2 comments about Come a Little Closer.

1. I ORIGINALLY BOUGHT THIS CD BASED UPON HEARING ONE SONG: "OUT ON THE STREET AGAIN". THIS SONG IS A MASTERPIECE; MUCH LIKE THE SONG "MASTERPIECE" BY THE TEMPTATIONS, ONLY THIS SONG GOES MUCH MUCH DEEPER. THE FUNK IS UNMATCHED, AND COULD BE LISTENED TO A THOUSAND TIMES IN A ROW, AND YOU'D NEVER BE BORED. NEXT, THERE IS "FEELING UNEASY". THIS IS A BLUESY NUMBER THAT SNEAKS UP ON YOU, GRABS YOU BY THE GUT, AND DOES NOT LET YOU GO. THIS IS SONG WHICH HAS ETTA JAMES MOSTLY MOANING, BUT IT'S A GOOD MOAN. IT IS A BLUES CLASSIC THAT EVERY HUMAN BEING SHOULD LISTEN TO WHEN THEY'RE FEELING A LITTLE BIT DOWN AND OUT. IT WILL PICK YOU RIGHT BACK ON UP, AND MAKE YOU REALIZE THAT YOU ARE NOT ALONE IN THE UNIVERSE--ETTA JAMES IS RIGHT THERE WITH YOU. THERE ARE 12 SONGS IN ALL IN THIS CD, AND 11 OF THEM ARE COMPLETE WINNERS. IN ADDITION TO DOWN IN THE VALLY GUTBUCKET BLUES, FANTASTIC RHYTHM AND BLUES, AND FUNK OVERLOADS, THERE IS ALSO A GREAT NEW ORLEANS STYLE JAM ("GONNA HAVE SOME FUN TONIGHT") ON IT, TOO. I REALLY CAN'T SAY ENOUGH GOOD THINGS ABOUT THIS CD, EXCEPT I PASSIONATELY LOVE IT, AND I'M SURE YOU WILL LOVE IT TOO. ETTA JAMES ALWAYS ROCKS THE HOUSE!!!



2. Whenever one is to discover Etta James...they first must complete the sampling of 2 recordings. Come a Little Closer and Deep in the Night. Without, you haven't heard what Miss James is really all about. Come a little closer captures her raw, with a deep delta feel that is enhanced by song writers, producing and as always, background singers.

   Particular to this Cd is the title track, come a little closer....deep growls, fierce vocal affectation that is souly Etta and a production which is only slightly polished. It, at it's best lets Etta sing...after all that is what she does best. The orgasmic sound of Feeling Uneasy is the only true song the lets you know that a true lover hesitates at nothing to believe...and to believe in Etta James, one need to listen to no other recording to hear her at her most vulnerable and unigue best!

5 comments about The Original Delta Blues.

1. I just listened to this CD. If you listen carefully, you'll notice that this dude stole a lot of riffs from old Led Zeppelin records.



2. this cd is classic delta blues i feel honored to be able to receive this quality of music john m king thanks for having such great music



3. If you wanna' know where it started, if you wanna' learn to play slide, if you wanna' get chills and fee like you're on a front porch in the delta, get this one...



4. Son House is an early blues singer, who, along with Charlie Patton and Willie Brown, in the words of the liner notes, "helped to shape the music of three younger men who would far exceed their fame"--Robert Johnson, Howlin' Wolf, and Muddy Waters. The musical progeny of House and his colleagues alone testifies to their significance.
   
   The songs on this CD were recorded long after he had ceased making singing a career. He was in his 60s when these tracks were recorded in 1965. Even at that, the results speak to a master bluesman.
   
   In "Death Letter," he shows a lively acoustic guitar style, well played. Although past his vocal prime, he sings this tune well. One nice line:
   
   "You know it's so hard to love someone
   Who don't love you."
   
