4 comments about Bang That Bell.

1. TAYLOR adds another dimension to the blues and thereby makes it his own. While he is less interested in satisfying the traditionalists, he injects a very large dose of originality and shakes up the genre. Like JAY GORDON ( but with far better material and lyrics ) MELVIN TAYLOR plays with ... and uses his speed for some very original stylings. His tone varies from aggressive to mellow to jazzy and he incorporates many flavours you won't find on someone elses CD's. His songs ( selection of covers in this case ) is superb and he makes most of these his own. He has a great voice and the backing is excellent. If you like the blues of BUDDY GUY you are in the same ball park, except that TAYLOR has far more chops and a far better tone.



2. Melvin Taylor is a great bluesman, and this disc is a great introduction to his work. The easy rolling blues rock on this disc is the perfect companion for a hot night and a cold beer... or even for a romantic encounter. Melvin Taylor may be one of the most underrated bluesmen alive today.

   From the great title track to the closing track, this is a great disc from start to finish. The fact that it's a HDCD release only makes it all that much better.

   Highly reccomened for fans of Melvin Taylor, and for fans of smooth blues rock and big warm blues guitar riffs.




3. IVE BEEN A FAN OF MT & THE SLACK BAND SINCE THERE FIRST CD. MOST OF MT CDS HAD A LOT OF BLUES COVER SONG ON THEM,AND MOST OF THEM WHERE GREAT. THIS CD HE WRITES MOST OF THE SONGS ON IT LACKS HIS KILLER GUITAR PLAYING(IN MY OPINON. STILL NOT BAD



4. This is Melvin Taylor's 5th CD (not counting his appearance on the Living Chicago Blues anthology). His first 2 CDs were recorded at sessions in France, included Lucky Peterson on keyboards, and were very close to Jazz, or a nice combination of Jazz and Blues. The next two CDs (Slack Band and Dirty Pool) contained several songs recorded by Stevie Ray Vaughan, including Texas Flood, Voodoo Child, and Dirty Pool. The move to a blues/rock sound was evident. This new CD does not contain any Stevie Ray songs, but still continues in the blues/rock vein, with a touch of R'N'B. There are no original songs, but Taylor's covers are well chosen and beautifully performed. He continues his frequent use of Wah-Wah guitar.

   He has to be considered one of the extraordinary blues guitarists on the scene. The first thing that strikes you is the speed and fury with which he plays. Unlike many guitar slingers, there are equal amounts of taste and tone to go with the speed. When you guitar freaks listen to the flurries of notes he lets loose, I guarantee they will bring a knowing smile to your face. One of the outstanding tracks is "It's Later Than You Think," which features Sugar Blue on harp. Sugar Blue is to the harp what Melvin Taylor is to the guitar. Both have that rare mix of speed, taste, and tone. To hear both musicians perform together is an emotional and aural treat. Another guest who acquits himself nicely on two tracks is Eric Gales. Again, a well thought-out pairing of musical talent.

   The CD is one of Evidence's HDCD recordings, which result in the best sound quality I have heard for blues recordings. The vocals and every instrument come through "hot and clear."

   This CD rates as a must-have for blues/rock and guitar lovers. I can't think of another bluesman more desrving of wider recognition than Melvin Taylor.

5 comments about Dirty Pool.

1. this cat can play! definitely a jimi hendrix and stevie ray vaughn diciple. he takes what they gave us to the next level. the term "original covers" seems like an oxymoron, but melvin plays the tunes his own way. he wails!



2. 4 stars only because it isn't quite as good as RING THAT BELL. This is a bit more traditional ( as much as traditional is possible for MELVIN ) than RING THAT BELL, I therefore find it a bit less exciting. Where RING THAT BELL is an electric blues CD in the GARY MOORE mold, this is more lay back. It still reaches the same hights, just not as often. I don't think MELVIN TAYLOR could produce anything but outstanding CD's. He is bursting with so much talent as a vocalist and guitarist, that everyone of his CD's is a must have for BLUES fans. He sounds like a mix of the best of BUDDY GUY, a large dose of SRV and a pinch of GARY MOORE.
   I am just sad that I will never see him live.



