4 comments about Trouble in Mind.

1. This "Trouble In Mind" compilation from the Smithsonian is the best collection of Broonzy's later period acoustic work. I think this is a better collection than the other 'best of' compilation ("Absolutely The Best" on Varese Records). The remastering on these tracks is excellent and they are the best sounding recordings of Broonzy I have ever heard. The songs here are all of his classics. The only thing that's disappointing is that they left off the track "Never Satisfied", which would have made this the ultimate collection of Broonzy acoustic blues songs. Highly recommended!



2. I preferBig Bill's acoustic work over his electric work. This is a collection of acoustic songs from the last years of his life. He sings blues, folk, protest songs, gospel...all of that in this great collection. Extensive liner notes and the printed lyrics and notes for every song makes this CD a true gem. Includes some live recordings as well.



3. Smithsonian Folkways did a great job capturing the essence of Big Bill Broonzy's sound. I've heard other albums and this is my favorite. The music is taken at the latter half of his career and establishes Broonzy as a master of the country blues/folk sound. A great album any blues fan should own.



4. I just recived my copy of this Cd in the mail today. I've now played it 6 times straight through. Big Bill was brilliant! Great Voice and Terrific guitar. I highly recommend this and any other Big Bill Disc you can get your hand's on. He was a rare and under appreciated Talent! Muddy Waters thought enough of Big Bill to record an entire lp of his songs.

5 comments about Vietnam Blues: The Complete L&R Recording.

1. I've just bought this CD for the 4th time - along with Jack Dupree's "Blues From The Gutter", it's the one I give away when I really want to give, and turn someone on to the blues.
   
   It contains JBs last 2 albums before his untimely death in 1967, and represents the full flowering of his groundbreaking African Hunch style. JB was a popular Chicago electric blues musician who gradually evolved a new acoustic sound - syncretising a lot of what had come before, from gritty Delta guitar to barrelhouse-piano style syncopation, and more than a touch of gospel - but sounding fresh and modern; he was moving forwards not back. Sadly this style seems to have died with him; the world has not caught up yet.
   
   All tracks have JB on acoustic guitar and vocals (those words hardly doing justice to what he does with them); many with Freddie Below on drums (inventor of Rock & Roll no matter what anyone else says); and a few with Willie Dixon's atmospheric growling on backup vocal (Willie also produced).
   
   There's nothing else quite like this, though JB's 50's and early 60's Chicago recordings gave some hints of what was to come (a couple of his 50's hits are reworked here). The guitar work is simple yet complex, highly syncopated; the voice a flexible instrument, and the songs are just extraordinary - power and subtlety, tears and laughter, protest and acceptance, folk tales and modern living.
   
   I can't really explain it in words, just listen to some of the samples, bearing in mind the the whole experience is so much more so - at least hear "Alabama", "Mojo Boogie", "Move This Rope", "I Feel So Good", "Good Advice", "Vietnam", "Down In Mississippi", "Voodoo Music", and especially "Born Dead" and "Feelin' Good" ... heck, just get the album! What a trip it is - hearing this for the first time is like hearing Robert Johnson for the first time...



2. I knew Lenoir from Scorcesse's films "Blues History" . Hia social interests captivated me so much.



3. Most hardcore blues fans know of J.B.Lenoir, but if you're unfamiliar with him then this CD will be a revelation. He is a unique stylist, master guitar player, and profound lyricist. His singing is powerful, idiosyncratic and full of conviction.
   
   The cuts on this disc have been remastered beautifully, are full of depth and clarity. They represent the broad range of Lenoir's music, from biting social and political songs, through rocking dance numbers, to pieces in a more gospel or spiritual vein. Many of the songs foreground Lenoir's signature "African hunch" polyrhythm, a style as unique to J.B. as the "Bo Diddley beat" is to, well, Bo Diddley.
   
   If you can only get one Lenoir CD, get this one. You'll love it and it'll compel you to get everything available.



4. This CD is priceless. It is a ticket into another world. The amazing talent & raw heartfelt emotion of J.B. pours out of these songs and takes the listener on a journey. It is political, it's religious, it's sexual, it's unjust defeat, it's resurrection and it's definitely groovin. This is a glimpse into the heart and soul of a black man who lived and died during civil rights movement in the south. This CD gives the listener more than just great music, it serves up human feelings, the composition of life, and that's what the blues is all about.