   "John the Revelator" is a song with religious themes. It is voice only, with only his clapping serving as any sort of instrumentation. The vocalizations are compelling. One recurring set of lines:
   
   "Tell me who's that writin'?
   John the Revelator
   Wrote the book of the seven seals."
   
   "Empire State Express" features Al Wilson on guitar backing House on vocals and guitar. This is a lively tune. The song focuses on his baby being on board a train, and all that goes with that. Nice blues tune!
   
   So, here is a CD with rather few songs on it, but it is still a nice entrée to the work of Son House.



5. When the Mississippi blues giant, Eddie 'Son' House was rediscovered in 1964 he was 62 years old and had given up music some 16 years previously. Practice soon restored much of his original mastery and he was signed up the following year by John Hammond for a Columbia Records session. The LP that emerged comprised the first nine of these tracks, and represented a powerful come-back, with stand-out numbers 'Death Letter', 'Empire State Express', and 'Levee Camp Moan', as well as the unaccompanied 'John The Revelator'.
   
   In 1992 a double CD was released, with the original nine tracks supplemented by an additional seven unreleased titles as well as five alternate takes. But what should have been an occasion for celebration turned out to be disappointing in the extreme. The new material was a pale shadow of that previously issued, and many critics thought it would have been better left in the vaults.
   
   The present single CD includes just five of the originally unreleased titles, and so offers some kind of compromise, with the worst of the 'new' material being omitted. Of that retained, perhaps 'Pony Blues' disappoints the most. The delivery is extremely hesitant and stumbling, in direct contrast to Son's superb 1942 recording of this classic that he learned from his old friend Charley Patton. 'Motherless Children' suffers in the same way, and Son coughs and wheezes his way through a depressing version of 'Downhearted Blues'. Only 'President Kennedy', to the same melody as his 1942 'American Defense', and 'Yonder Comes My Mother' with, presumably, the added guitar of Al Wilson, in any way compare with the quality and power of the first nine tracks which more than justify the purchase of this mid-price CD.

3 comments about Roots Music: An American Journey.

1. Sure, it's a Rounder marketing product. A collection of their artists, some new, some familiar, offered to entice us to buy.... NICE JOB Rounder! This is also another home run collection of top quality artists presented with fine liner notes and exceptional production. Get it! LOVE IT!



2. Rounder Records has always done an incredible job of putting together compilations and making the music sound alive. This collection celebrates 30 years of Rounder, and is a great overview of the label, as well as a taster for anyone looking to check out some truly alternative music. The mixture is very eclectic; much like American culture, blending and weaving through musical styles. The set features Blues, Folk, Cajun, Bluegrass, Celtic and much more.

   A highly recommended listening experience.




3. Think of this as an update on Harry Smith's Anthology of American Folk Music. Showing up on the heels of the wide success of the "O Brother..." soundtrack and just before the PBS American Roots Music series, this is a worthy collection of samples of the work of contemporary artists working in the earthy music forms from whence it all sprang. From acapella gospel to zydeco with old-time, bluegrass, blues, New Orleans brass and Hawaiian tunes sandwiched in between. What can you say? It's Rounder, for Pete's sake!

5 comments about Heroes of the Blues: The Very Best of Son House.

1. I recently reviewed Mississippi John Hurt's The Last Sessions in this space. Hurt was `discovered' in the early 1960's by young, mainly white, folk singers looking to find the roots of American music. Well, Hurt was not the only old black country blues player `discovered' during that period. There is a now famous still picture (as well as well as video performance clip, I wonder if it is on YouTube?) of Hurt along with the legendary Skip James and the musician under review Son House jamming at the Newport Folk Festival in 1963. That was a historic (and probably one of the last possible) moments to hear these legends of country blues in one spot together.
   
   And why was House on that stage with Hurt and James? Well, the short answer is that old flailing National steel guitar. However, the real answer is that like Hurt he represented a piece of American music that was fast fading away, at least in its original form -the country blues. Can anyone beat the poignancy of Death Letter Blues or bitterness of Levee Moan? Or when House gets preachy on John the Revelator and other old time religious songs of shout and response. The tension between being a preacher man and doing the `devil's work (playing the blues) is more clearly felt in House's work than in Hurt's.
   
