold out, but I guess he probably just wanted to try something different.So he pushed out this happy/silly/poppy/goofy disc.Not my style.I'm a blues fan.If you want a disc to play at your ten-year old's birthday party, this might be for you.

fun kid's album without being hokey
I am a fan of Keb Mo and was glad to see he made a kid's album. As a mother of twins, I'm trying to find music that we all can listen to. Avoiding the silly albums out there isn't too hard, it just takes a bit of research. I want my boys to be exposed to all kinds of good music, and Keb's album is one I put on often. He has a great voice, and the upbeat songs are fun to dance around to. (My boys love watching me dance and do hand movements to Love Train.) I like that he includes a wide definition of family. The grandmother's hands song is wonderful and sweet. By the way, for Keb fans he has a wonderful lullaby on Just Like You album. If anyone is looking for other kid's albums, another good one is Jazz for Kids with real jazz singers like Ella Fitzgerald, Nat King Cole, Louis Prima etc. singing fun jazz songs. ... Read more

Asin: B00005K9F7
Subjects:  1. Blues    2. Children's Folk    3. Contemporary Blues    4. Modern Acoustic Blues    5. Modern Electric Blues    6. Pop   

White African
Average Customer Review:
Audio CD (06 March, 2001)
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Reviews (11)

Otis tells the Truth
This is about testimony, people, and you will not turn your back and say, "That's not my problem."It's about legacies...of violence, pain, hate, suffering...in the name of heritage; in the name of raw apathy...in the name of ignorance.In Otis Taylor's big hands, plucking and strumming on an electric banjo, mandolin, or acoustic guitar, it's a way to cry out for justice-and mercy and forgiveness.They don't make prophets like this anymore-they did once upon a time, but that was back in biblical days.If there was a reason to listen to this man's songs, it's because he wears the dust of history on his physical body and within his heart, and along with that, the crimes of passion that have been done in the name of righteous intention.

These songs are about commitment: a way to remind us that we have choices to make in our lives, both individually and as a social unit.The actions that we make can come back with a sword or an olive branch-and thankfully, Otis has a gentle way with his power, especially from a man who can stare into your soul from the cover photo of White African.His companions are right beside him like avenging angels: Kenny Passarelli's thudding, plodding bass, holding the chains and shackles of generations, daughter Cassie Taylor's ghostly backup vocals that moan through the leaves on the trees on a hot moonless night, and Eddie Turner's tortured slide and lead guitar.Yes, the obvious comparison is to John Lee Hooker-but Otis's strength is that he's doing it his way.You'll feel it too, once Otis lays his music on you.

Good guitar, great voice, so so material
I bought this cd for the song, My Soul's in Louisiana. None of the others quite measured up. On the bright side, though, this one song was worth the price of the whole cd.

Indescribable, Haunting, and Perfect!
I had the great fortune of recently meeting Kenny Passarelli, Otis Taylor's producer and bass player.After a fascinating stroll down rock & roll memory lane recounting Kenny's storied career as a musician (Mannassas, Joe Walsh, Elton John, et al), Kenny mentioned his new ventures in producing."White African" was a parting gift from Kenny - I was and still am blown away by the talent, technical elements, and social commentary featured in this opus.Otis Taylor's storytelling coupled with his instrumentals and vocals left me wanting more."White African" is a must for any devoted blues fan and any emerging fans who seek something "different".Thank you, Kenny. ... Read more

Asin: B000059SY9
Sales Rank: 41804
Subjects:  1. Blues    2. Electric Country Blues    3. Pop   

Presumed Innocent
Average Customer Review:
Audio CD (24 April, 2001)
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Editorial Review

Raised near the border of Texas and Louisiana, Marcia Ball continues to claim dual citizenship for her music, forging a rollicking roadhouse groove that has never sounded richer or more vital than it does here. With her piano style steeped in the soul of New Orleans, Ball and coproducer Doyle Bramhall enlist the Cajun accordion of Pat Breaux and the bluesy Texas bite of Pat Boyack's guitar and Gary Primich's harmonica on a collection that holds its own with the classics that inspired her. Highlights range from a duet with Delbert McClinton on Allen Toussaint's "You Make It Hard" to the supper-club sophistication of "She's So Innocent" to the album-closing homage to Huey "Piano" Smith, "You Make Me Happy." Though uptempo rhythm & blues dominates the selection, the open-hearted balladry of "Let the Tears Roll Down" and "I Have a Right to Know" brings out the best in Ball. --Don McLeese ... Read more

Reviews (9)

Marcia as good as ever
Marcia has been influenced by many different styles of music, predominately blues and roots rock but also including R+B, country and jazz - even some Cajun. You can find elements of all these in this album though some are more obvious than others. She has never been a prolific recording artist but her albums are all of the highest quality. This wonderful album, mostly of good-time music, shows Marcia singing as good as ever and backed by plenty of great musicians, although she only occasionally shows her dynamic skills on the piano.

The songs are mainly original (often written by Marcia) but also include covers of You make it good (a cover of an Allen Toussaint song featuring Delbert McClinton as duet vocalist), I have the right to know (originally written and recorded by Brenda Burns and also covered by Francine Reed) and I'm coming down with the blues (a Don Covay song from 1960).

Among the original songs, I particularly like Louella (on which Marcia makes more use of her piano than usual for this album), Thibodaux Louisiana (with a touch of Cajun). She's so innocent (an outstanding ballad) and You make me happy (a great song to close the album) - but every song here is brilliant.

If you like great rock music with a variety of other influences, this is for you.