3. An unnecessarily loud monotonous drumbeat on most all the songs puts a damper on this otherwise excellent blues album.



4. Let's start with the downside... none of the songs on this album are original songs. That being said, ALL of the songs are BREATHTAKING. Melvin Taylor plays his guitar stunningly well, and the man knows how put mountains of feeling and soul into it. Not only is his guitar-playing fabulous, but the man knows how to sing the blues, too. If you like the blues, or think you might, or even suspect that you merely don't *dislike* the blues, then buy this album. It may be one of the best musical purchases you ever make, from the funky rendition of "Ain't Superstitious" to the brilliant cover of "Born Under A Bad Sign" this is modern blues as it should be.



5. Awesome guitar player. Closest person since SRV to really capture the magic. He by far blows away KWS, Jonny Lang, and Mato Nanji from Indigenous. If you ever see him live or if you can find any video of him you will know what I am talking about.

5 comments about House of Blues: Essential Blues V.1.

1. I bought the Shoebox Full of Blues which contains this disc, and the selection and quality is first rate. There isn't a bad track on the disc, and the mastering is superb. These may be the highest quality versions of these classics you'll hear. Blues purists may argue that vinyl is the only "true" way to listen to these, but who among us has pristine vinyl and the equipment to do it justice?
   
   I wish I had known about the commentary/intros mentioned in another review of this title (There's no mention of the commentary on the reviews or details of the box set). I too find them extremely annoying, and really detest the fact that the produces grafted them onto the end of tracks instead of making them standalone cuts. For all of us that rip our CD's to MP3 there is a cure. It takes a few minutes, but it's worth it. Grab MP3Trim, a free MP3 editor from http://www.mptrim.com/ Then trim from the end of these cuts as indicated.
   
   Killing Floor - 28 Seconds
   Better Off With The Blues - 19 Seconds
   Mojo Hand - 43 Seconds
   Walking The Backstreets And Crying - 35 Seconds
   Let's Straighten It Out - 27 Seconds
   Rainin' In My Heart - 31 Seconds
   
   I'd also suggest you adjust the volume by -3 db when you trim or you'll induce some clipping on the edited tracks.
   
   Once you do that, and assuming you don't rip the intro that starts each disc, you're left with 30 tracks of nothin' but Blues, guaranteed to make you want more.



2. I have had this C.D. for at least 6 years and it is still one of my favorites. I also happen to like the introductions that the other reviewer found annoying...it makes me feel like I am at the show. I bought my CD at the House of Blues in New Orleans and it brings back great memories of my trip. Several of my friends have heard the CD and wanted to buy it.



3. While the music here is solid and the packaging first rate, the incredibly annoying voiceover to announce which artist is up next interupts the music's flow and is enough to make one hit the eject button. And that's after the first listen. Trying to get through it again and again is next to impossible. To add insult to injury, because the VO is tacked onto the back of the tracks, RIPing the disc and removing the offending noise isn't a workaround unless you want to start editing audio files.

   Gimme music without interruption.




4. This set provides the listener with a broad variety of blues sounds, and is perfect for the person who can't decide on just one artist. Two thumbs up, five stars, and all that stuff too.



5. This set provides the listener with a broad variety of blues sounds, and is perfect for the person who can't decide on just one artist. Two thumbs up, five stars, and all that stuff too.

5 comments about Chess Blues Classics: 1957-1967.

1. I have recently done a few commentaries on the legendary Sun Records label that produced more than its share of both black blues and white rockabilly stars as well as a galaxy of early rock and roll idols and classic songs. If one were to ask what other record company might have had such influence in those days that natural response should be Chicago's Chess Records that caught many of the black blues artists as they headed North to reach their own stardom once the limits of what Memphis had to offer a black recording artist gave out. This album is a 50th Anniversary tribute to many of those who made stardom or, at least, were one-shot johnnies (and janes) on that label from 1957-67.
   