5. I've only listened to the five excerpts from this CD, in addition to what portions I have heard on Scorsese's documentary, and I can tell you, this man's a genius. His sounds are pure and full of vitality after forty-plus years. He is unique and original; Lenoir's guitar work is rooted in Delta/acoustic guitar blues traditions, yet, in his riffs and songwriting, he displays the savvy hooks and songwriting skills of a contemporary pop tunesmith. Above all, J.B. is laid-back and downright cool--one can't help but sway, bump, and grind, to his swinging rhythms. I hope his relatives, if they are still with us, are getting a significant portion of these royalties. This man was, and is, an American Blues treasure!

   P.S. Mayall's song "The death of J.B. Lenoir" is also great; Lenoir seemed to "produce" great music even after his death! We are blessed for being able to hear, and to see (thanks to this new documentary) his incredible gifts after all these years!

5 comments about Blues Blues Blues.

1. I just happened to stumble upon this recording and was blown away the moment I listened to it. Usually it takes me a few listens to warm up to a collaboration blues CD, but that wasn't the case here. Every track is outstanding and real blues at its best. I've recommended this recording to every blues fan I know.
   
   I love surprises like this!



2. I am very happy with the choice I made on this CD. I have many Blues CDs in my music collection but I listen to Jimmy Rogers All-Star most often. I never get tried of it!



3. I tend to stay away from collaborations and stick to the original blues recordings, but I read a few good reviews of this disc and when I saw the line-up of the artists on it, I thought I'd give it a try. Let me tell you, it doesn't disappoint at all. This CD has a good drive, a strong rhythm, excellent production values and will definitely pick you up. This CD has blues classics laid on a British rock foundation. It doesn't get too much into the rock territory, though. I thought a really nice balance was achieved between blues and rock, such that the strong drive is always there, but at the same time, this is unmistakably blues, with excellent piano and harp to add to solid guitar work. Even though there are a few prominent rock guitarrists assembled in this CD, there is no guitar shoot-out here. The guitars provide a solid, pleasant, easy-to-listen backing but never take over the songs as is often the case in pure blues. This is a great CD for driving - you will never get any highway hypnosis if you have this CD on. If you've stayed away from blues but like classic/British rock, give this a try. If you are blues purist and are suspicious of this all-star line-up, give this a try. If you are looking to ease smoothly into the blues scene, give this a try. If you like country rock, give this a try. I think you can't go wrong with this disc. This a good value for the money.



4. Anyone put off by the "all-star" supporting cast on this tribute to the late Chicago blues legend Jimmy Rogers, which is an understandable thing based on other such offerings out there, is missing the point. The point is this is a good, solid effort throughout the disc. If you're new to the blues, this is a good, accessible intro. If you're a longtime blues aficionado, this is still strong; this is not "blues for kids". He gets help from the best: Eric Clapton, Mick Jagger, Taj Mahal, Robert Plant, Keith Richards, Jimmy Page, Jimmy D Lane, Kim Wilson on harmonica, Johnny Johnson on piano, even Stephen Stills. I agree with some of the other reviewers that the last track, John Lee Hooker's "Gonna Shoot You Right Down (Boom Boom)" is good stuff. Rogers himself sings the vocals and plays guitar on the tracks and sounds great. He passed before the album was released, but musically, he went out strong with this one. Highly recommended for anyone interested in the blues.



5. I've always been a bit sceptical about these superstar collaborations...they don't always work too well, and sometimes the guest stars overshadow the supposed main artist. But Jimmy Rogers and his various all-star combos manage to pull it off really well.
   
   Sure, the arrangements are generally very similar all the way through, which does perhaps detract a little bit from an otherwise fine performance, but this is actually a very accessible and fun blues record. It doesn't just appeal to hard-core blues fans, more mainstream rock- and R&B lovers can certainly enjoy it as well, and Rogers and his guest musicians have hand-picked some real blues classics, and they generally do very well by them.
   
