3 comments about Back in the Alley.

1. "Alley" collects BB's live and studio performances from his most productive era - mid '50s and '60s. The songs in "Alley" well represent his unique singing and guitar style. This is highly recommended for those new to BB's music and blues in general.



2. B.B. King's "Alley" is by far his best. He went on to record some wonderful original blues. It is most unfortunate that this disc is OOP. However, the search for it and cost at a bit of a premium is well worth it.



3. With "Back In The Alley", B.B. King demonstrates he can do more than just belt out a blues number with great authority. He also incorporates a jazzy atmosphere into a fair number of the tracks in this upstanding collection of both live and studio cuts (courtesy of B.B.'s backing band, who are talented in their own right, "The King of the Blues" included). B.B. really takes the cake (and eats it too!!!), especially in front of a live audience, as evidenced in the live compositions "Sweet Little Angel", "Sweet Sixteen" and "Gambler's Blues". Lucille has a mind of her own, too, for she doesn't take any sass from anybody - B.B. included (just kidding!!!)! "The Bluesmeister" gets all the credit for making Lucille all she has turned out to be, for it takes magical, majestical fingers (such as B.B.'s) to really get her jump-started and electrified. All the studio tracks here are priceless gems as well, especially "Paying The Cost To Be The Boss" and "Lucille", as these two musical delights are truly a musicians institution. Although "Back In The Alley" is now out of print, a majority of these numbers can be found on other B.B. King compilation CD's, such as on "Paying The Cost To Be The Boss" and on the currently in print live CD "Live & Well", among others. Hopefully, MCA will give "BITA" the remaster treatment, as they have done with a majority of B.B.'s other CD titles, with the exception of "Indianola Mississipi Seeds" and the aforementioned "Live & Well", to which both could definitely use the remaster treatment. If you are lucky enough to get a hold of a copy of "Back In The Alley", you are in for a treat. If you already have it, then you already know what a treasured gem this recording truly is. No B.B. King fan can live without it!

5 comments about Wetlands.

1. If your foot isn't tappn' and your body swaying by the time the second chord comes 'round, call 911 cause you not livin' no more! Ain't nothn' slow 'bout this album. It's the glisten of his fingers on the fret board and the shimmy of his strummn' across, on top and all around the strings that give this work a gritty soul. My AC nearly broke cause cause all the boggy steam this album let loose.



2. Tab Benoit has proven himself not only as an excellent performer, but also an outstanding guitarist. He can get down and dirty in 'Muddy Bottom Blues' and paint an emotional picture in 'When a Cajun Man Gets The Blues'. Listen to 'I Got Loaded' and I defy you not to tap your feet. Those that have seen him live can attest to the immediate attachment he makes with his audience, as well as his mastery of the blues. BUY THIS!!



3. Wetlands is Tab's best Cd so far! I have been a huge Tab fan for 6 years, I own every Cd and I must say He's got the blues down pat, with his mellow down-&-dirty style in Wetlands! Tab's addicting guitar sounds leave you wondering when his next CD is coming out! Tab has Awesome talent!! This is a cd you can put in and play start to finish! (Which is hard to find these days!).....The last song on the Cd Georgia is Spectacular!!! Tab is a Down & Dirty Cajun....His voice & Guitar!! He is also Gorgeous..but I hear he is recently married =-(..I plan to book Tab Benoit for our Wedding! I guarantee you will like this Cd! Good Work Tab Keep the Blues Coming!!!!!!!



4. I am a huge Tab Benoit fan and have everything he has recorded since I discovered his tracks on the Blues for the Homeless CD.This is a more subdued recording and my least favorite next to the Homesick for the Road CD..There is a studio version of Let Love Take Control(found on the excellent live CD Swampland Jam which gives you a good taste of his live shows). Way too mellow for me.I would rather listen to Standing on the Banks, These Blues Are Mine, Swampland or Nice and Warm.



5. While Tab Benoit is easily one of my top 20 favorite blues performers, his latest release "Wetlands", took me a little time to appreciate. For those that have seen Benoit perform know just what a high octane performance he is capable of delivering. Lot's of sweat and string breaking are a common occurance. This CD, however, is a different type of Benoit release, one that is a little more subdued.

   On "Wetlands", Benoit returns to his Cajun roots and pays tribute to the likes of Boozoo Chavis on "Dog Hill", Professor Longhair's former bass player David Watson on "Her Mind Is Gone" and his grandfather Nat Babin on "Stackolina". Tab does come out of the tribute mode to return to top guitar form on the hard driving "Muddy Water Blues" and the slow blues numbers "Love Lips" and "Let Love Take Control" . Another high note on the CD is "Georgia" which features some acoustic guitar and vocals by Anders Osborne. Finally, not to be overlooked is the fine performance by Tab on Peppermint Harris' "I Got Loaded". Overall, it's not the Tab we have come to know lately (Nice and Warm or These Blues Are All Mine"), but it's an enjoyable CD in it's own right.

2 comments about The Complete Imperial Recordings.