   House's repertoire is not as extensive as Hurt's and there is a little sameness of some of the lyrics but when he is hot watch out. There is another famous film clip of him alone flailing away at the guitar almost trance-like, sweating buckets doing Death Letter sitting down in a chair on stage under the hot lights. That is the scene you want to evoke when you listen to these selections. And do listen.



2. 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, House made recordings that reproduced his old masterpies, with a wrier sense of meaning than before.

   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




3. I was introduced to Son House through npr's series on the blues. In fact that series has inspired me to check out several new artists, but Son House has to be the most versatile and interesting.

   My only real problem with this album involves the production values. I have to assume that the intent on the earlier tracks was to give the listener some of the experience of listening to scratchy old 78's-- when I was child we still had an old victrola so I've already had that experience. Now I would rather hear the music than the hiss and pop of the needle.




4. Like the "Martin Scorsese Presents The Blues" volume dedicated to Son House, this CD includes songs from House's entire career. That's a big plus, and this is great music, but I would still recommend the "Martin Scorsese Presents The Blues" album, which has a stronger track list.

   This CD includes several of Son House's most legendary songs, including the superb early-40s Library of Congress version of "Walking Blues", the a capella spiritual "John The Revelator", and the awesome "Death Letter". But it misses out on key tracks like "Levee Camp Moan", "Preachin' Blues", and the slide guitar-fest "Pearline", and even though no Son House-collection can merit less than four stars, this is not one of the best.




5. Eddie 'Son' House was one of the most intense and commanding of the early Mississippi Delta bluesmen, and he was also one of the greatest. This 'best of' collection wonderfully captures glimpses of the three major periods of House's career: his debut 1930 Paramount session, his early 1940s field recordings made by Alan Lomax and his rediscovery in the 1960s. With informative notes by Mark Humphrey and Robert Crumb's distinctive cover artwork, the set is a loving tribute to one of the genre's greatest and most powerful voices.

2 comments about The Best of Mountain Stage Live ,Vol. 4.

1. This is a collection of songs played live on the Mountain Stage radio show. Most of the songs here are the blues, but there are other styles represented. My personal favorite is the acappella version of "Purple Haze" by the Bobs.



2. I have had all eight of the Mountain Stage series for a number of years and they all get play time in my house. Somehow, though, I always come back to this one. It's a good thing.

   Marcia Ball rips through "That's Enough..." If you don't dance to that, you're dead. The soulful Charles Musselwhite lays down one of the best guitar licks I've ever heard on "It's Getting Warm in Here". Pops Staples recalls his days traveling with Martin Luther King including a conversation the day before MLK was killed.

   Get the disc and be happy.

3 comments about Lucille Talks Back.

1. I loved the LP title Lucille Talks Back in 1975? but I no longer have it ....so I will buy this CD although it is missing 4 songs from the LP and has 6 songs that were not on the LP and yet it says "original release". The 2 wah wah songs are on here -thankfully- and they get 5 stars



2. LUCILLE TALKS BACK contains what I now come to expect from B. B. King: a superb collection of backing musicians playing at the height of their powers, with the King of the Blues himself front and center, pinging out blue notes from Lucille and singing his heart out. There's no standout song on here, all of the tracks are great, solid blues numbers

   I'm always impressed by how crafted the music sounds on this album while still managing to feel spontaneous and natural. This is exactly what this sort of jazz/blues music should sound like. The percussion, the horns, the guitar solos, the vocals. Everything just sounds so right in a low-key but effective way. Nobody steps on anyone else's toes. All the parts fit together perfectly. This may not sound like much of a compliment, but it's only when you hear talent and skill such as is on display here that you realize how rare it is.