   No Chess Record tribute can be complete, can moreover even be considered as such, unless the name Howlin' Wolf is mentioned. He is represented here by one of the all time great blues songs (and maybe rock and roll as well) Little Red Rooster (as well as Sitting on Top of The World). I know I flipped out the first time I heard it covered by Mick Jagger and The Rolling Stones in the early 1960's. When I heard the Wolf do it I went crazy. Others who stand out here are a litany of blues greats- Etta James, Koko Taylor, Elmore James and on and on. But here is the tip of the day. What you are getting this for is the Wolf's Little Red Rooster (okay, maybe also for Elmores's Madison Blues) and that is just fine.



2. A short and sweet review:
   
   If you like Chicago Blues but don't know a whole lot about them, this isn't a bad compilation. But if you prefer the accoustic sound of real Southern blues, especially Delta Blues, you're going to be very disappointed. This is NOT Robert Johnson's blues. This sounds loud...it sounds electric...it sounds BIG. Rock 'n' Roll evolved directly from the Chicago Blues sound in the mid-50s, and the music here actually demonstrates a backwards flow...in the late-50s and early-60s, Chicago Blues was being influenced by the Rock 'n' Roll it had spawned a few years earlier.
   
   There's nothing wrong with that...as long as you like that sound. This reviewer doesn't.



3. The Chess Blues Classics. Bellisimo, Baby. Great for an intro to the Chicago style post-Delta electric blues music--heck, this is great even if you're a longtime fan. This chronicles Chess Records move to their Michigan Ave. digs and the consolidating of some of their satellite small record companies into one big happy homestead. Bass man extraordinaire Willie Dixon becomes the Chess A & R man, and these Blues? They wail, Man, they wail! Muddy Waters, Sonny Boy, Howlin', Etta, John Lee Hooker, Buddy Guy!!!! When the Buddy Guy track comes on, you notice how much smoother the recording technology, hence, the Blues itself, becomes. A Little Milton cut has sessionmen Charles Stepney on piano and Maurice White on drums. Etta James house rocks a live audience in Nashville. Willie gives a tune to KoKo Taylor. And Hooker does the Last Call...will you love this? Do you have to ask?



4. Like its companion volume, "Chess Blues Classics 1947-1956", this CD offers some of the best tracks by some of the best blues musicians of Chicago's famed Chess label.
   One or two selections are debatable, and "Chess Blues Classics" is of no interest to the more experienced blues fan in that it doesn't include any rarities. But if you're a newcomer and would like to explore classic electric blues, this is a very fine place to start doing so.
   
   "Chess Blues Classics 1957-1967" includes two excellent cuts by harp legend Aleck 'Rice' Miller (Sonny Boy Williamson II), namely "Help Me" and the magnificent "Fattening Frogs For Snakes", as well as fine selections by John Lee Hooker, Buddy Guy, and legendary bluesmen Howlin' Wolf, Muddy Waters, and slide guitarist Elmore James. And Otis Rush's too rarely heard "So Many Roads, So Many Trains", with its smouldering slow guitar solo, is here as well.
   
   Several of these tracks count among the greatest electric blues performances ever issued, including Howlin' Wolf's "Little Red Rooster" and John Lee Hooker's "One Bourbon, One Scotch, One Beer".
   4 1/2 stars. A great place to start.



5. I bought this CD 4 years ago, not knowing a whole lot about the blues, and it is now one of my favorite albums. An excellent anthology of the classic blues. Anyone who considers themselves a music fan should listen to this CD.

2 comments about JUNIOR WELLS : BLUES LEGENDS.

