5 comments about The Definitive Collection.

1. The last time I had occasion to mention the late Bo Diddley in this space was in connection with a series of interviews and performances along with Chuck Berry, Little Richard and others in Keith Richards Chuck Berry tribute film Hail, Hail Rock and Roll. The talk centered, rightly, on the dismal fate of many black recording artists who developed what would become Rock and Roll when the white artists like Elvis took it over and reaped the benefits of a mass audience. Well, those interviews occurred a while ago, back in the 1980's, but Bo's sense of not having been properly recognized I believe remained until his death. Yet, when one thinks of the sounds created by the founders of Rock and Roll can anyone deny that Bo's primal beat was not central to that explosion? I think not.
   
   Here, in one album we have, if not all of Bo's creative work then a good part of it, at least a good place to start. Of course, the classic song Bo Diddley and its offshoots and variations are here. However, the one Diddley song that will probably outlive them all though is Who Do You Love. Although not a theme song it nevertheless expresses the raw energy of rhythm and blues/ rock/ carib sound like not other. Hell, George Throughgood was able to make a whole career on the basis of having covered that song and other Bo work (and to be fair, covering the work of Elmore James and Hound Dog Taylor as well).
   
   And that is a good point to finish on. The really great rockers, and Bo is in that company, unlike the one-shot johnnies get covered because their work expresses something that someone else later wishes to high heaven that they had created. (George has been quoted directly on that point.) Finally, I give the same warning here as others have given in their comments about the sameness of this CD and the Chess 50th Anniversary CD from 1997. Get one or the other and save those pennies to get more of Bo's work. "I said- I'm just 22 and I don't mind dying. Who do you love?" Thanks for that line Bo. Kudos



2. Really enjoyed this CD of pioneer Bo Diddley. Showcases many of his hits. Also shows that he was very spontaneous with his playing and arrangements. "Roadrunner" is a little known gem that I really enjoyed.



3. Yeah, I see what they did with the repackaging that has been mentioned already. I was lucky enough to get the former version of this album for about 3 dollars through an "overstock sale" at a music club recently, glad I got it then!
   
   Good collection here, I have to give it 5 stars; Bo is such an influential artist of course. Almost seems to deserve more on the "reissue", but for a casual fan of Bo and the history of Rock and Roll, this is a must have, if you like what you hear here, then perhaps graduate to the Chess box set too!?
   
   He and Chuck Berry are essential to any Rock And Roll collection, in what form you choose to catalog them is up to you I guess. Either a box set or a nice collection like this, at least you get a good feel either way of such a wonderful almost forgotten today artist.



4. Yes, every one of the 20 tracks on this set is excellent, and many are seminal classics. But as my esteemed colleague with the "unhelpful" votes writes, this is 1997's Chess comp in new clothes, song for song, and not newly remastered either. Bo Diddley's March 1955 Chess debut, 'Bo Diddley' b/w 'I'm A Man' represented Bo with a fully developed style and persona, one side redefining children's nursery rhymes against an masterfully arranged and recorded track that is pure rhythm long before J.B.'s mid-sixties funk bombs. Emphasizing tom-toms, Jerome Green's sizzling maracas, and the primal jangle of Bo's guitar, it was backed by a blues classic that inspired Muddy Waters' 'Mannish Boy'. This is surely one of the most influential singles ever, and followups such as the irresistable 'You Don't Love Me' and 'Pretty Thing' are just as explosive, original, and uncompromised. Bo's influence on second generation rock 'n' rollers such as The Rolling Stones, Yardbirds, Animals, and (obviously) Pretty Things insured his work would shape popular music for decades to come. And on their classic 1973 debut New York Dolls included just one cover, Mr. Diddley's 'Pills'. All these great recordings and more are included on this collection. Yet, unforgiveably, very little of Bo Diddley's great body of work - his fat years cover roughly 1955 to '66 - remains in print in his own country. By all means snap this up if you are a neophyte looking to buy your first Bo collection, for the music is utterly undated, even thrilling. However, clocking in at under an hour, the set remains merely acceptable (the remastering is very good), certainly not generous. For fans there is nothing here we don't already have. The notes are nothing special, which reminds me that it's time for the 1989 "Chess Box" to get the sonic upgrade - and, while we're at it, expanded treatment - the first generation's most innovative rock 'n' roller deserves. That set, despite sonic limitations due to the problems endemic to early digital, contains unissued rarities, seldom heard gems, and classics. But it is most revelatory for Robert Palmer's brilliant in depth essay analyzing and celebrating Bo's work, an essential read that remains the most intelligent piece I've seen about the music (the box also contains a biographical piece). And expand that box to three discs! Bo issued a string of fine albums during his 'golden decade', plus some terrific single sides and unissued material (some is collected on the superb and - naturally out of print - "Rare & Well Done"). The man is 78 as I write this, recent victim of a stroke, yet the 50th anniversary of his classic debut went virtually unnoticed, as did his 75th birthday. Sonic innovator, grunge craw-dad, rap progenitor, rhythm king, the man deserves at least some of the accolades, sensitive reissue campaigns, and serious critical attention Ellington, Armstrong, Elvis, Sinatra, and others received on such occasions.