   A number of the tracks are live selections, giving the album a good jolt of energy. Don't get me wrong; the studio recordings here are tight. But there's just something appealing about hearing a great bunch of musicians performing in front of an appreciative audience. There's a lot of cheering, hooting, hollering and all kinds of audience participation. Great fun.

   This is an understated and underrated little album. None of the songs on here are instantly thought of when someone mentions B. B. King's name, but they're immediately identifiable as his. Energy, passion and emotion flow through this album; B. B. King and company make it all sound effortless. If you like good strong blues playing, then this CD should already be a part of your collection. It's not revolutionary or completely mind-blowing, but this is a fantastic piece for both beginners and longtime fans of the blues.




3. B.B. King keeps on amazing me with every album. I found this one at a used record store and I still can't believe somebody would get rid of it. "Breaking Up Somebody's Home" is a fantastic cut. B.B. let's his guitar do alot of the talking and Lucille speaks loud and clear. Not everything B.B. has put out has been great, but this one should be in the collection of every blues fan. It is that good.

2 comments about Crucial Rockin' Blues.

1. Crucial Rockin Blues has several of the current blues greats performing an assortment of straight rocking blues and rocking r&b. It is a great CD to broaden straight rock enthusiasts', or straight blues enthusiasts' tastes.



2. THIS IS AN EXCELLENT SELECTION OF MULTI-ARTIST ELECTRIC BLUES. SUPRISINGLY A NUMBER OF THE SONGS ARE VERY RECENT, SUCH AS COCO MONTOYA'S "LAST DIRTY DEAL" ONE OF THE BEST FROM HIS RECENT RELEASE. TINSLEY ELLIS' "THE NEXT MISS WRONG" IS TINSLEY AT HIS ABSOLUTE BEST. PERFORMING A FOOT STOMPING, ROADHOUSE COOKER! DAVE HOLE IS HIS USUAL MAGICAL, WHIMISICAL, AUSTRALIAN, SLIDE MASTER, WITH HIS GUITAR JUMPING AROUND, LIKE AN UNATTENDED WATER HOSE TURNED ON FULL THROTTLE! GUITAR SHORTY'S SONG "i'M GONNA LEAVE YOU" IS PROBABLY HIS BEST COMBINATION OF STRING BENDING AND VOICE YET RELEASED. THE ONLY NEGATIVE IS THE ATTEMPT OF ROY BUCHANAN, REDOING THE ALL-TIME ROCK CLASSIC BY EDWIN STARR, "25 MILES"! IF YOU'RE GOING TO REBUILD THE STATUE OF LIBERTY, DON'T USE POPSICLE STICKS, USE GOLD! (ANOTHER BAD EXAMPLE IS OCEANS ELEVEN) IN SUMMARY, THIS IS AN ABSOLUTE STEAL AT $8.00! SHAQ "THE KING OF THE WORLD BLUES REVIEWER'S" SAYS BUY IT! P.S. SONG #2 "ROUTE 90" BY JOHNNY WINTER IS ROLLICKING GOOD FUN, BUT IT SURE SOUNDS LIKE "SURFIN U.S.A. BY THE BEACH BOYS!

5 comments about Loud Guitars, Big Suspicions.

1. I've heard it, and I've seen her and she doesn't get it yet. Now it's a bit unfair to judge someone of such a tender age, but this girl is just not ready to be out there yet. I saw her at the Chicago Blues Festival a few years back and: 1) I was outraged that the organizers would see fit to put her up on the stage with so many other great players that live in this town available 2) I was embarrassed for her as she was clearly in WAY over her head. She was being billed as a blues player , but she didn't have a clue. Now most of us don't want to be judged by what we did in our teens, but I didn't tell her to get out there this soon. If this was a high school talent show, sure I'd be impressed- but it's not. Maybe she'll grow into something , but my suspicion is that it's not going to happen, as there's no evidence here to make one think that she will pan out.