Strong material, variable production
It's refreshing to hear music that's sung and played by a serious musician: Marcia Ball's exciting New Orleans-styled piano and her committed vocals are a happy invitation to an uplifting listening experience. This album sounds like it was recorded...in an actual *recording* studio? Yes, the air is a little tight around the mike, but do I hear a real acoustic piano?
The highlight of the album is "She's So Innocent", a kind of album sub-title, a mello and sombre ballad beautifully rendered by Marcia. This is the quietest slow number here and the most impressive. "I Have The Right To Know" is reminiscent of the best of Percy Sledge, with a dash of Domino (as in Fats). Like many of the selections, however, it runs about one minute too long. The Don Covay co-composition "I'm Coming Down With The Blues" is a great addition. It's a lesser-known slow number and it's soulful throughout.
The best uptempo item is "Fly On The Wall", actually a mid-tempo. The arrangement is perfect with backing vocals well mixed. A contender is the Ball composition "Louella", somewhat reminiscent of Frankie Ford's "Roberta" [aka "Loberta"], a fun lyric about some chick's penchant for making private business public. Must make a nice *set* entry.
"Count The Days" has an entertaining hook, but the arrangement is third-rate. With lyrics presumeably derived from the Presley-related "Milcow Blues Boogie" and a chorus possibly based upon The Beatles "All Together Now" you'd think this track would cook, but the mindless repetition of "...one, two, three..." and the length of the tune leaves one perplexed by a poorly integrated novelty effect. Maybe a fun after hours sing-along but not a number to hold the third position on an album by an esteemed artist.
The CD closes with Marcia's "You Make Me So Happy", an engaging track which directs you right back to Track One. Perhaps by leaving off a few numbers and simplifying a few more the album would really cook. Still a notable effort.
[Marcia is included on the Island Visual Arts video "Let The Good Times Roll - A Film About The Roots Of American Music"].

5 Stars Ain't Enough But It Is All That I Can Do
I am a long term Marcia Ball fan.Her music and piano boogie really energizes me.Recently she appeared in concert locally (Norman OK).I took my two daughters who are in their early 20s and who were not familiar with Ms Ball.They were both mesmerized by the talent and the music of this lady.Any of her CDs are a bargain.All of her stuff is fun.All of her music is hot ... hot ... hot! ... Read more

Asin: B00005B1DL
Subjects:  1. Blues    2. Boogie-Woogie    3. Louisiana Blues    4. Modern Electric Blues    5. Piano Blues    6. Pop    7. R&B    8. Roots Rock    9. Swamp Blues   

Here and Now
Average Customer Review:
Audio CD (22 May, 2001)
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Editorial Review

The language of the blues is available to everyone, andprobably more to the guy who helped invent rock & roll with 1951's"Rocket 88" than to most people--though Tina's ex-husbandmight have thought twice before including quite so many lyrics on hiscomeback album about how women keep leaving him and he doesn'tunderstand why. Even so, the whammy bar on Turner's Stratocaster haslost none of its sting. He bangs on the piano like a man a quarter hisage, too, and when he manages to dodge the curse of modernelectro-percussion, Here and Now has the drive and verve of the recordshe made half a century ago. Turner even reaches back for remakes of"Rocket 88" and a few other jump-blues faves, like Albert Ammons'sarrangement of "Swanee River Boogie." --Douglas Wolk ... Read more

Reviews (19)

not quite THAT hot..
I had very high hopes for this album, but I can't help finding it pretty derivative - although musicianship is solid, there's nothing TOO exciting going on.I guess I was expecting a more inspired offering form the controversial and mercurial Mr. Turner. Many tunes (written by WHOM, extacly?) are makeovers of already existing material, albeit with new/other lyrics. For example, "Ike's Theme" is merely Freddie King's "The Stumble" rehashed, and lacking the catchy hook of the original. On the up side: Ike's vocals are raw,strong and punchy, PLUS he's wearing a nasty lime green jacket, so some credit IS due.

I LIKE IKE.... An awesome comeback
Unfortunately a lot of people can't get past some bad things Ike did decades ago when he was out of his mind on all kind of substances. Thats their problem. Ike is one of the most imporatnt musicians that ever lived and nothing can alter that. How refreshing to hear an album of real instruments. Ike comes back hard with a big slice of TRUE Rhythm & Blues. This is real music, and all the jams here are hitting.

My personal favorite is the awesome 'Gave You What You Wanted', which rides a crazy bassline and tells his ex, 'I gave you what you wanted, it ain't my fault you didn't like what you got'... Preach on, Brother Ike! Another cut is the hilarious opener, 'Tore Up', an ode to inebriation, where Ike simply went to get his paycheck, but met with the boys, one drink turned to two, two turned to ten, 'And everything went wrong'... Damn Ike, you know the deal. 'You Can't Winnum All' is another awesome cut, and he even resurrcts 'Rocket 88' for the modern era.

The production is mind blowing on this album. Song to song is just full of so much soul, grit and craftsmanship, this is an absolute essential. Ike not only jams hard on the guitar, he also bangs those piano keys like no ones business. The basslines are out of this world and the whole vibe here is uplifitng and perfect to whack on where your feeling down or some woman done you wrong.

If you can appreciate real music & open up your mind, this album is a worthy purchase, and sure to stay with you for a long, long time.

Tina who?
At last, Ike without Tina once again and laying an unshakeable claim as one of the true fathers of rock and roll. My favourite track is``Gave you what you wanted (it's not my fault you didn't like what you got)''. Is that an ode to wotzername or WHAT????! ... Read more

Asin: B00005BGKQ
Subjects:  1. Electric Memphis Blues    2. Pop    3. Rock   

Sweet Tea
Average Customer Review:
Audio CD (15 May, 2001)
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Editorial Review

Very few artists have attempted--or succeeded in--improving thestandard template for classic blues records set some 40 years ago in the golden age of Muddy Waters and Howlin' Wolf. Perhaps R.L Burnside's recent heavily produced work on Fat Possum Records has come closest to adding an original slant.