5. If you don't already own a Bo Diddley Collection this is a good place to start, but I would recommend getting the British Import "The Story of Bo Didley" instead. It costs a little more but has about three times as much music.

No comments about Pinetop Perkins.

5 comments about Riding with the King.

1. Great compilation of relaxing blues toons. Unfortunately relaxing is all you'll get here. I would have enjoyed it a little more if it had included a couple of toons that had made me want to get up and move a little though.



2. I was totally excited and pleased with this purchase, I have always loved both these artists.



3. Eric and B.B. are so good that it is easy to overlook this album's short comings. Most everything works well, making this a great collaboration between two musical giants.



4. Where's the Blues? This stuff is garbage. I always heard talk of Claptons greatness but have never actually witnessed any. I love BB and have a few of his great live albums. This album is 2 guys waiting for the other to take charge and play some guitar, too bad it never happens. I think most of the reviews here are written by marketing shills thus making anything with even 4 stars really a much lower rating. Seems to be way too many 5 star reviews on most albums no matter how good they are. Even Yoko has 5 star albums LOL



5. This is a really easy, relaxing listen. Very enjoyable. The best of the best. Can't miss with this one.

5 comments about Hoodoo Man Blues.

1. HOODOO MAN BLUES by Junior Wells is a GREAT blues album. If you like Chicago electric blues, you've GOT to have this CD! The CD also has some out-takes that were never on the original album. These are great too. Junior Wells is my favorite bluesman of all time. His harp playing is fantastic as are his vocals. I almost forgot to mention that Buddy Guy plays absolutely fantastic guitar on this album!



2. A great collection of songs by one of the great blues harmonica players, backed up by legendary musicians. If I recall the LP album back cover of this (or the other essential Junior Wells album "It's My Life, Baby!") had this story: Junior worked to save up for a harmonica at a pawn shop, at the end of the week he was 25 cents short, so at the shop he picked up the harmonica and ran out. Caught and brought before a judge Junior's defense was "I just had to have it." The judge asked if he could play it, which Junior did causing the judge to rule in Junior's favor - case dismissed. Don't know if this is a true story but I'd have bought it for him myself. My thanks to the judge and my thanks to Junior! (ps. I no longer have the albums. If anyone does have the LPs please verify the judge story.)



3. 
   I dig the blues man, but I don't tend to review blues albums very much, unless there is something about the album in particular that stands out. HOODOO MAN BLUES by Junior Wells, which infamously includes legend Buddy Guy on lead guitar is one such blues album.
   As a fan, primarily of good, hard hitting, sleazy gutter rock and roll, as well as blues, this album brings alot of things together for me that make it a solid LP of straight ahead ballsy rock.
   An album that prides itself in being the very first Chicago Blues LP ever, it definately is one of the best. It was recorded at a time in the early sixties before the British Invasion revived the blues and the market for American blues was pretty much dead. Most of the blues market was either recording styles leaning towards acoustic folk or more of an r&b style. Even most of your down and dirty blues rockers of the forties and fifties were dulling down. But Junior Wells put together his best band ever, featuring Buddy Guy, who is now legendary for being the influence behind a bunch of guitar rockers... like Duane Allman, and most notably, his direct influence on Jimi Hendrix.
   This is timeless blues, that could in no way be considered dated or old fashioned either then or now. In fact this is probably one of the sleaziest, riffiest, ballsiest records of the early sixties, and is def a must if you like slick sounding, jagged edged, kick ace music.
   Every song rocks... A blues album album.



4. Junior Wells is one of the premier harmonica players ever to his the blues circuit, and this definitely shows off his talent. Very nice to have Buddy Guy playing guitar along side Junior. If you like Little Walter and Muddy Waters, Junior Wells fits in right along side of them, having replaced Little Walter in Muddy's band after Walter left. Highly recommended to any blues lover!