1. THIS DVD IS A SAMPLING OF THE KIND OF BLUES CLUB WORK THAT MADE THESE GUYS LEGENDS.IT'S RAW NATURE IS CAUGHT HERE BUT WITH SOME DRAWBACKS.THE VIDEO AND AUDIO QUALITY ARE MARGINAL AT BEST.THE SOUND SOMETIMES FADES IN AND OUT WHICH IS ANNOYING FOR ME. THE VIDEO QUALITY IS AVERAGE AT BEST WITH SOMETIMES SHARP IMAGES THEN SOFT.TO REALLY ENJOY THIS SHOW, YOU WOULD HAVE HAD TO HAVE BEEN THERE WITH THE ADDITION OF A FEW DRINKS TO SMOOTH OUT THE ROUGH SPOTS.THESE GUYS ARE SOME OF MY FAVORITE BLUESMEN BUT THIS SHOW DOES NOT DO THEM JUSTICE. ONLY FOR THE HARDCORE BLUES LOVERS



2. This is the new offering from Blues Legends. Previously they have issued DVDs on Freddie King, Albert King and Memphis Slim with Sonny Boy Williamson. This concert is set at a place called Nightstage and they perform for 71 minutes. Footage of Buddy Guy as a younger player and concerts of Buddy with Junior Wells during their extended partnership are rather scarce. They have several snippets of material on other discs, the best being the now unavailable "Muddy Waters at Montreux" show. However, part of this show is on the Buddy Guy DVD with his Boxed Set released last year.
   
   The concert here is a video transfer as you would expect and the sound is excellent. It begins with Buddy Guy coming on and offering only part of his recorded performance. We have seen some of this set previously on the Buddy Guy DVD from the Boxed Set. Buddy does a part of "The Things I Used To Do", "Crazy About You", "Stormy Monday" and playing like T-Bone Walker. This is the only big flaw in this presentation. The entire show should have been reproduced. Anyway, what we have is rare and good. Buddy plays in his usual style and with his thinline Guild guitar.
   
   Buddy offers "Look Over Yonder Wall" a funky "Crazy About You" with him playing over the top of the guitar's neck and "I Just Want To Make Love To You" as a tribute to his mentor Muddy Waters. Junior is then introduced and comes out to play Little Walter's "Everything's Gonna Be Alright" and a tribute to Muddy Waters as well ending with "Trouble No More", great classic Chicago Blues.
   
   When Junior joined Muddy Waters Band as a youngster he replaced Little Walter, what shoes to fill! Walter had recorded his masterpiece "Juke" and left the band. Junior offers us a version of "Juke" in this show. It, unfortunately, is a big disappointment. At this stage in their career, I feel, both Wells and Guy were well known and accepted. They were more intent on showmanship and not musicianship. However, the material on these people are so hard to get we have to give it 5 stars (like the Albert King program in this series-see my review)
   
   The boys then go on to Sonny Boy Williamson's "My Younger Days" and the Chicago classic "I Got My Mojo Working" which are fine performances. Junior ends the set with a James Brown tribute. This is something he always did. When I saw him in Sydney in 1991 he opened with "I Got You (I Feel Good) in a bright yellow suit looking and sounding and dancing like James Brown! Here Junior offers "Super Bad" and then right into "I Got You (I Feel Good)". A very sound ending to the show.
   
   The bonus features are good, but the interview is hard to hear due to the background noise in the club. And it goes on for a long time! The bonus performances however are excellent and include "Little By Little" (not the Rolling Stones tune) from the main performance (see there are extra tracks we did not get!) and then from a place called "The Channel" in Boston we hear "Better Than I Love Myself" which, to me, is one of the best tracks on the whole DVD. Note: The DVD cover is wrong "Little By Little" is not at the Channel Club, it's at the original concert venue Nightstage.
   