On his new album, Buddy Guy looks to the same source for inspiration; seven of the nine songs here are written by Fat Possum's hill-country blues roster, including T-Model Ford and Junior Kimbrough.Working with producer Dennis Herring (Counting Crows, Jars of Clay) and asmall collective of Mississippi-based musicians, Guy sings with a passionthat can only come from the same source as the songs. The noise generated in the studio through vintage amplifiers has a live and dangerous feel toit. The acoustic opener, "Done Got Old," does not prepare the listener for the colossal aural assault of "Baby, Please Don't Leave Me." Fading in on apercussion track, Guy's guitar hits its cat-strangling best and never looksback, while the voice sounds energized, vital, and wholly contemporary.Through the 12-minute "I Got to Try It, Girl" to the closing Guycomposition "It's a Jungle Out There," Sweet Tea has all the hallmarks of a classic blues album, mixed with a twist of the new. --Rob Stewart ... Read more

Reviews (110)

100% blues
After reading all of the reviews for this disc, I would like to add my two cents. If you are one of those types that believes that Eric Clapton is the father of the blues and that blues is supposed to sound like Sha Na Na, Bill Haley, or the Tonight Show Band, then this disc is not for you. If, however, you appreciate raw and unpolished integrity, then this disc is for you. This disc is blistering with the sweat and mood of a jukejoint on a hot, humid, summer evening. Personally, I think this is Buddy's best by far.

Bad production, songs, unsuitable to Buddy's style
Buddy Guy is great.
This album is not.
I found the production, especially the overabundance of reverb and effects, unsuitable to Buddy.
I don't know what they were thinking. I can see why after this he recorded the acoustic Blues Singer album, as this experience could not have been a pleasant one.

DO NOT buy a copy of this album!
Buy two copies! And give one to someone who thinks they don't like the blues. I am not a Buddy Guy fan in general, but this album truly is astounding! It is some extraordinary music which has been criminally underappreciated since its release 4 years ago. It's funny that, with this album, Buddy Guy has put out a masterpiece by using similar methods he criticized Muddy Waters for utilizing with "Electric Mud". It doesn't matter whether you think you like "the blues" or not. This is not just a blues record; it is not just a rock n' roll record; this is an essential album for the collection of anyone who enjoys good music. ... Read more

Asin: B00005CC2J
Subjects:  1. Blues    2. Chicago Blues    3. Electric Blues    4. Electric Chicago Blues    5. Modern Electric Blues    6. Modern Electric Chicago Blues    7. Pop   

Wicked
Average Customer Review:
Audio CD (12 September, 2000)
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Editorial Review

Once upon a time (circa 1998), the daughter of a blues legend burst onto the scene with her own potentially legendary debut, Turn the Heat Up. I say "potentially" because, although all the necessary ingredients were there, they didn't quite represent the best of what Shemekia Copeland is obviously capable of. A few more years to hone her voice and allow it to reach its natural maturity, and Copeland could produce an album that would challenge some of the reigning royalty of the blues. Wicked is not that album. It is, however, a stunningly good piece of work, with solid songs (Copeland's contributing more to the songwriting, too), a greater variety of styles, and some serious genre-bending that will turn the heads of those used to the more straight-ahead blues of Copeland's last effort. The album even opens with a rocker, "It's 2 a.m.," and Copeland pokes fun at all those pseudo-R&B true-love ballads littering the airwaves lately with her own "The Fool You're Looking For." The fact that Wicked still represents more potential than realization is actually quite refreshing, too. It gives her growing legions of fans something to look forward to, as we realize that the best is still yet to come. --Genevieve Williams ... Read more

Reviews (19)

Masterpiece
This one is a masterpiece. She's a very merry girl, and when I hear her, I wanna jump, and I feel very well ! Her music is very merry, and I don't know any singer, who is as merry as Shemekia Copeland. She plays some good rock-blues. And I really like such rock-blues. The guitarist plays very well. No critisizm to the guitar, this time. The drums are also fine. And the singer is just wonderful !!! If this album wouldn't be released, I still wouldn't know what " rock-blues " means. My favorite songs from this albums are Wild, Wild Woman, Miss Hy Cidity, It's 2 A.M., And The Other Woman. Those four songs are definetly worth five stars. I really really recommend to try this album.

Just plain awesome!
I bought this album for my husband after hearing Shamekia Copeland interviewed on NPR. We did a recent road trip and it was the only CD I wanted to listen to. Her voice is amazing and songs vary from soulful to just plain fun! A must to own.

Fabulous Voice but...
I had the distict pleasure of seeing Shemikia live at the House of Blues.She has a fabulous voice and a tremendous stage presence.While I enjoy this album very much I can only give it three stars because the songs are simply too similar.While Shemikia's voice is amazing on every song I find that I can only make it through 2 or 3 most times before they all sound the same and I move on to something else.

That said she definately has awesome potential and I hope she gets the chance to spread her wings a little. ... Read more

Asin: B00004WEL7
Subjects:  1. Blues    2. Contemporary Blues    3. Modern Electric Blues    4. Pop   

Makin' Love Is Good for You
Average Customer Review:
Audio CD (25 April, 2000)
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Editorial Review

On this thoroughly enjoyable outing, the elder blues statesman does not stray from the formula that made the Grammy-winning Blues on the Bayou such an artistic and commercial success. Recorded at Dockside Studios in Lafayette, Louisiana, and once again produced by B.B. himself, the disc features a similarly rough and tumble electric trad-blues style. The five new songs are up to his usual standards, and all 14 tracks benefit greatly from the lithe, assured support of B.B.'s touring band, the B.B. King Blues Boys. His voice and guitar playing are supple and slinky; if only we all could be doing such vital, wonderful work at the age of 74. --Mike McGonigal ... Read more

Reviews (10)

Not bad...
Let me start this by saying I love B.B. King. I have about 8 of his recordings. Blues on the Bayue is better in my opinion though. Why? Better songs, less bad notes, better feel. I like these two that he did his self and they do have a good night club sound, I just thought he needed to spend a little more time on the recording as well as material. Some of the lines were cliche.