5. I'm pretty horrified by the thought that I almost wrote off the praise of this album as hype. It is not just one of the coolest blues CDs I have ever heard, but one of the coolest albums period. Even if you (like me) prefer the Delta Blues but aren't so hot on Chicago -- and *especially* if you dislike Chicago blues because of the tendency for slow, long, boring guitar solos with too much string bendage -- then you need to check this album out. It's tight, contains not one boring solo from beginning to end, and includes some of the best amplified harmonica I've heard (made even better by Wells' tendency to gasp for air right into the microphone between harp blows, the way Jethro Tull's Ian Anderson does when playing his flute). The bass part on "Yonder Wall" will blow your mind. This album has attitude.

5 comments about Lie to Me.

1. I'm not thrilled by this album. I like Lang's bluesy renditions but I would have liked a few more cuts that have the energy of the title song.



2. When you consider that Jonny Lang was still a kid when he recorded this album, it's incredibly impressive.
   
   But putting the child prodigy angle aside, for a moment, it's really a mixed bag. There are, undoubtedly, moments of sheer greatness. The opener, title track "Lie to Me," is catchy, high quality blues, and the follow up "Darker Side" is a potent song, as well. The album offers up a nice mix of harder rockin' blues numbers with slower blues both of the heavy and soft varieties. At times Lang's playing even echoes that of Stevie Ray Vaughan.
   
   So why is it a mixed bag?
   
   Well, to some extent, the album tries a little too hard to be modern, and loses some of the raw emotion of the blues. Part of this modernity is seen in the album's clear pop leanings, evident on a number of tracks, which water it down somewhat. And then there's that final track, "Missing Your Love." It might be the weakest track on the album, and it just leaves a bad taste in the mouth. If it had to be included, it would have been a better fit somewhere in the middle...well away from the influential beginning or ending of an album.
   
   But, given all that, it's still a good album, and one worth hearing. Perhaps some who like pop infused blues more than I will appreciate it more fully.



3. For a second effort, it is just as good as the first. Jonny just keeps getting better and with a more mature and bluesy vocal.



4. With his worldly, whiskey voice Jonny Lang stuns us once again. So young to feel so much!!! And he relays it spectacularly. From the soulful lyrics to the spectacular guitar, this is a moody, wonderful CD.



5. Jonny Lang's major label debut was more successful than anyone would have dreamed. The title track became a big hit and vaulted Lang into overnight stardom at the tender age of 16. I actually don't think this album is quite as good as his previous independent effort "Smokin", but it is still a very good album. Being on a major with a big name producer the material here is much more polished than Lang's previous stuff. The guitar solos are shorter and the album contains more covers than originals. Still when you consider the fact that this kid was just 16 when this was recorded it is pretty amazing. Highlights include "Lie To Me", "Darker Side", "Rack Em Up", and the soulful "Missing Your Love" which would be a shade of things to come on Lang's later albums. I have had the chance to see Lang live several times over the years and each time he gets better. This is a very nice blues album from a talented guy. I don't think it is his best, but certainly worth owning.

5 comments about His Best :(Little Walter)The Chess 50th Anniversary Collection.

1. Picture yourself in a crowded juke joint or blues bar on the southside of Chicago in the late '40's. Muddy Waters is about to play. He's already gone electric; I mean, he had to, to be heard over all the talking and yelling and what not. His harp player has about blown out a lung trying to be heard over all that din. Walter Jacobs has been doing a bit of experimenting himself, in an attempt to amplify the sound of that little instrument. Tonight he actually grabs the microphone off the stand, bumping it up close enough in his clasped hands to touch the harp. He cranks up the volume and starts to blow. The sound coming out of the amp is unlike anything anyone's ever heard. It's got a deep, heavy, honking, sexy wail, nothing at all like the unamplified harmonica sound of "country" blues. Men and women alike dance ecstatically, screaming and crying in excitement, over this new and intoxicating sound, this amazingly sensuous and insinuating beat. Necessity is the mother of invention; the guy was simply tired of people yelling that they couldn't hear him. So, being the innovator he was, he came up with a simple adjustment in technique.
   
   This small act completely revolutionized the blues. Walter Jacobs, probably more than any other individual, has influenced every person who has ever played electric blues. When it comes to harp players, he is the undisputed king, the god, the creator, the originator. You can listen to anyone who's ever played amplified harp since it begun, somewhere late '40's, and you will hear Little Walter's riffs. Most people would probably admit that Little Walter is the reason they play harp at all!
   