   OK this Blues Legends offering is great. We need as much material on these real innovators as we can possibly get. It would be so fantastic to see T-Bone Walker anywhere but he had a PBS concert with Shuggy Otis and his father in about 1975, Magic Sam at Ann Arbor, Albert King at the Fillmore, B.B. King at the Cafe Au Go Go, Little Walter, and so many more. I hope this series will continue! These people have also given us the excellent "American Folk Blues Festivals" series as well. Currently we are waiting eagerly for the Howlin' Wolf concert due to be released in October.

5 comments about Harp Attack!.

1. I bought this CD because of the great song "My Eyes Keep Me In Trouble".
   The rest of the songs is pretty good too. If you like the blues, you can check this CD out. If you like the harmonica, this album, like Charlie Musselwhite's album Delta Harware, is a must-have.



2. Harp Attack features 4 harp masters performing 11 songs for over 50 minutes of fabulous harp drenched blues. The disc also features an all star backing band featuring Lucky Peterson ("Double Dealin'") on piano, Michael Coleman ("Do Your Thing!") on guitar, Johnny B. Gayden on Bass and Ray "Killer" Allison on drums. Gayden and Allison are stalwarts of the blues and have backed up the likes of Johnny Winter, Son Seal, Larry McCray, Dave Hole, Buddy Guy and Don Griffin. The CD does an excellent job of maintaining cohesiveness, highlighting and then blending the various styles and vocals of these individuals without elevating the songs to jam status. While the disc does not break new ground, there is a lot of fun here.



3. Let me just say that I think James Cotton is one of the greats as well as Carey Bell and Junior Wells. I don't know much about Billy Branch and I don't care. This record in terms of blues power has maybe 2 good ones, and a very big maybe- 4 tops. It would seem like a great album by reading the credits but this just didn't go down right. I can't insult these guys as great players but this just gets old real real quick and it is nowhere near what these guys can do individually. Sometimes these all-star jams produce something far greater than each player-here the depth is just lost. Lucky Peterson Plays on it and though he has great technical skill, is real low on taste and soul here it seems to me. As for the fun side of it- it wears thin for me and I rarely take it off my shelf. Out of about 3 or 4 hundred recordings in my collection- this I take out one of the least. And that is just for a fine rendition of Black Night by Cotton. This just didn't work I am sorry to say. I would strongly recommend that you hear 4 or 5 of these tracks before shelling out a ridiculous amount of money to buy the cd. I just can't say that this record is worth it at all. A solo album by one of these fellas would be more worth the while. It is just mostly songs that don't stand up to the passing of time like an old Howlin' Wolf record is. I just don't care for it and think you are better off somewhere else. If you want a recommendation for a great find than here are two of my favorites of all time : West Side Soul, by Magic Same Maghett and T-Bone Blues, by T-Bone Walker. This is just a fluke in these guys careers I think.



4. By the time I purchased this album I had already been playing harp for a few months, had heard several good recordings and was preparing to attend my first jam. This album forever altered my perspective. The harmonica here is 100% pure talent. This is the album the solidified my relationship with Blues Harp. The playing on this is simply stellar, and the choice of players offer a diverse approach to style, from Cotton's ferocious, high energy playing to Wells' more soulful, precise wails. Every song here offers something, from the blues party style of Down Home Blues to the mornful tones of Black Night. What really makes this album happen, though, is the obvious enjoyment these guys get from playing together (demonstrated well in My Eyes Keep Me In Trouble). If Junior Wells hadn't passed away I would say a follow up from this group was in order. But as long as I have this masterpiece, I'll be happy. If you like Blues Harp, GET THIS!



5. This is the Cd that hooked me on blues harp - had it over 3 years now and it still is one of the best. Four of the greatest having what was obviously a great time playing. A must have if you like the true low down harp music.

3 comments about Alligator Records 30th Anniversary Collection.

1. Alligator does it again! Incredible compilation. If you are contemplating starting a blues collection get the Anniversary Collections by Alligator first. These CD sets introduce you to many talented artists without shelling out 100's of bucks.

   As an extra there is a video of Hounddog Taylor that you can play on your computer. Very nice!