...

Dave

A good decision
The soft melody and his strong personality are more than enough to welcome this new materwork. The sound is clear and effective. He is like good wine, he becomes better with years. My respects!

The best B.B. in years
This is a better album than Blues On The Bayou, I also love that but Makin' Love Is Good For You truly is more inspired. ... Read more

Asin: B00004STPF
Subjects:  1. Blues    2. Pop    3. Soul-Blues   

Fathers and Sons [Expanded]
Average Customer Review:
Audio CD (30 October, 2001)
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Features

• Original recording remastered

Reviews (19)

The bonus tracks are worth it alone
I like Mike Bloomfield quite a lot as I like Butterfield's harp playing. But the real star here is Otis Spann. I was never before able to aprecciate his talent , but here he shines. Even more than Muddy, who sounds a bit bored on the first couple of tracks but then gets it on. However, the best track s here are the live bonuses. Muddy's strong vocal performance and his amazing soulful slide work blew me away. First time I heard it I got real chills.
Just buy the expanded release. The live set is blues extraordinaire

Muddy at his best.....
This is one of the few thoroughly enjoyable albums ever made in my opinion, blues or otherwise.Nothing bad can be said about this album, as is testified by the accolades found here.

Little new material is really covered here by Muddy but these are songs which will have you turn the volume up while driving and tapping your feet at the same time.Otis Spann on the piano is spectacular, along with the rest of the group which is assembled here. This is a kind of All Star musical team, with Muddy being the lead guy.

Along with the highly electrified studio cuts are five additional live songs, and four previously unreleased studio songs.Not too much more can be said to add to this album (or needs to), except to say buy this if you like Muddy Waters at all.You will not be disappointed in the least.

Highly Recommended.

Just amazing...
All the song on this album are awesome.And Muddy was a giant - no one else quite like him.When I first heard his music, I didn't have real appreciation for his craft, but after I made another pass, I started really falling in love with Muddy's music.Next thing you, I couldn't stop listening.Granted, I am a blues fan and listen to lots of blues, and I have known who were into rock, and they loved Muddy's records.This album has Muddy at his peak, giving it his all.Like another reviewer here, I was totally taken by the LIVE version of "Long Distance Call" recorded at Super Cosmic.You really cannot turn up the volume on this song enough!The guitar work, Muddy's howling, the audience's (due) wild response, and the grand finish...This recording is in a whole class by itself.Buy it.I also recommend Muddy's full 2-disc anthology. ... Read more

Asin: B00005R8GU
Sales Rank: 5644
Subjects:  1. Blues    2. Chicago Blues    3. Electric Chicago Blues    4. Pop   

Blues from the Heart
Average Customer Review:
Audio CD (14 November, 2000)
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Reviews (1)

sweet home chicago
Muddy Waters would be proud of this recording!I had seen willie perform live for the first time and was taken back to a 1950's Chicago juke joint.soon after i bought the cd and was impressed by the talent of the other musicians,who i believe are all Canadian.willies vocals are a bit weak on some tracks,but overall his songwriting and wit compensate.his drumming abilities are as strong as ever,and believe me for a 64 year old he can still rock! ... Read more

Asin: B000050I2C
Sales Rank: 168251
Subjects:  1. Blues    2. Contemporary Blues    3. Electric Country Blues    4. Pop   

One Night in America
Average Customer Review:
Audio CD (26 February, 2002)
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Editorial Review

On One Night in America, Charlie Musselwhite takes his music back home to the Memphis of his childhood, walking down some blues-drenched country roads along the way. Musselwhite, with strong assistance from guitarists G.E. Smith and Robben Ford, as well as from vocalists Kelly Willis and Christine Ohlman, creatively captures the sonic sensibilities of the Memphis musical melting pot with a wide-ranging selection of songs. Musselwhite rolls through everything from Johnny Cash's country classic "Big River" to bluesman Jimmy Reed's "Ain't That Loving You Baby" in fine fashion, spicing up the tunes with occasional harp solos, but primarily letting the songs stand on their own.

Austin country sweetheart Willis dazzles on a duet of Kieran Kane's "In a Town This Size" and lends some angelic accompaniment on the country gospel standard "Rank Strangers to Me" to provide some vocal diversity. Musselwhite, who contributes several autobiographical songs to the mix, does more singing than playing, but he has no trouble blowing through the blues in the straight-ahead instrumental workout "I'll Meet You Over There." And, for all the Memphis emphasis of the album, the title actually comes from East L.A., courtesy of Musselwhite's upbeat rendition of Los Lobos' Americana gem "One Time One Night," that concludes the recording.--Michael Point ... Read more

Reviews (5)

Not what I was expecting
First off, this is my first CD by Mr. Musselewhite, so I'm no expert - but I was pretty disappointed.I had heard such great things about him being a blues harp pioneer and I was really looking forward to hearing some hard driving blues. Instead, I got this pseudo country thing.Maybe more experienced fans are ready for that, but it is not what I was looking for.I'll keep looking because there are hints of really cool stuff on this CD, just not enough.

COUNTRY FLAVORED BLUES!
As a long time fan of Musselwhite, "One Night In America" came as somewhat of a surprise to me.Especially considering that Robben Ford, the consummate jazz/bluesman from Northern California appears on 4 of the 12 tracks.What I did not see coming was a country-blues CD more in the style of Willie Nelson than Charlie Musselwhite.Surprisingly, it seems to work for Musselwhite and it all comes together rather nicely with the exception of "Ain't That Lovin' You Baby", which is a low point on the disc.Musselwhite's supporting cast of Ford, Marty Stuart, Kelly Willis, T-Bone Wolk, Per Hanson and others is extremely polished.The professional quality of the recording is simply a cut above.If you are into country-blues, this may well be to your liking.