2. Dakota-born blues-rocker Shannon Curfman is an extrordinarily talented musician as this, her debut album, will readily attest. A wonderful mix of originals and fresh-arrangements of such covers as "The Weight," and "Hard To Make a Stand," make this an interesting album from beginning to finish; there is not a bad or boring cut on the entire disc. Her original "Playing With Fire," an an in-your-face ode to Jimi Hendrix, captures the fierce energy of the late guitar legend, and the outro-solo makes tactful reference to Jimi's use of the whammy-bar.
   
   But aside from Shannon's amazing voice (think of a young Bonnie Raitt) and her edgy guitar-playing, the production values on this album are absolutely superb. Many of the guitar parts are recorded "dry" and are placed front-and center in the mix. If I wanted to record an album of my own work, I would use "Loud Guitars, Big Suspicions" as the sonic template.
   
   I have been waiting with baited-breath for Shannon's follow-up to "Loud Guitars" for several years and, frankly, it's been a long time comming. I only hope she is able to secure the services of the same production-engineer team that put this blues-rock masterpiece together. Either way, I think it's safe to say that Shannon Curfman will be making beautiful music for many years to come.



3. I bought this after it came up as an amazon recommendation and I have enjoyed it so much that my husband and I drove a couple hours to see her play in Davenport, Iowa! Now we are both fans and can't wait to hear her new CD hopefully coming out this summer.



4. To quote another reviewer, holy smokes! Just by comparison, I thought about what I was doing when I was 13. Then I listen to this amazing album and I feel SO inadequate. "True Friends" rocks like crazy and she channels a just barely younger Janis Joplin - but more polished, and with tons of star potential. These days, Shannon is grown up and is still tinkering with her followup. But I can wait. Because when a young lady is this good, it will be worth it. If Boston can do it, why can't Shannon? Excellent album and worth whatever you pay for it.



5. I was introduced to Shannon's music when I saw her open for Lennon on their Acoustic tour in early 2006. It was just her and her guitar, with Paul Lamm on bass and she blew the roof of the place. This woman is amazing and she will be huge next year when her new album comes out!
   
   Yes, she was 14 when this album was released, but don't let that discourage you from picking it up, because she's not the teenage female signer you may have come to expect/dread. LGBS is track for track one of the best albums in my collection. Shannon sings with the power of someone twice her age and plays guitar like she's been playing it for decades.
   
   If you love Blues and Blues-tinged Rock & Country - by all means seek her out on tour, you will not be disappointed. She is also extremely approachable after her shows and genuinely enjoys chatting with her fans. Keep up the amazing work, Shannon, 2007 will be your big year!
   
   --K
   
   PS Check out her website for tour dates and to purchase her new EP, "Take it Loke a Man" - if you think she sounds amazing at 14, wait until you hear her at 21!

5 comments about Super Session.

1. Marc Greilsamer has it dead wrong. When this album was released I was 17 years old. At the time, it was considered to be a must have album for music lovers that liked the guitar driven jam sessions. In the late 60's everything on the radio was a 3 minute commercialized song. The long jam session albums were the real music of the time. This album was one of them.



2. Of course, Kooper and Butterfield did greater work backing Dylan's recordings but this is a very interesting combo of styles. Stills has worked with so many other musicians but his work here is worthy of praise. Worth getting if you want something to take you back to the 60s.



3. In the absence of any intelligible listener reviews (such as the well written entry by BluesDuke below) I usually defer to Amazon's editorial reviews for guidance on unfamiliar music. As I am well familiar with the music on this disc I find Mr. Greilsamer's comments to be pretty far off the mark. What he dismisses as "enjoyable but dispensible noodling" I have for almost the last three decades considered to be some of the finest electric blues guitar playing I have ever heard. Indispensible. Opinions in music vary widely to be sure but to provide a more founded perspective than the editor who either listened to this disc only once or has no real insight into the music he's reviewing I have been studying guitar for 30 years and have found Mike Bloomfield's playing on this disc to be some of the finest I have ever heard, unqualified. In attempting to learn the craft of blues guitar improvisation I have learned more from "Albert's Shuffle" and "Really" than most all other albums combined. From what I have derived over the years, many other listeners and guitar players alike share this opinion. I'm a little concerned when I read supposedly authoritative reviews by people who have no more than a superficial knowledge of the genre and the music they are panning.