   This set contains all his best stuff, done after he went out on his own. Imagine this for a three-piece band: drums/bass/harp. That's it; no guitar. He actually played sets with this lineup, and blew the doors off. Most of the tunes on the set here do contain guitar, but it's clear that the lead is Walter and his harp. He wasn't content to just play ten-hole Marine band harps either; he incorporated the rich sound of the chromatic harp into his repertoire.
   
   All blues fans and most of all, those enamored, bewitched, and obsessed with the wonderful sound of electric harp need to own this record and commit it to memory.



2. Marion Walter Jacobs (b. May 1, 1930 in Alexandria, Louisiana), and influenced by the likes of Sonny Boy Williamson (No. 1) and Louis Jordan and his jump saxophone arrangements, quite simply revolutionized the blues harmonica technique when he showed up at Chicago's famed Maxwell Street market in 1947.
   
   Among the hundreds of artists plying their trade in that environment he stood out to the point where he attracted the interest of the small Chicago labels Ora Nelle and Regal where he cut several sides. His big break came in 1951 when the Chess brothers, Leonard and Phil, hired him to back Muddy Waters and Jimmy Rogers, and it was as much his amplified harmonica that made hits out of Mannish Boy, I'm Ready, and Standing Around Crying [by Waters), and That's All Right and The World Is In A Tangle (Rogers).
   
   By 1952 he was assigned to the Checker subsidiary, and by that September he literally burst into prominence when the instrumental Juke streaked to # 1 R&B and remained there for eight solid weeks [the flip was Can't Hold On Much Longer and is erroneously listed in this compilation as "Can't Hold Out ..."). This single was billed to Little Walter and His Night Cats.
   
   The follow-up Sad Hours (instrumental) didn't quite repeat that success, settling for # 2 early in 1953, while the vocal flipside, Mean Old World, reached # 6 as by Little Walter and His Night Caps. Fittingly, Muddy Waters played guitar on each of these first three hits.
   
   When his next hit reached the charts later that spring (Off The Wall, # 8 as an instrumental, and Tell Me Mama, # 10 as a vocal, he was billed as Little Walter and His Jukes in order to capitalize on his debut smash hit. The Jukes consisted of Chess sessionmen Louis and David Myers on guitar and Fred Belows on drums.
   
   From there to 1959 he would add 10 more hit singles to his credit, his last coming in 1959 when Everything Gonna Be Alright (erroneously listed as "Everything's") reached # 25 (his lowest charter) as simply by Little Walter. These included the seminal My Babe, written by Willie Dixon and based upon the old spiritual This Train, which became his only other # 1 hit, staying at that position for five weeks early in 1955.
   
   It would have been nice if, in putting this tribute together, producer Andy McKaie had found room for the three hits omitted - Oh Baby which made it to # 8 in May 1954 b/w Rocker, You'd Better Watch Yourself which reached the same position that September b/w Blue Light, and Who, which reached # 7 in April 1956 b/w It Ain't Right. You can find You'd Better Watch Yourself on The Best Of Little Walter from MCA/Chess, also listed by Amazon.
   
   Adding to this CD's worth are the six pages of liner notes written by the noted music historian Billy Altman, which includes a wonderful story behind Juke, several nice photographs, and a complete discography of the contents. To quote from Mr. Altman "By 1968 he was gone, leaving behind a legacy that harmonica players everywhere regard as, quite simply, the holy grail." That much was recognized by the Blues Hall Of Fame in 1982 when they inducted him among the 20 honoured in their first year of existence. You'd think those pompous ciphers at the Rock & Roll Hall Of Fame would wake up and at least recognize him in their Early Influence category.
   
   Just a superb collection.



3. Wonderful harmonica music! The liner notes mention that Marion "Little Walter" Jacobs was experimenting with different methods of getting the most out of his harmonica playing. He finally discovered an answer through the "use of a hand-held microphone which was plugged into its own amplifier. . . By `going electric,' Walter single-handedly transformed the harmonica. . . ."
   
   Some nice cuts on this CD. One was a tune that he played when he was with Muddy Waters' band in Chicago in the very early 1950s, "Juke." This is an instrumental tune and well played, beginning with some very strong harmonica work by Little Walter. The band overall produces a nice blues sound. Fun to listen to!
   