A walk down Main Street with Mr. Mellow
Harpster and singer Charlie Musselwhite is a veteran blues man who has been deservedly praised by other blues greats.He has such a wonderful mellow vocal style and the cd One Night in America shows off both his vocal style and his dynamic harp to a tee. On this cd Charlie Musselwhite gathered a group of noted musicians including guitarist Robben Ford,and Marty Stuart and vocalists Kelly Willis and Christine Ohlman to performs songs reflective of his childhood in Memphis.

Musselwhite first came on the music scene in the 1960's in Chicago and like Paul Butterfield helped to redifine a rocknroll which would celebrate its blues music roots.Charlie always held onto the essence of the rural roots music rather than the more urban blues. Musselwhite ever retains the "good ole' boy" sound to his music and One Night in American is certainly a trip through the heartland.In the liner notes Musselwhite states that growing up in Memphis he was influenced by sounds of "blues, gospel and hillbilly on the radio." We can hear echoes of all these music forms on the cd.Charlie Musselwhite says that he has always rebelled against the tightly defined blues format and believes that music can be classified as blues more by the feeling than the format.Despite his laid back, pleasant style Charlie is able to deliver plenty of feeling on this cd.

One Night in America includes songs by blues greats as Ivory Joe Hunter and Jimmy Reed and country songs by Johnny Cash and Kieran Kane as well as Musselwhite originals. Through it all is the feeling of walking down Main Street at night in small town America and hearing the music drifting out of the small bars and restaurants.

Taken singly each song is a delight to hear but in combination they create a feeling and cohesiveness which is rare.Trail of Tears a country blues song which despite its name does carry a hint of optimism.Robben Ford is on guitar and vocalists Kelly Willis and Christine Ohlman voices weave beautifully with Musselwhite's."Cold Gray Light of Dawn is a very countrified version of Ivory Joe Hunter's song.Musselwhite sings" in the morning in my room, I'm like a body in a tomb." Musselwhite states that this song reminds him of bad habits which he has left far behind."In a Town this Size" celebrate small town American and the way everyone is aware of everyone else's business form stolen kisses to cigarettes lit."One Time One Night" a song with an upbeat sound and a sad message, as the lyric goes "She gave away her life, to become somebody's wife."While the songs continue to resonate the essence of small town, existence they are both a celebration and an indictment.

Blues is a feeling and there is plenty of blues feeling to be had on this cd. ... Read more

Asin: B000060OJ6
Subjects:  1. Blues    2. Pop   

Watch You When You Go
Average Customer Review:
Audio CD (12 June, 2001)
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Reviews (3)

Big Blues Sound
How anyone can give this band or this album one star is stunning. These guys are as much "Roomful" as ever, and still have that huge blues sound. Mac Odom's voice is rich and powerful - a fantastic addition. I also strongly suggest everyone check out their cd, "There Goes the Neighborhood." Both cds swing so hard, you'll fall off your chair.

Roomful in name only
There was a time when Roomful was a band with a mix of seasoned pros and young talent playing a blend of jump blues, swing, and blues.Over the years there has been alot of personal changes none of the original members are left.Now Roomful has a powerful lead singer with a voice you either love or hate.The band is playing radio friendly tunes.There was a time Roomful was in their own league playing great tunes with a strong horn section.This group sounds like any horn band youd hear in your local nightspot.They are The Roomful Of Blues in name only.

Solid Blues!
I was somewhat curious as to what this band would sound like after its recent transformation following the departure of harpist and vocalist Sugar Ray Norcia.

I was pleased to find that despite numerous personnel changes, both recent and over the years, the band really has not lost that hard driving edge that has become their trade mark.

While Nocia's harp is missed on the disc, veteran Mac Odom more than compensates for Nocia's vocal absense and has competently answered the call from the bands opening number "Roll Me Over" right through "Wait and See". Also, Chris Vachon, a constant in the band over the last several years, continues hisexcellent guitar work throughout this CD and in particular on the instrumental "BackLash".Finally, while the horn section has also undergone a slight personnel change, the band continues its trend of swinging, jazzy blues.

Like, the Fabulous Thunderbirds, this band keeps rolling along and producing enjoyable tunes despite key personnel changes.As usual, there are no surprises here, just good, solid, horn laden blues. ... Read more

Asin: B00005KBAB
Sales Rank: 24293
Subjects:  1. Blues    2. Jump Blues    3. Modern Electric Blues    4. Pop   

There is one word to describe the legendary Pinetop Perkins's performance on Back on Top, and that word is mellow. Mellow like a hot summer day, mellow like a bottle of amber ale, mellow like sleeping in on a Saturday morning. Not that it's boring. Oh, no. Special guests Corey Harris (guitar) and Sugar Ray Norcia (harmonica) may be younger than Perkins by several decades apiece, but they're still hard pressed to keep up with him; the man's got even more tricks up his sleeve than he's got years on his junior compatriots. Whether he's lazing through "Five Long Years" (and giving Harris plenty of room to explore a blistering guitar solo) or keeping things hopping with "Pinetop's Boogie Woogie," Perkins remains at the top of his form, despite the fact that he's pushing 90. Would that we were all so active, creative, cheerful, and, above all, mellow at that age. Perkins is truly one of a kind. --Genevieve Williams ... Read more

Asin: B00004TDXL
Subjects:  1. Blues    2. Boogie-Woogie    3. Chicago Blues    4. Piano Blues    5. Pop    6. R&B   

Back to Bogalusa
Average Customer Review:
Audio CD (24 July, 2001)
list price: $14.98 -- our price: $14.98
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Editorial Review