   The album opens with a faithful take on Muddy Waters' "Blow Wind Blow", with excellent harmonica by the Fabulous Thunderbirds' Kim Wilson, and lead guitar by white blues-rock guitarist Jeff Healy.
   Jimmy Rogers' own "Blues All Day Long" has Rogers sharing lead vocals with a certain Mr Eric Clapton, who also plays lead guitar. Carey Bell lends a hand on the harp.
   On a gritty reading of the classic "Trouble No More", Rogers shares the lead vocals with Mick Jagger, and Keith Richards plays lead guitar.
   "Bright Lights, Big City" is another Jimmy Rogers-original, with Taj Mahal behind the microphone (he is also featured on Rogers' "Ludella"), and Lowell Fulson appears along with harpist Carey Bell on Memphis Slim's "Everyday I Have The Blues".
   
   The all-stars also do the inevitable take on Robert Johnson's "Sweet Home Chicago", with Stephen Stills (!) contributing lead guitar and co-lead vocals, and Stills pops up again on Big Maceo Merriweather's "Worried Life Blues".
   Mick Jagger can't quite match Sonny Boy Williamson II on "Don't Start Me To Talkin'" (Keith Richards plays lead guitar again), but "Goin' Away Baby" is pretty well suited to his voice, and Eric Clapton and Jimmy Rogers do a fine rendition of Rogers' "That's All Right".
   
   The album closes with an alternative rendition of John Lee Hooker's "Boom Boom" (retitled "Gonna Shoot You Right Down"), with - get this - Eric Clapton and Jimmy Page on guitars, and Robert Plant sharing lead vocal duties with Jimmy Rogers!
   Rogers himself is in fine voice throughout, in spite of the fact that he was in his seventies at the time, and died before the album was released. The near-legendary blues- and R&B pianist Johnnie Johnson's dextrous playing belies his age. And finally, as a special treat for Hound Dog Taylor-nostalgics, the swivel chair is occupied by none other than the Houserockers' 66-year old drummer Ted Harvey.
   
   Definitely recommended.

5 comments about Howlin Wolf: The Chess Box.

1. One of my first exposures to the world of Chicago-style blues, after a steady diet of country-style Delta blues, was the Rolling Stones' version of the Willie Dixon classic Little Red Rooster back in the early 1960's. I thought that was a song to beat all songs and it had nothing to do its allegorical nature, you know, about sex. What, moreover, capped it for me the fact that it was originally banned in Boston- from the radio airwaves of the times. Naturally that made this teenager want to hear it even more.
   
   All this is by way of saying-yes; the Stones did a great version of that song but if you really want it heard then you must go to the master- Howlin' Wolf. That big gravelly-voiced man who, in still pictures that I have seen of him as well as film seems to be inhaling the microphone, lets it all hang out as he struts his stuff on that number. In Do the Do, Little Red Rooster, Killing Floor and on and on the Wolf sweats, bleeds, sucks up the whiskey, has another one for good measure and gets down on his knees, sometimes literally, to belt out the blues.
   
   You buy this CD set to get your little hands on Rooster but that is hardly the end of the story. This set contains every classic Wolf song that you could want under one roof, and some interesting Wolf talk in between. What are the ones you want to make sure you hear (and hear over and over again). Well, here is a by no means inclusive short list. Spoonful, The Natchez Burning, Killing Floor, Dust My Broom, I Am The Wolf, Back Door Man, Wang Dang Doodle... hey, wait a minute let's make it easier just get the set, take a few hours off and listen-you won't want to turn the damn thing off.



2. Wolf along with Muddy were stablemates during Chess's glory years, and this set shows why his reputation as one of the blues' great masters is inviolable. The set begins in the early 50s with his first recordings for Philip's Sun studios in Memphis, which are key to understanding his origins in Delta country blues, before switching to his various band formations at Chess through to the early 70s. There are many classics here, including "Evil," "Sitting on Top of the World," and "Smokestack Lightin'," as well as lesser known gems and brief interviews. With partial exception of some lackluster liner notes, this set is necessary for any self-respecting fan of American folk music and blues.



3. This is not a very tough choice, if you like Howlin' Wolf or the blues get this box. It has not weak tracks, some fascinating interviews (well The Wolf talking), and many of the classic, indispensable tracks.Plus, there's, as evidenced here, no other electric blues guitarist nearly as nasty, dirty, just downright awesome as Hubert Sumlin. Buy and enjoy, this is the blues at its best.



