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| Music - Blues - General |
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| 101. All the Way by RCA Victor | |
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(14 March, 2006)
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Editorial Review Throughout a near-50-year career that has seen few low points, at least professionally, Etta James has established herself as one of music's most talented R&B, blues, and jazz singers. On Read more Reviews (10)
Subjects: 1. Blues
2. Contemporary R&B
3. Pop
4. Quiet Storm
5. Smooth Soul
6. United States of America | |
| 102. The Complete Blind Willie Johnson | |
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(27 April, 1993)
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Editorial Review In the history of recorded blues and spirituals, there is no greater singer and songwriter than Blind Willie Johnson. With a vocal delivery ranging from raw rage to tenderness wedded to his talking guitar, Blind Willie's recordings are as powerful today as when he made them, from 1927 to 1930. Listen to monuments "Motherless Children Have a Hard Time," "I Just Can't Keep from Crying," "It's Nobody's Fault but Mine," and the otherworldly "Dark Was the Night, Cold Was the Ground," and try to find equally visceral conviction any other place or time. His "If I Had My Way I'd Tear The Building Down" which got him arrested when Blind Willie unknowingly sang it in front of a U.S. government building in Dallas, became a '60s icon. Years later, he caught pneumonia, but when treatment was sought, he was told the hospital did not treat blind people, so he returned home and died. Read more Reviews (29)
Subjects: 1. Acoustic Texas Blues
2. Blues
3. Blues Gospel
4. Blues Music
5. Blues Traditional
6. Pop
7. Prewar Gospel Blues
8. Slide Guitar Blues
9. Texas Blues | |
| 103. Good For What Ails You: Music of the Medicine Shows 1926-1937 by Old Hat Ent. | |
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(04 October, 2005)
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Reviews (9)
Subjects: 1. Acoustic Blues
2. Appalachian Folk
3. Blues
4. Blues Collections
5. Country Blues
6. Harmonica Blues
7. Jug Band
8. Minstrel
9. Old-Timey
10. Pop
11. Songster
12. String Bands
13. V/a Compilations | |
| 104. The Essential Taj Mahal | |
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(16 August, 2005)
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Reviews (4)
Subjects: 1. Acoustic Blues
2. Blues
3. Contemporary Blues
4. Electric Country Blues
5. Folk-Blues
6. Modern Acoustic Blues
7. Pop
8. United States of America | |
| 105. There Will Be a Light by Virgin Records | |
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(21 September, 2004)
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Editorial Review Jam Nation hero Ben Harper tones down his lap-slide guitar flash in favor of the holy spirit for this blend of originals and gospel classics, his first full-length album with the historic singing group. They've worked together before, on the Blind Boys' excellent Read more Features Reviews (23)
Subjects: 1. Adult Alternative Pop/Rock
2. Blues Gospel
3. Jam Bands
4. Pop
5. Rock
6. Rock/Pop
7. Singer/Songwriter
8. Soul | |
| 106. Joyful Noise | |
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(03 September, 2002)
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Editorial Review The third album from guitar phenom Derek Trucks resounds with joyful noise indeed, and amazingly, it seems as though Trucks and his band run through (at least) 10 distinct genres across these 10 songs. Trucks may venture all over the musical map--blues, soul, jazz, Eastern music, to name a few stops--but he does so with a confidence and assertiveness usually found in much older musicians. Then again, he is the nephew of Butch Trucks (a fellow member of the Allman Brothers Band, Trucks's moonlighting gig) and is married to fellow guitar wiz Susan Tedeschi (who guests on this album), so it's not surprising that he seems experienced beyond his years. Read more Reviews (32)
Subjects: 1. Pop
2. Rock
3. Rock/Pop | |
| 107. The Complete Atomic Basie by Blue Note Records | |
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(31 May, 1994)