2. The first thing I did when I got this CD was play the bonus CDROM video track of Hound Dog Tayor & The Houserockers' "Taylor's Rock" on my computer and cranked up the volume. My computer will never be the same! Taylor's slide playing is raw, powerful stuff on this nearly four-minute instrumental captured in black and white from the 1973 Ann Arbor Blues Festival. Taylor also tears the roof off the house with a raucus version of "It's Alright." It's no surprise that Taylor closes out the live disc. Taylor's eponymously titled debut on Alligator was the first of his career and the first for the then fledgling blues label.

   The blues thrives in a live setting and even though I live in Nebraska, I've had the chance to see several of these artists perform at Lincoln's famed Zoo Bar, including Son Seals, Luther Allison and Coco Montoya.

   Among the five previously unreleased tracks (all on the live disc) are a ten-minute version of Albert Collins' slow blues "Dyin' Flu" and a nearly eight-minute version of Little Charlie & The Nightcats' smoldering "I'll Take You Back."

   While the live disc crackles with raw energy, the studio disc includes stellar performances as well, including Koko Taylor's white hot "Bring Me Some Water" and the Holmes Brothers' haunting "Homeless Child."

   In addition to Chicago style blues, you also get the New Orleans-influenced blues of Marcia Ball and Henry Butler, the zydeco stylings of C.J. Chenier, Texas guitarists Johnny Winter and Albert Collins, and Alligator's first-ever overseas artist--British-born Australian Dave Hole.

   If you're looking for a inexpensive introduction to Blues 101, you won't find a better textbook than this. And if you need additional incentive, 20 lucky customers will find a coupon good for the entire Alligator catalog on CD. [But this 2-CD set is a terrific consolation prize!] HIGHLY RECOMMENDED




3. Yes,this five stars are just a few,just a few of many others,infinity others from the constelation of this truly great Blues Record!
   And i'm proud to be the first to review this album.I'm proud because i'm a really bluesfan...I'm proud because i'm really a Gator fan...proud to have in my own home a collection of almost 700 cds,95% blues cds...proud to take part in this special moment of Alligator Records.The history of the Gator Records is really fantastic,and specially in the person of this visionary man,Bruce Iglauer.Bruce worked with the great Bob Koester from Delmark Records,visited many universitary shows to choose some new talents to record.Then,he left Delmark to improve his own Record,where he could get new talents.The first album recorded,
   was with great simplicity,at 1971,when he discovered Hound Dog Taylor,and it must be considered a legendary album.Many others
   appeared with rare competency since that early days.And what we can say is that Alligator is a Record, constantly growing,surprising us with rare moments,masterpieces,new talents...Shemekia Copeland is,for me the confirmation of all this competency,to believe in new talents,promotes this talents giving all of the support and took them to the stelar!
   So,i can say that i'm proud and happy to participate of this rich moment.And this album that comemorates this healthy 30th.Years,is absolutely a "Must Have",destinated to become a "Classic"blues album,not only by the quality of the bluesmen there,so still by this new concept to creates,inovates,supports all of the good news we have to the modern blues scenery!
   And what we must desire is to be alive when the 40th.Anniversary Record album, will be recorder at 2006!
   Until that,i'm happy with my collection of 130 Gator's albums....What you're waiting for?????Let's improve your own Gator's Collection...Sure you'll not be desappointed...
   You'll really be happier than ever......JUST AS I AM!

5 comments about Live in Japan.

1. Even if you own "Live at the Regal", you can't go wrong picking this up. Just as "Miles In Tokyo" benefits from audience reception, so too does "Live In Japan". It really is that good.

   There's an exhuberance on this recording that can rarely be found in live 'blues' albums. The band is spot-on, the solos are immaculate, and the recording is clear as a whistle. On top of that, it's a double-album worth of material, and none of it is filler.