4. I bought this box as a present and up to now have not haerd it. However, having today talked to the recipient of the gift, I can confirm that he is more than satisfied with it. The remastering is excellent and there are enough alternate takes to satisfy the most ardent completist.



5. this album is amazing. it's very long, but the songs never get old. i wish i could have seen the wolf in concert. that would be a great chance because he's my favorite bluesman. of course, robert johnson, blind blake and muddy waters come pretty close too but none can sing like the wolf. the best song on here is 'i asked for water (she gave me gasoline)' it's full of humor and makes me laugh every time. what's even funnier is in 'howlin wolf talks part 3' when he tells the interviewer why she gave him gasoline is because she was mad with him. i never know who he's singing to, but i'm sure they all get the message.

5 comments about Down In The Basement: Joe Bussard's Treasure Trove of Vintage 78s 1926-1937 (Jewel Case with 28-page booklet).

1. After seeing " DESPERATE MAN BLUES " on TV; I found out about this CD & knew that I had to own it. Even though ( as I indicated in a prior review ) I am NOT a 78 rpm Collector; I do know that this CD really is a TREASURE TROVE of some extremely special records that are definitely worth listening to. Kudos to JOE BUSSARD for being the superb Collector that he so obviously is & for putting this incredible Collection together !!!......My only question is ( as other reviewers have also inquired )......JOE; HAVING SOME AWARENESS OF THE EXTENT OF YOUR COLLECTION.....WHEN ARE YOU GOING TO FOLLOW UP WITH ANOTHER CD LIKE THIS ?????



2. Sell your shoes cause your goin to heaven after you play this one! You can finally say you've heard it all. Top drawer assemblage of roots, blues, and just plain fun. Uncle Joe say it ain't so... give us another, PLEASE!



3. If you're interested in the history of US music, as I am, you'll find this a fine addition. Cleaned up as well as can be expected but still some hum & hiss...but not enough to be distracting.



4. everything i've ever bought on the old hat label has been fantastic, and this is no exception. a must have disc for fans of old time music. and if you have no old time music discs, this would be as good a place as any to start with. great sound and a variety of musical styles make this disc a complete winner.



5. A generous 24-track helping of some of record collector extraordinare Joe Bussard's favorites. The examples included run the gamut of early 20th centruy roots music ranging from Hillybilly music to Blues, Jazz, Jug Bands and beyond.
   
   Sound quality is top notch -- these guys really know how to do 78-RPM transfers. Also Joe's records seem to be in excellent condition to begin with so not a lot of noise reduction is required. This is one of the very finest sounding discs of 78-RPM transfers that I have heard.
   
   Packaging is also lavish with a 70 page booklet that contains annotations for each of the 24 tracks, and lots of interesting photos of vintage record labels and packaging, as well as several essays and stories about Joe's record collecting career. There's much of interest here for those who love Roots music.

5 comments about Gatorhythms.

1. I heard from Marcia on a Blues webcast.I bought 3 of her albums including her Live Down the Road. It was mainly based on a single review on the album page." Great sax on the many solos".. That sax man is awful. Bad notes, phrasing, and amature style. Gator rhythms was not what I expected either. Marcia is a terrific talent we saw in Bay St Louis some time back before the town was blown away. These Albums miss the mark. sorry.



2. I like Marcia Ball and love her music. I see her around town now and then and have gone to many of her local gigs. However, eighteen bucks for 34 minutes of music is a nasty rip off. Folks, that is worse than a cheaply mastered LP! Rounder (more like Bounder) records conveniently neglects to list a total time, or track times, on the exterior packaging so you have to open the package before you learn you've just been seriously gouged and it's too late to take it back then. It's companies like Rounder that are driving the various sorts of music piracy.



3. There's something haunting and envigorating about her style. Even though you can get lost in her vocals don't forget her piano playing, which is second to none. She's just a true musician.



4. On this set, Marcia demonstrates her skills on a variety of songs, beginning with How to carry on, an up-tempo rocker, which sees her attacking the piano in a manner reminiscent of Jerry Lee Lewis. There's nothing else quite like that here, but there is a nice mix of tempos. The mood of the album is generally upbeat.