   By the time "Blues with a Felling" was recorded, Little Walter had left Waters' band and had a new one of his own, featuring the Myers Brothers and Fred Below. Once more, the harmonica work is great. Little Walter sings nicely, although his voice is not in the genre of Sonny Boy Williamson (II), Muddy Waters, or Howlin' Wolf. One nice line:
   
   "I'm gonna find my baby
   If it takes all night and day"
   
   "My Babe" is a nice little rocking song. As before, good harmonica and good overall band playing. The recurring vocal riff: "My babe don't stand no cheating."
   
   Another quick note. "Confessin' the Blues" was covered by the Rolling Stones.
   
   In short, a nice album. His singing may not have been as rough and distinctive and powerful as other leading blues singers of the era, but he still sang well enough. And the harmonica work was outstanding.



4. There are no bad songs on this overview of the career of maybe the greatest blues harp player of all time. Chess' compilations, be they boxsets or single disc comps, are all, in my experience, very well remastered. Buy it if you want to hear straight up great blues in the Chess tradition.



5. Little Walter had an amazing harmonica sound and style that was all his own and could never be duplicated. Man, is this some hot stuff. His first record, "Juke", an instrumental is just, to quote another title of his, "off the wall." Yeah, there is a number that's called that which is on this CD. Absoultely what the blues is all about. Songs like "Sad Hours" and "Off the Wall" are practically Little Walter and the band sittin' around and jammin'. Check out the guitar lick at the beginning and the through the whole of "Sad Hours"; classic blues lick. Some other cool stuff is "Tell Me Mama", "Blues With A Feeling", "You're So Fine", "Mellow Down Easy", "My Babe", "Hate To See You Go", and especially "Boom, Boom Out Goes The Light." That one's a regular jam session, too. This is how music was made and appreciated to these guys. They just played as and what they felt. If you're learning about the blues, don't forget one of the supreme harmonica players of the genre: Little Walter.

5 comments about The Definitive Collection.

1. There is a huge amount of Muddy Waters-compilations out there, and while MCA/Chess's two-disc, 50-track "Anthology 1947-1972" is certainly more definitive than this Geffen compilation, it does offer a very good overview of Muddy Waters' career.
   
   Opening with the classic 1948 single "I Can't Be Satisfied", this CD takes you through (most of) the highlights from the 1950s and 60s. "Hoochie Coochie Man", "I'm Ready", "I Just Wanna Make Love To You", "Mannish Boy", and "Got My Mojo Working" are here, of course, and in the original versions, too, but it's a shame that some slightly lesser known (but equally fine) singles like "I Love The Life I Live, I Live The Life I Love", "She's Nineteen Years Old" and "I Want To Be Loved" are missing.
   
   But there is certainly enough great music here to satisfy the casual fan, and if you do want more, there is always the impressive "Chess Box" and the late-70s/early-80s albums produced by Johnny Winter (only one track out of these 24 is from those sessions).
   This album is not the definitive word on McKinley Morganfield, but it's a good introduction for the uninitiated.



2. I do not pretend to be an expert on Muddy Waters. I saw a TV biography and was motivated to get a "greatest hits" CD. There was a 2 disc option at Amazon, but then I saw this one. I checked it out with various reviewers, and it met the bill. All the songs are well done, and the whole CD seems like a great overview of the blues from this specific artist. From all I can tell, this would be an excellent highlight collection for anybody who wants just one CD of Muddy Waters.



3. Ever notice that you're seeing more and more of these "best of" collectons out there now? Now there is UMVD's "The Definitive Collection" of numerous artists from that same unforgettable era featuring 20 or more top tunes of the featured artist crammed onto one disc. Sometimes these single-disc collections fail to make the grade because of so much essential material that ends up being left off for reasons of space alone and the rest of it is the same predictable fare. An exception in this case would be this: Muddy Waters' Definitive Collection. This collection runs through Muddy's premiere years featuring his swampy, slide guitar sound and musical style then continues through the '50s and early '60s when he began to make his significant impact on blues music and eventually would be regarded as one of the most highly respected names in blues music. So many of his best tunes like "Hoochie Coochie Man", "I'm Ready", "Forty Days and Forty Nights" and "Got My Mojo Working" were covered by so many bands so many times that these tunes are really timeless and have becomes standards in blues. You really do get and stay interested for the entire length of the album. It is a little slow to start, but it picks up quickly and the bulk of the action happens with tracks 8-18. "Crosseyed Cat", recorded in 1976, is something you really got to hear. It is swampy, raw and tough. A 6 minute jam session, basically. This "Definitive Collection' lives up to its name overall, and is absolutely essential for the blues fan if the 2-disc anthology is a bit much.