2. This is vintage BB King complete with a band providing piano, trombone, trumpet and sax for that jazzy blues feel. Recorded live in 1971 at Sankei Hall, Tokyo, Japan the CD is fast moving and has an air of excitement surrounding it. In addition to the staples, "Every Day I Have The Blues", "How Blue Can You Get?", "The Thrill Is Gone" the disc contains some rarities such as "Niji Baby", "Japanese Boogie", "Jamming at Sankei Hall" and "Hikari #88". A fine performance from a living legend.



3. Cook County Jail is considered a classic, with good reason. Live at the Regal is considered even more classic, with less reason (although it would be difficult to top the first few songs on that set). This set was bumped aside from American release by a busy schedule of B.B King records. But it blows away every B.B. King live record I've heard, including the classics. Don't know what it is about blues singers in Japan (Otis Rush also recorded a tremendous live set in Japan) but the audiences seem to elicit best performances. This disk sounds fabulous and B.B.'s singing is great, although not quite as great as his guitar playing. He plays all kinds of blues in all tempos and just nails 'Sweet Sixteen' and 'Thrill is Gone' (better than the very fine Cook County versions in both cases). Please try this disk out!



4. Don't want to sound like an echo, but this album is a real treasure. Not enough banter? I'd rather hear the man play Lucille, & play he does... all over this disc, & than some. He's in absolutely fine form on this night, & there are some obscure gems on this set that will delight the BB King fan.

   After having this disc for a few months... I ask myself if it isn't more enjoyable than the acclaimed Regal album. This album is THAT good. Highly, highly recommended!!




5. Being a blues guitarist from Memphis, I think I have a unique perspective of BB and his legacy. I will make this short. Buy this album, Live At the Regal, and Blues Is King. If you have more than that, you are a die hard fan, and need this CD anyway. It truly is wonderful. BB stretches out, and plays more than any other CD he has done. Truly inspired.

5 comments about Love Comin' Down.

1. I saw Foley live when she was a shy 22-year-old, and my opinion hasn't changed: Her singing's ok, good enough to keep her out of the financial hell that blues sidemen suffer in, but her guitar playing is is tops. Foley had an in-depth understanding of the greats, and built her style on the best of foundations; T-bone Walker, Freddy King, etc. I must insist that she would probably wail beyond her best so far if she had an equal vocalist to push her.



2. This CD is GREAT. I had not heard of Sue Foley, until approx. 4 years ago when Jonny Lang came to the Orpheum in Van., she was the back up. Yes, go girl.!!! My friend Donna and I absolutely loved Sue, and needless to say the next opportunity I went out looking for her CD's. I have turned on many other people to her discs as well. Without a doubt would love to see her perform live again.



3. Originally from Canada, Sue put together a demo, which she sent to Antone's (a blues bar and record label in Austin, Texas. Upon hearing said demo Antone's knew they had a true blue sweetheart on their hands. Sue moved to Austin to pursue her record deal and career. A move that pleases this Austin music scene socialite!

   Sue's slower side on this CD is simply powerful and tear jerking. Tracks like "Emtpy Cup" and "Am I Worthy" show how Sue can move your soul to tears and slay your sorrow with her vocals. These songs are highly emotional and powerful.

   For a more upbeat pace tracks like "You're Barking Up The Wrong Tree", and "Let Me Drive" Sue takes a stand in each song, showing her impish (red head) side, and her guitar moves you to dancing!

   Sue is a rarity somewhat, she is the entire package. She plays her own instrument, sings and is female too. Her voice is a sweet, moving, determined with a splash of echo. WOW! A red headed fiery blues beauty striving to be an equal in a genre dominated mostly by blues men as legends. Does Sue have what it takes? Well my rating should tell you that I've got nothing but love comin' down for Sue Foley!