   The power of love is her own song - of course, there have been many songs with this title - I've come across about ten totally different songs. The most famous was the one that was a huge hit all over Europe in the eighties for Jennifer Rush. It was a flop in America, but later became an American hit for Laura Branigan, then in the nineties it became a monster hit for Celine Dion. Marcia's song is not as dramatic, but it is still a great song.

   Mama's cooking explains in song why Marcia manages to avoid getting fat - she could eat plenty, but always burn off the excess by dancing the night away. The cover picture provides the proof.

   Lee Roy Parnell, who eventually achieved success as a country singer in the nineties, wrote two of the songs but he was unknown at the time this music was recorded. What's a girl to do and Red hot show that he could write great songs.

   Marcia's music should appeal to anybody who likes rock music with a touch of blues, particularly fans of Bonnie Raitt.




5. This is the best of the cds put out by Marcia Ball and I recommend it highly. The performances on other Ball cds is equally good, but the quality of the songwriting on this one sets it apart from the rest. (I realize 4 stars around here amounts to damning with faint praise, but geez, there ought to be some shades of gray between the ridiculous and the sublime).

5 comments about The Resurrection of Pigboy Crabshaw.

1. YOU DON'T HAVE TO BE A BLUES FAN TO OWN THIS CD
   
   This is pure Genius, such a substantial sound, one of his best CD's.
   The best blues Harp in the business, of course Paul Butterfield is one of my Musical Heroes, need, I say more. Just tune in and listen.
   
   HMR Music Lover



2. I have loved this record since the first time I listened to it oh so many years ago. This is, in my opinion, the best blues record ever recorded and that's saying alot. All of the songs hit the bullseye. "Driftin' and Driftin'", "Born Under A Bad Sign", "Tollin' Bells", and all of the rest were truly inspired renditions of these songs. I appreciate all of the previous and latter Paul Butterfield Blues Band recordings but "The Resurrection of Pigboy Crabshaw" is their zenith. Do yourself a favor and get this fantastic recording.



3. From Kim Whitesides colourful images to the blistering music inside this cd. This is the best of the Butterfield band during that tumultous period between its 'start' in 1965 to the late 1967 period. This album cooks with driving tunes such as 'Drivin Wheel', 'Driftin' and Driftin' and Born under a Bad Sign. After the departure of Mike Bloomfield Elvin Bishop kicks this band up several notches. His stinging solos and dynamic rhythmic interplay with other band members including drummer Phillip Wilson make this a hands down success. Phil Wilson here pumps one beat after another into this creative ensemble. He is worth the ticket alone. Sadly this wonderful musician was murdered in the 1990's. Butterfield's singing catapaults this band into 4th gear. This is the blues as it was meant to be played. Tollin' Bells is the sad and lonely blues harp wailing at life's misfortunes. The band sounds fresh and excited about this music and it still burns after several decades. Go get it!



4. 
   Yes, this is the great PBBB's 3rd album, but it's not the CD you should be buying.
   
   This domestic CD was released in 1989 and has never been remastered.
   
   The import 2CD version of this title (backed with the PBBB's 4th "In My Own Dream") is the one to get. It was remastered in 2004.
   
   Ditto for "The Paul Butterfield Blues Band" & "East West"; the 2004 import 2CD is also remastered (and sounds incredible) and the domestic CD's are not.
   
   Why WEA and Elektra have not made these four remasters available domestically is a mystery.
   
   Don't waste your money on these inferior versions: Get the imports!
   
   Link to the remastered import of Resurrection of Pigboy Crabshaw/In My Own Dream



5. This is my favorite Butterfield album. I do love East-West and the debut album too, but it can't get any better then this. The Resurrection of Pigboy Crabshaw is blues full of soul.
   
   Elvin Bishop shines with his spare, "Claptonish", blues playing. Butterfield sings better then he ever done on any other album and his harp wails as never before. The addition of horns make the songs rich and very soulful. The music is deep rooted in the southern blues and soul of America.
   
   Put on the opening number, One More Heartache, turn it up, feel the bass and hear the beat when the handclapping starts, no one can resist tapping their foot, I promise!

5 comments about A Man and the Blues.