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Editorial Review Bristling with excitement and electricity, this 1958 album represents the finest accomplishment of Count Basie's "New Testament" big band. His "Old Testament" band of the late 1930s, featuring stars Lester Young, Herschel Evans, Dickie Wells, and Buck Clayton, perfected the blues-drenched, straight 4/4 rhythm of Kansas City swing. Building on the blues foundation, this 1950s band features more ambitious compositions and a more dynamic sound and incorporates more modern developments. One constant, however, is the anchoring rhythm guitar of Freddie Green. As always, Basie can dig deeply into robust stride statements or choose each note as if he had to pay for them separately. Neal Hefti, the primary composer and arranger here, marvelously captures the strengths of each individual musician. His arrangements sparkle exuberantly on the up tunes and create vivid and exotic moods on the slower ones; clever and innovative without ever being overblown. Beefy tenor Eddie "Lockjaw" Davis, who was only in the band for a relatively short period, offers the most valuable and vital solo contributions, recalling Ben Webster's tenderness at times, squeaking and honking like an R&B man at others. Read more Reviews (12)
Subjects: 1. Big Band
2. Jazz
3. Jazz Music
4. Pop
5. Swing | |
| 108. Just Like You | |
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(18 June, 1996)
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Editorial Review Keb' Mo's 1995 Grammy-winning eponymous debut firmly lodged the Los Angeles-born singer-guitarist in the contemporary blues pantheon. His sophomore effort, Read more Reviews (36)
Read more Subjects: 1. Blues
2. Blues Music
3. Contemporary Blues
4. Modern Acoustic Blues
5. Modern Electric Blues
6. Pop | |
| 109. One of the Fortunate Few by Rising Tide | |
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(07 October, 1997)
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Editorial Review When Robert Cray and the Fabulous Thunderbirds turned their similar combinations of Texas blues and Memphis soul into hit records in 1986, bar bands all across this land thought they had glimpsed the promised land of a long-awaited blues revival. There has been a flood of soul-blues releases since then, many of which have been respectable, even admirable, but they have lacked the two essential ingredients that gave the genre its artistic peak 30 years ago, as well as its brief resurgence 20 years later--terrific songs and outstanding singers. Delbert McClinton's Read more Reviews (27)
Subjects: 1. Blues-Rock
2. Country & Western
3. Country-Rock
4. Modern Electric Blues
5. Pop
6. Rock
7. Rock/Pop | |
| 110. East-West by Elektra / Wea | |
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(25 October, 1990)
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Editorial Review If the Butterfield Blues Band's groundbreaking debut earned the respect of the group's elder influences, this one won over (and guided) the blues boys' psychedelic peers. Highlighted by the 13-minute-plus title track (an Eastern-influenced jam cowritten by guitarist Mike Bloomfield), Read more Reviews (24)
Subjects: 1. Blues
2. Blues-Rock
3. Chicago Blues
4. Electric Chicago Blues
5. Electric Harmonica Blues
6. Harmonica Blues
7. Modern Electric Chicago Blues
8. Pop
9. Popular Music
10. Rock
11. United States of America | |
| 111. Guitar Groove-A-Rama by Stony Plain Music | |
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(14 March, 2006)
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Editorial Review As the title implies, Read more Reviews (5)
Subjects: 1. Blues
2. Contemporary Blues
3. Jazz Blues
4. Modern Electric Blues
5. Pop
6. Swing
7. United States of America | |
| 112. His Best by Chess | |
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(20 May, 1997)
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Editorial Review This is Sonny Boy Williamson II, whose 1940s Mississippi Delta radio broadcasts for Read more Reviews (13)
Subjects: 1. Blues
2. Blues Music
3. Blues Traditional
4. Chicago Blues
5. Electric Chicago Blues
6. Electric Harmonica Blues
7. Harmonica Blues
8. Pop | |
| 113. N'Awlinz: Dis Dat or d'Udda by Blue Note Records | |
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(13 July, 2004)