4. You want to know about Muddy Waters? This is a wonderful introduction to his work. No single work, of course, can contain all the best songs of someone like Muddy Waters (nee McKinley Morganfield). But this CD is awfully satisfying.
   
   And the first cut is the classic "I Can't Be Satisfied" (later covered by The Rolling Stones). The instrumentation is remarkable simple--guitar and bass. But Waters' singing is primal and gives this cut life.
   
   The 1950 tune, "Rollin' Stone," gave the English rock and roll band their name. The music is raw, but compelling. One line: "I wish I was a catfish, swimming in the deep blue sea, I would have all you women's comin' after me." At another point, he sings that his mom says to his dad that I got a boy child comin', gonna be a Rollin' Stone. A must listen to piece.
   
   Willie Dixon wrote the words for another song, a Waters' classic, "(I'm Your) Hoochie Coochie Man." First, what a backing group! Little Walter, Jimmy Rogers, Otis Spann, Willie Dixon, and Fred Below. This is a great blues tune topped off with Muddy Waters' great blues singing.
   
   Another Willie Dixon song, "I Just Want to Make Love to You." Also covered by the Rolling Stones. . . . Listen to this version. A wonderful blues song.
   
   And then there is "Mannish Boy" (talk about a greatest hit!). Again, great instrumental work and a terrific backing band. The song begins with him singing "Everything's gonna be all right this mornin.'" The insistent theme, "I'm a mannish boy," recurs throughout. One set of lines hearkens to other classic music:
   
   "I'm a man,
   I'm a Rolling Stone.
   I'm a man,
   A hoochie-coochie man."
   
   Then there is "Got My Mojo Working." An uptempo romp with a great backing band.
   
   So, do you want to know what Muddy Waters was all about? Try this CD. It will give you the introduction to his body of work.



5. No one has to say anything about a Muddy Water's collection. The music speaks for itself. There is a reason "the man" is rated as one of the best blues artists ever - his music speaks volumes. Enough said. ...April, 28 2007 - I can't believe anybody would even want to read a Muddy Waters review...man that cat needs no reviews...HE IS THE KING OF THE BLUES. The one neophyte who read my initial review and didn't think much of it must not know about the Mud Man so I will add some more commentary for those who evidently are new to the blues. My favorites on this cd were "Rollin & Tumblin: Part One." Those is the know that is the original black euphanism for "sex" or "rock-n-rollin" before Allan Freed made it popular. "Rollin Stone" makes me want to be at a club watchin the man perform live. Muddy gets cookin on "Turn Down Your Lamp (Please Don't Go)." He doesn't usually get so up tempo and bring in the harmonica so ENJOY THIS ONE - IT'S CLASSIC. What can I say about "Hoochie Coochie Man" it is so good that it has been covered so much even to George Thoroughgood. THIS IS A STANDARD IF THERE EVER WAS ONE. "Mannish Man" is so great ... it usually goes by "I Am A Man" oh Muddy gets down on this one. Oh man I got off on "Got My Mojo Working" and I still almost wear this one track out by playing it over and over. How can you not like a song like "My Home Is In The Delta." Muddy talks bout leavin Chicago for the Delta mud .... he is really singin the blues on this one. "Crosseyed Cat" is the closest Muddy get to Jimmy "Harmonica" Reed or Slim Harpo or even somebody like Howlin Wolf.....this is a class song that is not your typical soulful Muddy Waters. Now for all you cats who read this review ... quit readin and start buying. You need Water, Hooker and Wolf to get your collection goin then start addin some Jimmy Reed, Slim Harpo, Hound Dog Taylor, Lightning Slim, Lightning Hopkins and don't ever stop ... but first listen to "Crosseyed Cat" and GET YOURSELF SOME WATER ESPECIALLY THIS DEFINITIVE COLLECTION....Joliet Jayke The Bluze Brother.

5 comments about The Sky Is Crying: The History of Elmore James.

1. Love the blues? This is for you. One of the early up from Mississippi to Chicago bluesmen (I think he died in '43). "Madison Blues" and "The Sky is Crying" the way 'lonesome George' heard them first.