1. Far and away his best solo effort. Everything that people love about Buddy Guy is present on this album: smoking guitar (yet still pure blues--B.B. and T-Bone on steroids vintage Buddy,untainted by rock producers and multitudes of guest appearances), passionate vocals, and lots of personality. Some highlights are title track which is textbook slow blues, unimprovable! A hot blues blues version of "Money," and the classic take on "Mary Had a Little Lamb." Actually though, in all fairness to Buddy, every track here is classic blues!



2. young buddy, delivering the hot licks. a must have, and believe what these other people say about buddy and this disc, both are that good.



3. Buddy Guy is one of my favorite all time blues artists, behind only the great Howlin' Wolf and John Lee Hooker, as well my favorite blues guitarist along with Otis Rush. A Man and the Blues is his first studio album, and regarded by many as his best. It might just be his best studio album, but if you are just now getting into Guy, I would start elsewhere. My favorite of his CD's in order are Buddy's Blues (Chess 50th Anniversary Collection) (his best Chess singles), DJ Play My Blues (his best live album), and Slippin' In (Silverstone album with no celebrity guests or pop covers). But I won't argue the fact that A Man and the Blues is essential Buddy Guy as well as essential for any blues collection.
   
   If you are expecting the frenetic Buddy Guy who not a single performer in the business can't match for pure energy and passion, you will not be getting that here. But, if you want a more soulful, controlled-passion Guy, then this is the best representation of that side. I love it when Buddy lets out a long, energetic guitar solo that will absolutely sear the flesh, but he doesn't have to play like that to impassion one`s soul, a fact he proves masterfully with this album. Also on this album is Otis Spann, widely acknowledged as the greatest blues pianist of all time, so naturally he is a great addition. He plays the perfectly understated piano, never stealing any of Buddy's fire, always firmly aware that this is Buddy's album, but when called upon he does his thing perfectly.
   
   The album starts out with a soft number, "A Man and the Blues" (penned by Buddy), with Buddy playing a perfectly gentle guitar. The next song is "I Can't Quit the Blues," one of many jams on the album, and Guy's guitar shines. Next Buddy covers the Barret Strong song "Money (That's What I Want)," probably the catchiest song on the album. I find Guy's version superior to Barret's (although I am a bit biased), certainly more inspired and passionate. It seems more energetic and upbeat. Buddy's vocals on this song blow Barret's out of the water. Buddy has one of the most powerful voices in blues, and this album displays it very well. In addition to that, Guy's guitar on this song is just excellent. The solo in this song is one of my favorite rockin' solos ever, and Guy finds three great melodies on his guitar. Next comes another slow burner, "One Room Country Shack." This is it, that gem of a song you find every now and then, the one that gives you goosebumps as only the blues can. Otis's piano in this song is extremely eerie, making ample use of the flatted fifth interval, and Guy's vocals are equally haunting ("Lord, have mercy in this cotton field"). As other reviewers have already stated, this is what the blues is all about. After that comes "Mary Had a Little Lamb," which is superior to Vaughan's version, "Just Playing My Axe," another jam, "Sweet Little Angel" and "Worry, Worry," two slow B.B. King covers that are very similar to "A Man and the Blues," and "Jam on a Monday Morning," where Otis in particular shines.
   
   So, if you want to hear the Buddy Guy that inspired Clapton, Hendrix, and so many others, look elsewhere, but if you want some great soulful, if soft, Chicago blues like only the masters can deliver, don't hesitate to pick up A Man and the Blues.
   
   Also, if you like Buddy, you should get into Otis Rush.



4. Releases since on Silvertone definitely are a step up in production over this short old LP. BUT as noted by others, THIS is a definite benchmark. If I had to count my most listened to discs over the past 20+ years this one would rate very high. It never gets old, classic in every sense of the word. Definitive Chicago blues sound. A must have by any blues listener.



5. I've been listening to Buddy Guy play the blues for thirty years. I've seen him in concert 6-8 times. I think he is the most talented blues guitarist, bar none, that there is. I laughed when I compared his recording of "Five Long Years" with Eric Clapton. This album is one of the first I listened to and is still one of my favorites. "One Room Country Shack" is what the blues are all about. He finds notes on the guitar that aren't there and his plainitve voice singing " why don't you make connection with me, give me some kind of good deal" grabs you by the soul and don't let go. He also does uptempo on "Money" and makes a pop song the blues. If you don't love this album quit listening to the blues, you don't get it.