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Editorial Review Mac Rebennack took his stage name from the voodoo healer Dr. John and became a '70s pop star by recasting New Orleans's myth and music in his own psychedelic image. At 63, he's again revamped the Crescent City sound, minus the acid-trip trappings, for his best album in decades. With its string, horn, and Afro-Latin percussion sections and its slate of re-imagined classics, Read more Reviews (12)
Subjects: 1. Adult Contemporary
2. Blues
3. Contemporary Blues
4. New Orleans R&B
5. Piano Blues
6. Pop
7. R&B
8. Rock/Pop | |
| 114. Mojo Priest by Ark 21 | |
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(23 May, 2006)
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Editorial Review Yes, Read more Reviews (17)
Subjects: 1. Adult Contemporary
2. Blues
3. Modern Electric Blues
4. Pop | |
| 115. The Duke Meets the Earl by Stony Plain Music | |
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(08 March, 2005)
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Editorial Review Duke Robillard and Ronnie Earl are among blues guitar's hottest pistols, but their first studio union is no showdown. Although Robillard is steeped in all aspects of technique and Earl is a pure "soul" player, their styles overlap in the Texas and Chicago schools, which grant both giants plenty of space for elegant and biting single-note solos, daredevil string-bending, and chugging rhythms. Robillard sings two numbers and "Mighty" Sam McClain, whose red-clay voice is the perfect foil for their emotional fretwork, guests on Earl's heartbroken epic "A Soul That's Been Abused." The real mojo, however, is in the instrumentals, where these virtuosos who emerged from the New England scene to achieve worldwide acclaim maintain a beatific dialogue. They both swing like T-Bone Walker on "Two Bones and a Pick" and trade sliding chords and slide guitar licks on "Zeb's Thing," which dips into down-home Mississippi grit. The highlight is "My Tears," on which Robillard sings sad and dirty, Earl turns sustained notes into Zen koans, and both players stretch their flair for dynamics and brilliant, unhurried, lyrical playing to its limit. Fans of blues guitar need to hear this album. Read more Reviews (18)
Subjects: 1. Blues
2. Blues-Rock
3. Contemporary Blues
4. Electric Blues
5. Guitar
6. Jazz Blues
7. Modern Electric Blues
8. Pop
9. Slide Guitar Blues
10. Soul-Blues | |
| 116. Food in the Belly by Salt X Records | |
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(02 May, 2006)
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Features Reviews (5)
Subjects: 1. Adult Alternative Pop/Rock
2. Blues
3. Indie Pop
4. Pop
5. Rock
6. Singer/Songwriter
7. United States of America | |
| 117. The Turning Point by Polydor / Pgd | |
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(30 October, 2001)
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Features Reviews (22)
Subjects: 1. Blues
2. Blues Music
3. Blues Revival
4. Blues-Rock
5. British Blues
6. Electric Harmonica Blues
7. England
8. Leader
9. Pop
10. Rock/Pop | |
| 118. Slow Down | |
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(25 August, 1998)
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Editorial Review Guitarist and vocalist Keb' Mo' seems to be continuing in the direction suggested by his previous album, Read more Features Reviews (57)
Subjects: 1. Blues
2. Blues Music
3. Contemporary Blues
4. Pop | |
| 119. Live at the Regal | |
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(29 July, 1997)
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Editorial Review Heralded as one of the greatest live blues albums ever recorded, this set catches the singer-guitarist as his star was in ascent: in 1964 playing Chicago's answer to Harlem's Apollo Theater--the Regal. King's performance is visceral. He sings so hard that gravel flies even in his clearest high notes. And his trademark single-note guitar lines are sharp and steely, matching his voice with trembling vigor. He offers early hits like "How Blue Can You Get," "Worry, Worry," and "You Upset Me Baby" to what's essentially his adopted hometown crowd (by his own account, King had already played the theater hundreds of times). They give him a hero's welcome. In fact, the audience's screaming enthusiasm is distracting. But rarely has a love-fest of this magnitude between a performer and fans been documented. --Read more Features Reviews (41)
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