Gatemouth Brown has always had a soft spot for songs that breathe the air of his native Southwest. On Back to Bogalusa, he's put together an entire album of them, drawing on the work of songwriters like Bobby Charles ("It All Comes Back," "Why Are People Like That"), Delbert McClinton ("Lie No Better"), and Hoyt Garrick ("Folks Back Home," "Louisian'"). Cajun echoes drift across the album's landscape--Zachary Richard's accordion, Brown's fiddling in "Breaux Bridge Rag"--and Sonny Landreth puts the raccoons to flight with thunderous slide guitar on Lowell George's "Dixie Chicken" and a couple of other numbers. Some of the songs are either too sentimental or too oblique to suit Brown's plain approach and grandfatherly voice, but his old blues heart beats strongly on Don Nix's "Same Old Blues," and he struts his stuff like a... well, like a Dixie chicken in the defiantly boastful "Bogalusa Boogie Man." --Tony Russell ... Read more

Reviews (4)

A Fabulous CD
I had never heard of Gatemouth before, but I bought the album because of another review.This is a great mix of old style Texas blues done by a master. The CD gives the impression of being in a nice, comfortable blues club, listening to the stories of a lifetime as told by someone who took the long road to get where they are now.There is a depth to this CD not found in many recordings today.

Refined cd of this gentleman of blues scenery!!
Another amazing work of this multi instrumentist who's talents abound!!This is really a masterpiece since the first track until the end.Clarence is back to his roots,revisiting some tunes that were listened at that so far distant days of the begining of this fantastic career.The kind and way Clarence makes music is something only we can find in only few excelent musicians.The reason i like so much his music,is because i really like refination in many things specially,music.And this cd is full of refined moments.A gem!!!!Unloss this work,if you really loves excelent music!!!

Gate Is a Gem
This is one CD that keeps me smiling from the opening notes of "Folks Back Home" until the final song, a humorous ode to gators, "Dangerous Critter". Even though Clarence is pushing slowly towards 80 years of age, he can still swing with the best of them. He demonstrates his famous finger picking dexterity on tune after tune and his voice is slightly weathered, but warm and engaging. I find myself constantly singing along on "It All Comes Back" and my favorite, "Breaux Bridge Rag".I guarantee you will sing along with him too. These songs have a swaying, flowing feel, like sipping a beer or lemonade on a hot,lazy summer day and thinking that life is good, that convey the sincerity of this great artist's vocals. He demonstrates that he can still knock out an uptempo tune on the funky "Bogalusa Boogie Man" and my favorite rocker "Lie No Better". Throw in a couple of swinging instrumentals,"Grape Jelly" and "Slap It" and you have the makings of a great CD. In my opinion, there isn't a weak song in the whole set and this is one of my favorite listens. I sure hope we are blessed with many more years of "Gatemouth", because I surely enjoy listening to this and other CD's he's made. I highly recommend you give this a listen...actually, buy it! You will not be disappointed.Every person I have loaned this to has told me they love it. ... Read more

Asin: B00005LANH
Subjects:  1. Blues    2. Electric Texas Blues    3. Modern Electric Blues    4. Modern Electric Texas Blues    5. Pop    6. Texas Blues   

Greasy Kid Stuff
Average Customer Review:
Audio CD (09 October, 2001)
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Editorial Review

California guitar star Kid Ramos struts his stuff on his third solo album, stepping out of his West Coast jump-blues persona for a harmonica-heavy session aimed at recapturing the hard-edged interplay of early electric Chicago blues. A veteran of the Fabulous Thunderbirds and the James Harman Band, Ramos has significant assistance from more than a half-dozen guest vocalists-harpists, including Charlie Musselwhite, Paul deLay, and Rod Piazza; all make noteworthy contributions. Ramos and his stellar supporting cast nail the Windy City sound with enjoyable authority, but some of the most entertaining music goes in other directions. Ramos's radically reconfigured take on Bobby "Blue" Bland's "Hold Me Tenderly" creatively infuses a restrained rockabilly feel, and Piazza's jazz-inflected instrumental "Devil's Foot" also successfully strays from the Chicago style. Rick Estrin, of Little Charlie & the Nightcats, shines on "Marion's Mood," a reed-rattling harp showcase in the spirit of the legendary Little Walter, and Johnny Dyer delivers a fine and funky version of Lightnin' Slim's "Mean Old Lonesome Train." Harman's novelty number, "Low Down Woman," is an eccentric gem, and he rips through "Chicken Hearted Woman," with some poultry-plucking guitar from Ramos, in similarly offbeat fashion. --Michael Point ... Read more

Reviews (6)

You don't have to sing to lead.
Ramos does what he does best and gets other guys do to what they do best; this is what leading bands and producing cds is all about.

Good Disc
I've been a big James Harman fan for a long time.I used to see him with guitarist Kid Ramos in smokey clubs in LA with 50 people or so.Great shows.I bought this because I was interested in what Kid Ramos could do on his own.Well, I still don't really know.His guitar work is sort of lost on this discHe only wrote one of the songs and quite frankly he is mearly a backup guitarist to a pretty amazing showcase of great blues front-men/harp players.When the guitar does kick in it's fine but nothing special, just standard blues riffs.