2. Since the advent of the compact disc two decades ago, there have been a number of worthy compilations by the great Elmore James (1918 - 1963), and yet James' reputation and popularity still falls far short of many of his contemporaries, post-War giants like Muddy Waters, Howlin Wolf, who came out of the Mississippi Delta and migrated North to cities like Chicago or Detroit. James, perhaps even more than Wolf or Waters, embraced amplification - not just because you had to be loud to be heard in a crowded bar, but for the creative possibilities offered by plugging in. Only Bo Diddley, perhaps, found electricity to be as essential to his creative evolution as Elmore did, as one can't help but be blown away by the way Elmore deployed distortion, volume, sustain, and other effects that allow for the myriad of textures and colors heard on these vintage masterpieces. And playing the music on this superb set LOUD goes a long way towards demonstrating just how vital James' intense, piercing, and hugely influential slide guitar playing remains on rock and blues players (from Duane Allman and Ron Wood to Hound Dog Taylor and Jack White), how cohesive and sympathetic his bands (especially the Broomdusters) were, and how emotionally raw and deep his greatest work sounds some 45 years after his death.
   "The Sky Is Crying", issued by Rhino in 1993, remains the single best collection of Elmore's work, essential to any serious blues collection as well as the perfect introduction for newcomers. The 21 track set (recorded between 1951 and 1961) is unique in that it represents James' recordings for a variety of labels, including Trumpet (where he recorded his debut, 'Dust My Broom'), Flair, Chess, Atlantic, Chief, Flashback, and finally Bobby Robinson's Fire, where James settled during his final, fruitful four years. The fact that this CD's producer, the late Robert Palmer (who also contributes a typically insightful essay that allowed me to really HEAR this music 14 years ago) brings together so many of James' recordings from different periods and labels allows us to hear the evolution, abd especially the range and scope of Elmore's body of work, from his almost tentative (in light of what follows) debut hit to fully realized masterpieces with the Broomdusters, as well as blistering workouts with Ike Turner (whose own go-for-the-throat guitar is a perfect foil for Elmore's slide), a collaboration with Big Joe Turner, plus performances by Willie Johnson (guitarist on Wolf's immortal early Memphis sides), Willie Dixon, and more. By the time we get to hear "Hawaiian Boogie" and "Madison Blues", "I Can't Hold Out" (covered by Clapton), "Done Somebody Wrong" (ditto the Allman Brothers Band), the amazing "12 Year Old Boy" (track down Lydia Lunch's version!), and the primal funk of "Rollin and Tumblin" the power of Elmore James is undeniable, as is the intellegent sequencing of this lovingly compiled collection. For those who want more, I'd recommend two inexpensive boxed sets that are still in circulation if not in print: "The Classic Early Recordings 1951 - 56" (Flair/Virgin, 1993) has some amazing workouts by the Broomdusters and a booklet full of rare photos and the compilers' tale of visiting Canton Mississippi in 1993, where we meet folks who knew Elmore. "King Of The Slide Guitar" (Capricorn, 1993) takes us to the last years of James' career, which found him at his peak: 50 wonderful tracks recorded for Bobby Robinson (James' best producer) and originally issued on Fire.



3. Elmore James is underrated--period. He was as much of a pioneer and original artist of electric blues as Muddy Waters, yet timing, connections, and probably his health problems seemed to diminish his stature in the blues world in the 1950's and early '60's somewhat, at least compared to Muddy Waters and Howling Wolf. Over time, we have seen his work to be just as influential as Muddy's, and probably more than Wolf's. I admire Muddy Waters and the Wolf and respect their supreme positions as kings of Chicago blues, but I actually enjoy listening to Elmore James more. His singing is second only to Son House in sheer terms of emotional intensity. I love his quivering vocal vibrato that so perfectly fits the beat to "Dust My Broom." And his slide playing is without question some of the most influential music ever. The legendary Duane Allman studied him--need I say more?
   
   This is a perfect CD for those interested in sampling Elmore's music for the first time. Every song is a winner. You won't be disappointed!!



4. I love blues music and this is one of my faviorte artist. This cd does a good job with song selection and its just an awesome piece of music. The price is a steal as well.



5. If you want a slick full blown stereo recording of Elmore you may be disappointed, but if you are a true blues brother you will appreciate that they have reached back in time for some early Elmore. Dust My Broom - the classic standard of Elmore - has a better sound later and by other artists...but man this is Elmore when Elmore wasn't even hardly known...dig it and appreciate it. The Sun Is Shining and The Sky Is Crying seems to have been covered by everybody. Why, they are true Chicago Electrified Blues Standards. I loved T.V. Mamma because my main man "Big Joe" Turner is backed up by Elmore and that classic distorted slide guitar of his....loved it. Madison Blues has a completely different sound than most of the later covers especially by the white blues bands...the original is the best. Other favorites were I Can't Hold Out, Shake Your Money Maker (man whats blues dude hasn't done this one), and Rollin and Tumblin. Elmore was the 2nd blues man I ever heard..circa 1958 on KATZ a.m. and Dave Dixon is St. Louis, Mo. He was one 1st I ever heard and still is one of the best in my opinion...his slide guitar set the trend for people like Hound Dog Taylor and many others. When he gets that sucker wailing, it puts chills up and down my back. Elmore James is one wailing cat...makes me feel like I am in some smoky, black club back in the late 50s and early 60s enjoying real music when Paul Anka and Annette Funicello were on the white stations singin bubble gum music...buy Elmore and be a BIG FAN just like ole Joliet Jayle the Bluze Brother ... Rock-n-roll, boogie woogie, rollin and tumblin all night long!