No comments about The Best of the Vee-Jay Years.

5 comments about Jammed Together.

1. STEVE CROPPER, ALBERT KING, AND POP STAPLES WERE ALL ARTISTS WHO RECORDED ON THE STAX LABEL FROM MEMPHIS IN THE 1970'S, THIS ALBUM IS A PRETTY LOOSE JAM OF ALL THREE GREAT GUITAR PLAYERS PLAYING TOGETHER. MY FAVORITE CUT IS "BIG BIRD". GREAT R&B AND SOULD GROOVES.



2. This remaster sacrifices the essence of the music and intention of the album: three guitar legends jamming together. By boosting the bass and drums they have successfully drowned the guitars in a misguided attempt to sonically improve the rhythm. The rhythm was produced musically to support the featured guitarists, not smother their symbiotic relationship, the very relationship which is the genius of the record. The magically improvised conversation of the guitarists has been destroyed. Please do not buy the remastered CD. Steve Cropper, Pop Staples, and Albert King deserve better, purchase the original recording.



3. Wow! I have just recently started getting into R&B and soul music and I think I have now been spoiled. This album has serious rhythm, which is incredible seeing as how there are three mofos tooling on their guitars at all time. In my opinion you can't find many more guitarists that are better rhythm players than steve cropper and even though the liner notes don't name names, it sounds like Duck Dunn (or an admirable clone of Duck Dunn) is the bassist. If those two don't ooze rhythm, I don't know what does. Then again, most of what I have listened to is metal and prog rock, which are more lead oriented.
   This album is a miracle. Fantastic songs. That's all I can really say. The first song, a "cover" of Ray Charles' "what'd I say" will wake you up faster than any cup of coffee ever could. I didn't think the solos would ever end, and I didn't want them to. At times, all three of them solo simultaneously but never get in each others way...they seem to be helping each other out. Big Bird is another tune that perfectly blends rhythm and blues together for a unique experience. All these dudes are jamming on the same page AT ALL TIMES! The way Ned Flanders prepares for The Rapture, I prepare for a new Steve Cropper/Duck Dunn album. I feel I have missed the bus though.



4. One thing is certain...when these guys said "Jammed Together", they MEANT it; what an awesome album this is! Here we have two of the blues' elder statesmen (Pop Staples & Albert King), and the young "whippersnapper" (Steve Cropper) all assembled in one place, and the results are fantastic; there's no doubt that the three of them had a great time making this album!
   
   "Jammed Together" isn't an album of self-indulgent guitar solos and noodling to satisfy egos; the title tells you all you need to know: this is all meat, no filler, folks. Because each of the three guitarists have very distinctive playing styles and tones, you can literally pick them out as you listen to it.
   
   A great example of this can be heard on the rocking instrumental "Big Bird", where Cropper, King and Staples each occupy the left, middle and right stereo channels respectively, but the stereo separation didn't really need to be done so you'll know who is who; as I said, you'll literally be able to identify them with each solo turn.
   
   In addition to the fabulous guitar playing, all three take turns on vocals as well; King leads off with the Ray Charles classic "What I'd Say", Cropper turns in a rare vocal on "Don't Turn Your Heater Down", and Staples on the positively spine-tingling "Tupelo", where his soulful vocals and trademark tremelo-effected guitar give the track a swampy, ominous feel and mood. It's very obvious that this song influenced John Fogerty of Creedence Clearwater Revival, as evidenced by the CCR tracks "The Midnight Special" & "Born On The Bayou" alone.
   
   Released on the Stax label in early 1969, "Jammed Together" is a genuine blues/soul classic; get it now!



5. Yeah man! You can feel the soulful blues trickling and dripping down the neck of Cropper's Telecaster. Love this album. So many standards. What blew me away was realizing that one of my favourite Hip Hop samples came from 'Opus De Soul,' Public Enemy used it for their 'Give It Up' track back in 94. I'm bias anyway, anything that has the Staxx house band or Cropper's licks gets my vote. Pop's and King to boot? Better get'chaself daawn the crossroads bawwy! My souls taken!