Refreshing
This is a fine CD! There is a variety of styles without any weak tracks. Some damn fine musicianship on all tracks.Great singing, harp playing, guitar playing, etc.My favorite track is the title track, Greasy Kid Stuff. Kid Ramos has a really cool tone on that one. He has great tone on all songs, but that one stands out.Devil's Foot is way cool too.Somewhat unusual.Buy this one! You won't be sorry, unless you're weak. ... Read more

Asin: B00005OAD3
Subjects:  1. Blues    2. Blues-Rock    3. Contemporary Blues    4. Modern Electric Blues    5. Pop   

Feel It
Average Customer Review:
Audio CD (16 January, 2001)
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Editorial Review

Were there a definitive blues thesaurus, Little Milton Campbell would have at least two quotes listed: "Hey, hey, the blues is all right!" and "If I don't feel it, I don't do it!" Taking its title from the latter, Milton's 14th album for Malaco since 1983 shows why he belongs in the highest echelon of soul-blues singers and guitarists. He's especially expressive on ballads, showing the value of ardent devotion in "The Love of a Woman" and taking stock of betrayal in "You're Givin' Me the Blues." Milton shines on medium-tempo numbers, too, cutting to the emotional quick of the cheating cautionary tale "Born Yesterday," to name one. He knows what songs from his record label's stable of writers suit him to a tee, picking wrong just once with the cliché-ridden "Baby, Let Me Rock You." --Frank-John Hadley ... Read more

Reviews (1)

"Feel It" You Will
This is a big step up from Milton's last disc, the duets-heavy WELCOME TO LITTLE MILTON, which leaned too heavily on the blues-rock side of the fence. This new CD has Milton back in the master's territory- soul & blues. Things kick off right with "Juke Joint In My House", a humorous blues tune about his friends trying to take over his house and turn it into their own party hangout. Milton resists at first, but before the song is over he exhorts a pal "If yoyu can't beat 'em- join 'em/ So while your up-fix Mr. C some Hennessey". "Born Yesterday" is a melodic soul/blues cut where his woman tells him: "I might have been born yesterday...but I stayed up late last nigh"! The whole disc is Grade-B+ to A material, from the country soul cover of "He's Got You" to the risque "She Knows How To Wear A Hat"; Milton sings and plays crisp blues guitar like the legend he is. ... Read more

Asin: B000056WVX
Subjects:  1. Blues    2. Electric Blues    3. Pop    4. Retro-Soul    5. Soul-Blues   

Blue Gardenia
Average Customer Review:
Audio CD (21 August, 2001)
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Editorial Review

Putting her age-deepened voice to another set of small-group versions of jazz and pop standards, Etta James makes Blue Gardenia a personal statement of mellow truth. Again in the company of pianist Cedar Walton, James inhabits "These Foolish Things," "Cry Me a River," and nearly a dozen others with her blues-drenched, hard-lived sensibility. Ever hopeful and apparently still a deep-dish romantic, James comfortably yet intently engages with the classic material--right down to her occasionally punctuating a lyric or a lick with a knowing "yeah." While most of the album has the feel of a last set in a dark club, she acquits herself well with the single left-field entry, growling her way through a samba arrangement of the '60s soul hit "Love Letters" with aplomb. Other than that, there are few surprises here. The feeling is the point, though, and it's fine. --Rickey Wright ... Read more

Reviews (7)

the slings and arrows in song
This disc gives us a mature, world-weary Etta, who sings her heart out in this fabulous jazz album, mostly about the slings and arrows of love, obsession, and in "He's Funny That Way", a recognition of one's own character failures. One of the main strengths of the CD is the choice of material, which consists of some of the best melodies and strongest lyrics ever written, and Etta wrings every ounce of soul out of them.
Outstanding are "Love Letters", "Cry Me a River", and the one that sticks with me long after the CD is over is "My Man".

This is music that will be appreciated by those who have been through the mill and come out a little bruised; those unscathed by life and love might not appreciate this recording, which may be one of Etta's finest, in the same way.
The musicians are superb, and echo the vocals in feeling. Cedar Walton on piano, Ronnie Buttacavoli on trumpet, Josh Sklair on guitar, and Red Holloway on tenor sax are stellar, as well as Tony Dumas, bass / Ralph Pendland, drums / George Bohannon, trumpet, and on "Love Letters", Rick Baptist, flugelhorn and Ron Powell on percussion.
The final track is sung by Etta's mother, Dorothy Leatherwood, and she'll bring a tear to your eye with her rendition of "Blue Gardenia".

Recorded between November of 2000 and March of 2001, the sound is terrific, and has a very intimate sound, as if one were front row and center in a small club.
The fold-out insert has a song list, recording info and liner notes: no lyrics, but one of the beauties of Etta's singing is her diction, and she makes every word understandable; there are no "misheard lyrics" on this CD.
Total playing time is 61'20.

In response to the last review
Etta James is not dead! Perhaps you are thinking of Etta Jones?

Rather Etta than Ella anytime...
All I know about EJ is what's on this recording. I wish I had listened to her long before.But she has the right combination of tenderness and sweaty hot sexy soul and it just suits me fine. I don't think the album will ever get tired.

Favorite tracks: "In My Solitude" and "Cry Me a River" but all the rest are close behind. There is a great intimate sax solo on "...Solitude."

I don't see how I could go wrong in buying more music from the superb Etta James. ... Read more

Asin: B00005NHMU
Subjects:  1. Ballads    2. Blues    3. Pop    4. Soul-Blues   

Burnside on Burnside
Average Customer Review:
Audio CD (23 October, 2001)
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Editorial Review

Mississippi hill country patriarch R.L. Burnside's two previous albums dabbled in remixes and trip-hop experimentation geared to the college-rock market. This is a restorative: pure slide 'n' drone blues caught live in January 2001 at Portland, Oregon's Crystal Ballroom. The 73-year-old is joined by his usual jukehouse band, his drummer and grandson Cedric Burnside and guitarist Kenny Brown, who blow sparks behind Burnside's rich honey-and-molasses voice and chunky six-string affirmations. Every time Burnside hits a note, it's a reminder of both how vital an interpreter of the hypnotic style developed by Fred McDowell he remains and how true electric country blues still sounds in its unvarnished state.