4. If you want Bloomfield's best blues, and jazziest, most soulful, most lyrical album, then this is your Holy Grail. With the passage of time some things wear thin, like Kooper's vocals on "Man's Tempation", the tape-whoosh dual-flanger effect on "You Don't Love Me," and the overkill of the 15-minute "Season of the Witch," but "Harvey's Tune" (with no guitar!) is a beautiful, soulful, lovely jewel of a song, and Stills' guitar-work on "It Takes A Lot to Laugh, It Takes a Train to Cry" and "You Don't Love Me" are first-rate, with Stills sounding an awful lot like Jimi Hendrix on the latter tune, which really deserves that treatment. In the end though, the more you listen to it, the more beautiful Bloomfield's playing becomes on soulful tunes like "Really" (and if you like this tune you should buy Barry Goldberg's Two Jews Blues just for "Blues For Barry And" with Bloomfield on it). Bloomfield's best straight-ahead blues is "Albert's Shuffle," and the beauty and creative lyricism (as well as the speed) of his jazz improvisation on "His Holy Modal Majesty" is breathtaking--it absolutely must be heard to be believed. And on every second of this album, Kooper's organ is just as beautiful, exquisite and soulful as Bloomfield's guitar. His organ playing is truly one of the Seven Wonders of the World. It's such a dirty rotten shame that this didn't turn out to be Bloomfield's first solo album, as Kooper had planned it. But considering each side of the album was cut with in only one day with Bloomfield and only one day with Stills, this album is a genuine miracle!



5. This is an album composed almost entirely of blues, with a little soul (Man's Temptation) and jazz (Harvey's Tune) thrown in. It is Al Kooper's creation, and his keyboards (mostly organ, some electric piano) anchor the entire effort. Mike Bloomfield lays down sizzling lead guitar jams, but only on four instrumental tracks. Steven Stills fills that role less inspiringly on the subsequent, less guitar-driven tracks. Horns provide backup throughout, but never take the lead until the last track (Harvey's Tune), indicating that after being booted from Blood Sweat and Tears, Al backed off the idea of horn-based rock. Although Mike's solos merit a close listen, the album as a whole rates better as background music to a late night party than it does as a front and center event. It definitely has the feel of a "session", a very good one, but hardly "super", and you can get bored if you try to focus all your attention on it! So why 4 stars instead of 3? Simply because the 2-minute jazz masterpiece "Harvey's Tune", written by bassist Harvey Brooks, brings the whole album up one notch. As jazz, it doesn't even belong here, and would have been much more fitting on the occasionally jazzy Blood Sweat and Tears debut album "Child is Father to the Man". It has a gorgeous major-minor melody (sax in the lead), exquisite harmonies and counterpoint from trumpet and trombone, and Al's electric piano brilliantly defining the theme and the complex chord progression. It is moody and sophisticated and utterly beautiful - and much too short! So give the album 4 stars, and hooray for Harvey!

4 comments about The Very Best of Johnny "Guitar" Watson.

1. Johnny Guitar Watson, and his contributions to early rock and roll and blues, is one of the most overlooked aspects and it is sad. 'Cause not only could this guy play a pretty mean guitar, but he could also belt out a tune. Take this into consideration: Johnny was the main inspiration for the guitar playing of Frank Zappa, a true guitar wiz. And Etta James, blues, r&b, and soul singer extroadinairre, has credited Johnny with being the inspiration of her style in singing. Not bad. This CD features Johnny's early output fro the 1950's to early 60's. This is just one phase of his musical career. This man reinvented himself so many times to stay current and all of his music is great, from playing blues, standards,jazz, and pop-funk later on. This CD is a great introduction to his music.



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



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



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