5 comments about Live at the Regal.

1. B.B. King-Live At The Regal *****
   
   Recorded live at the Regal in Chicago in 1964 this went on to become what is now widely considered the all time greatest live blues album. This is rightly deserved as this is in fact the greatest live blues album of all time.
   
   King's single note guitar lines are crisp as ever, and his vocals are beyond comparison. Aside from being obviously his best live recording, Live At The Regal is the best recording of King period. This is with out a doubt the best version of 'Sweet Little Angel' ever released. The essential version is more correct. 'Every Day I Have The Blues' and 'Its My Own Fault' are among some of the most inspired performances ever caught on tape. The albums closer 'Help The Poor' is just gut-wrenching. Pure bliss!
   
   This performance is pure electric. With every passing listen to Live At The Regal I still get chills all down my spine, and if you ask me that is the mark of a fantastic album after all these years and listens.



2. As a Memphis native, I have heard B.B. on many occasions. Never have I seen or hear him play with the same passion he did here in 1964. The quality of the recording is outstanding, with Lucille giving the center-stage on many occasions. The clarity and quality is amazing for a forty year old recording. This is the live B.B. King recording to buy. The Cook County Jail performance from 1971 is a close second, but the quality is not nearly as good.



3. recorded live at the regal theatre, chicago in 1964, this is generally considered b.b. king's best album, and deservedly so. this is simply one of the great urban blues albums of all-time. b.b.'s singing is as powerful and nuanced on this recording as it was ever to be, before or after. his guitar playing is at a peak of expressive beauty here, far more tasteful and beyond the technic, at this point, of what any rock and roll guitarist was yet capable of. yes, the rock and rollers would improve greatly in time, but this was 1964, and King was the undisputed guitar king. a fine horn section, it should be mentioned, also graces the album. the whole affair is magical. a great night in recording history.



4. BB King's Live at the Regal is a recording of a great show performed at the Regal Theater in Chicago in 1965. Considered among many, including myself, as his greatest album its a must for any blues collection. King is at the top of his form and you can hear it in his guitar playing. His band gives their all and, importantly, the song selections are magnificent.
   
   Its a great recording of a great performance. Its also a perfect introduction to the blues for neophytes as well. Highly recommended.



5. I can't believe the touch of B.B. King. I enjoy his playing immensely. I know this album gets buried in accolades. But I don't like it. The quality is poor and, differing from other's opinions, the crowd noise takes away from the music. B.B. said, in so many words, that Live at the Regal was far from his choice as his best recording. Typically, he said he wouldn't argue with success--and left it at that. There are so many good albums by B.B. You can't go wrong for $4.65 for the "Ultimate Collection". Sure it doesn't have them all--but it has quite a few of his great songs, including a few from Live at the Regal. I would steer clear of this selection. Or I'll send you mine for free!

5 comments about Trouble Is....

1. This is the first KWS CD that I have purchased and it was promoted by listening to Blue on Black on a streaming electric blues audio station. I was hoping the rest of the CD was going to be good electric blues rock and I was not dissapointed. I thought the entire CD was darn good!



2. I knew what I was getting when I bought this cd, but man, it still blew me away. I loved the fact that I could actually tell the influences of BB King, Muddy Waters, and more as I listened to Kenny Wayne Shepherd belt out the blues. An excellent product.



3. Kenny Wayne continues to record very good music. Noah Hunt's vocals are awesome. Usually like only one or two songs on any cd...I like them all on 'Trouble Is".



4. This CD is just great. Kenny can play an amazing guitar. I really like Noah Hunt's voice and he makes the songs that much better. Every song is a good listen. Most people know about Blue On Black, but all the songs are good here.



5. The music wasn't bad, however the vocals are a MAJOR disappointment. I kept expecting something better with each song. Then I realized the problem; there was no raw feelings conveyed, no personality, no life. You can't sing blues songs with a polished pop voice.