There's an emotional resonance that runs through this music like blood, especially when Burnside plays solo. His all-alone performances of "Walking Blues" and "Bad Luck and Trouble" reveal every nuance of his caw-to-keen singing and the sweet way his slide slices right to the emotional core of a lyric. Burnside's off-color jokes and song-ending punctuations (mostly buoyant "Well, well, wells") also give an inkling of the wild-ass grandpa charisma that makes him so appealing on stage. Burnside has, however, delivered better concerts. At times these tempos seem rushed, which sacrifices some of the subtleties of his vocalizing. But Brown unleashes a rabid slide solo on "Snakedrive" that shoots the tune skyward, and he and Cedric display relentless energy and thrust. All of which proves that, with John Lee Hooker now reclining upstairs, R.L. Burnside is the ruler of this music. --Ted Drozdowski ... Read more

Reviews (19)

WOW
This cat is good.Mesmerizing beat and tempo, he has the blues in his voice and his soul. A "must buy" for the down home blues lover. This is what it's all about.

Blues meets punk
Too often blues albums are simply reheated renditions of Clapton, SRV, or Muddy Waters licks. However, thanks to many young acts, blues is being placed directly on the modern indie stage and finally being heard by new audiences. This group of mavericks just so happens to include a 78 year old John Lee Hooker fan from the hill country of Mississippi named R.L Burnside.
Burnside and his band as a live unit is a work of genius. Burnside has all the trademarks of your classic Mississippi blues singer. The hard rhythms and one-chord riffs of his playing. The droning voice that rips at your soul. His slide licks taken from the Robert Johnson songbook and Muddy Waters. Beyond that, though, is a clear connection to the chaos and speed of any classic punk album. On songs like Skinny Woman and Snake Drive the rhythm is relentless! It is clearly blues, yet there is also a Sex Pistols style spirit and fury within the chaos. Any stereotypes you once had about blues will be torn apart when you hear Kenny Brown's Kinks-meets-Elmore James solos or Cedric Burnside's classic, hip hop styled drumming.
There are very few blues albums as original and fiercely energetic (save perhaps Burnside's own album with Kenny Brown and the Jon Spencer Blues Explosion). It is one of the best blues albums I've ever heard and possibly the most fun I've ever had listening to a blues album. This is a blues album for non blues fans! It has a ferocious rhythm that combines the spirit of old blues with the innovations of modern music. Not bad for someone who is probably old enough to be your grandfather!

Also if you like this, check out any other albums on the Fat Possum label. Buddy Guy's Sweet Tea or Stone Crazy! and North Mississippi All Star's Bonaroo album are also great albums in this vein. Any live John Lee Hooker albums are also essential, for the foretell the classics here.
(P.S I understand Burnside retired recently. Please I beg of you R.L if you are reading this, just one more farewell tour!)

"Don't be so diiirty!" This is it -- Right here
Fat Possum is putting out the best blues albums in the industry right now, and R.L. Burnside is one of the reasons why, along with Elmo Williams, Model T, and Paul Jones.

Despite being a fan of the Mississippi country blues exemplified by Muddy Waters, Howlin' Wolf, and John Hurt during my teens, I got sick of blues during the Nineties, when a well-deserved resurgence in the music became dominated by this Yuppified, sterilized, Good Morning America mood music crap with a bunch of sell-out albums by a lot of artists.

But after coming across Fat Possum's stuff, it's clear they know what's going on, and are putting out albums that about end up make you willing to drink warm JD cut with turpentine or something. The stuff is nasty, gritty, deserves no apology, and asks for none.

BURNSIDE ON BURNSIDE is already becoming a classic, because it takes these qualities and makes them live. It gives us the modern psycho-punk blues that are the only contemporary blues worth listening to, and brings new life to the traditional country tunes that every over-produced pseudo-blues hack with a drum machine has spent the past fifteen years killing off.

Burnside's grandson, Cedric, plays drums, and that's partially what gives it the unrelenting punk feel, as this old blues man yells and laughs along. It's great. It's unbeatable. And will give you back a passion for blues jamming. ... Read more

Asin: B00005QG8K
Subjects:  1. Blues    2. Electric Delta Blues    3. Juke Joint Blues    4. Modern Delta Blues    5. Modern Electric Blues    6. Pop   

Deluxe Edition
Average Customer Review:
Audio CD (22 January, 2002)
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Editorial Review

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

Reviews (6)

SING IT KOKO
This is her very best. I have been collecting her records for about a year now and when i listened to this record I think it sums up all of what Koko is about. She doesn't play and is very rough. No one in this universe can replicate her voice.Her growls are scary as a wolfs.When she sings with other blues singers the song just can't get any better. This is a collectors Item. This is a good CD to listen in the car or in the house or a gift to someone. If you have never heard Koko sing well by this record because it will show you what she is all about.

Nice collection of tracks from Taylor's Alligator years
Koko Taylor's recordings for Chess Records in the 60s remains her best, and newcomers should definitely start with her self-titled debut album which contains the finest of her Chess singles.

But once you have that one, pick up this fine compilation as well. It's not perfect, and there are one or two mediocrities among the 15 songs..."I'm A Woman" is a forgettable rip-off of Muddy Waters' "Mannish Boy", and a couple of numbers are just too polished for their own good.
But most of what is here is top-notch. Koko Taylor has a deep, powerful voice which was simply meant to sing the blues, and she excels on tough, swaggering grooves like "Come To Mama" and "Beer Bottle Boogie". The previously unreleased "Man Size Job" is one of the highligts of this set, and Taylor is equally convincing on soulful R&B numbers, dirty mid-tempo blues grinds, and a smouldering rendition of "I'd Rather Go Blind". It's just too bad that one of the best songs of her career, "Find A Fool, Bump Her Head", is missing.

Still, this is a really fine purchase if you don't want to spring for Koko Taylor's original Alligator albums. Casual fans should go for this one right away...if you want a little more, start with the Chess stuff, then get "I Got What It Takes" from 1975 and work your way upwards from there!

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

Asin: B00005UF1W
Subjects:  1. Blues    2. Electric Chicago Blues    3. Modern Electric Chicago Blues    4. Pop    5. R&B