4. Sue Foley's CD is confident and deserves praise. A guitar strum opens on "Two Trains" before it breaks out into a full blues rocker. "Empty Cup" is a slow song with lumbering rhythms and beautiful harmony vocals by Lucinda Williams. Buy the CD for the title track, a hot burning blues rocker. Colin Linden, whose "Raised by Wolves" CD is equally hot, blisters the guitar on "Love Comin' Down" as Sue sings, "My heart is like a sunset." "You're Barking Up the Wrong Tree" is an uptempo old-style piano blues, "Stop talking lah-dee-dah to me." Foley milks the juice out of her electric guitar on "Same Thing." "Let My Tears Fall Down" is a slow tune with vocals that bring to mind the best of Bessie Smith. The vocals are fuzz-distorted and the electric guitar is up full throttle on "Let Me Drive." "To Be Next to You" lets Sue wail as a soulful crooner. "Mediterranean Breakfast" is a stunning instrumental with Spanish guitar and flamenco-flavored percussion melding with Foley's wailing electric guitar. Don't miss this one! The next track has Sue's slow soul searching vocal, "Do I let you inside me? Am I worthy of love?" "Oh Baby (We Got A Good Thing Going)" is a great boogie-woogie blues. The CD ends with "How Strong," a slow tune with acoustic guitar and Foley's passionate vocal. This music is mature, confident blues from one of the best. Enjoy!



5. Sue Foley, blueswoman from Canada via Austin, is something special. Her voice is not a powerhouse growl like Big Momma Thornton, but very delicate and beautiful, even when she tries to belt it out. The first thing I noticed when I first heard her on the "Every Road I Take" compilation was that I'd never heard a chick play guitar like that. She's definitely no SRV, but well versed in many styles and uses what skill she has to the fullest extent. Her fretwork is impressive enough, but coupled with an outstanding ear for catchy tunes and you are looking at one of the most talented musicians to never break through to the mainstream. That's definitely a shame, but a real treat for those who know;).
   "Love Comin' Down" is without question her most complete album yet, though there is a special place in my heart for "Without A Warning." On this one Sue's originals take center stage, though differentiating them from the covers without checking the booklet is a tough job, which is quite a credit. Her own songs tend to lean toward the sad and lonely, which is exactly what makes a great blues artist.
   I consider myself a budding expert on the blues and I believe anyone would enjoy this album, blues afficionados or casual music listeners alike. Consider yourself one of a lucky few to get your hands on any of her discs, but this one is a great starting point. Bottom line, for those of you who can tell good stuff from bad, you owe it to yourself to at least give Sue Foley a listen. You won't regret it.

1 comments about Live 69.

1. This set is definately a collector's item. It was recorded in May 1969 in Wisconsin and captures King at the height of his playing, during his time at Stax records. He is in good form and has a band with a horn section, unlike his famous Stax live albums (e.g.,Live Wire, Blues Power). He goes through his normal set, but includes some great surprises such as a great version of "Personal Manager", one of his classic self-penned slow blues numbers. This tune had previously only appeared on two of his albums- the original and one other live version (with no horns!!).The sound quality is fair, as I guess you would expect, there is tape hiss, but this is a great addition to anyone's blues collection. I am surprised that Scorsese's "The Blues" does not have a CD of Albert on offer!
   
   This CD was produced by Kevin Eggers who released his double album "Live Blues" for Utopia Records in the mid 1970s (This has been rereleased this year as "Blues From The Road"). This CD is excellent! The versions of his standards sound fresh and there is the tantalizing surprise of his instrumental version of "You Don't Love Me" (from his first full studio LP "Years Gone By"). He includes a 17 minute jam on "Please Come Back To Me" and his "As The Years Go Passing By" is the best version of this tune ever! He is in top form and doesn't even stop the show or complain when there is feedback from the mikes during his performance. This was the Albert who was so influential on blues and guitar in general, the real Albert King. Get this recording, it is the first wholly new selection released from King since 1995. There was the European release of the set "Rainin in California", but that was in the early 1980's and he was with his Fantasy Records band in another groove. This is Albert at age 46 and in top form, how he really played! This CD is essential for blues lovers!