1. This is Albert Collins from 1969 and 1970, in the studio because Bob Hite from Canned Heat told the folks at Imperial about his incredible talent. This was the break he needed. He began opening for groups such as the Allman Brothers and started to gain the national exposure he deserved. We don't get any information about the band backing him, in spite of the excellent notes by Pete Welding. What we hear is a tight horn section that probably got that way from playing with Collins on the many club dates he had in Houston, Texas. Disc One is mainly funky instrumentals with little of the blues he came back to when he joined Alligator Records in 1977. By the time we get to Disc Two Collins is singing and playing more of the blues that he does best. He seems to have become more confident in his singing ability. (This confidence grows to the point where he sings on most of his songs by the time he is signed to Alligator, when he really shines.) This 2-CD box is not his best work but a valuable collection for his fans. Digitally re-mastered for the Master of the Telecaster!



2. The late Albert Collins was one of the very best guitarists America ever produced. His idiosyncrasies probably hurt his recording career, because he didn't fit neatly into a marketable category. He incorporated elements of blues, R&B, rock & had a very funky sound. If you ever heard him play, you would recognize his style within 3 notes, a block away. He tuned his Telecaster to a D-minor open chord & always had a capo halfway up the neck. He used his thumbnail instead of a pick, and didn't really pick, strum or pluck -- he attacked the strings in an incredibly percussive way. His style was so unusual that you might overlook the fact that the guy could flat-out play.

   Unless you saw him live. Albert was a showman, and you couldn't take your eyes off him. He had crazy-looking eyes, a perpetually impish look about him, and he was really, really funny. It's a cliche to talk about a guitarist making it sing, scream or cry. Albert made his guitar swear during his nightly diatribes at his woman.

   Although there are great tracks on his live efforts, some of the cuts really worked a lot better where you could actually see him. For those who never saw him live, there are three studio CDs that give a good overview of his work.

   THe 2-CD Complete Imperial Recordings set is a revelation to those who are only familiar with Albert's work after his Alligator releases finally raised his profile in the late 70's. Not yet the pyrotechnic showman, this compilation of 3 60's albums shows a surprising kinship with the solid, fundamental funk of the Meters. At times, he sounds like he was from New Orleans, not Texas. Understated, soulful, classy and as always, cool. Most cuts are the Albert Collins equivalent of lean, powerful Booker T & the MGs instrumental workouts. The 36 songs are good enough to stand on their own, and he didn't try to overpower anyone with his technical prowess.

   Like a number of unjustly neglected blues acts, Albert got a boost from Alligator Records in the 70's. His breakthrough came with 1978's Ice Pickin.' It features two of the live-wire instrumentals he was famous for ("Ice Pick," "Avalanche") and a generous helping of his world-weary grievances with women, including the classic "Conversation With Collins" (more fun live, but still fun on disc) where his guitar not only spouts obscenities, it takes on the multiple roles of a complaining husband, and a wife both seductive & defiant. Some shuffles, a couple slow burners.

   In 1991, Albert served up Iceman, practically a straight-up funk revue. If you play it for people who aren't familiar with electric blues, they'll adamantly deny that it is blues at all. Well, it is & it isn't. Albert is backed by the fullest band sound he ever had, with a full 4-man horn section, bass, organ & keyboards (yes, 2 different guys), plenty of rhythm guitarists, a solid rock-steady drummer, and 2 female background singers cooing "Mr. Collins, Mr. Collins!" on the tracks that start & end the CD.

   All three come highly recommended.

No comments about Bocce Boogie: Live 1978.

5 comments about Rattleshake.

1. Blues is full of misconceptions and stereotypes. Those predetermined perspectives become altered once you get to know the sincerity of the music and its artists. Chicago's wicked slide guitar master Lil' Ed Williams is one artist who puzzles his audience. Under the guise of a careless fool, there is a complex man musically, spiritually, and personally. Ed's tight-knit band have been playing together for so long, they know their every move. Listen as the rhythm section - Kelly Littleton (drums) and James "Pookie" Young (bass) - locks tightly into each groove while Mike Garrett (guitar) rocks. Their romping sound is augmented by Johnny Iguana's animated piano/organ on six numbers.
   
   The majority of these 13 in-your-face songs were written by Ed or his wife Pam. Half brother Pookie contributes additional originals, and there is the customary cover/tribute to Uncle J.B. Hutto. The subject matter of the songs - overcoming defeat, resisting temptation, having respect, loyalty, and responsibility - reveal Ed's strongest values.
   
   Just like their five previous Alligator releases, Rattleshake was recorded live off the floor. On it, Williams embodies Alligator's Genuine Houserockin' Music. Ed possesses the uncanny ability to chip his guitar straight into your very being. Experience this firsthand on Maybe Another Time. With youthful rebellion, Leaving Here contains rollicking energy. It is boundless on Golden Rule where Ed's guitar is a fireball. Unlike shooting stars, his positive energy does not fade quickly. Combined with a punk beat and Elmore James and J.B. Hutto inspirations, Ed's slide guitar enthusiastically shouts and shrieks on Icicles In My Meatloaf. Williams' gifted guitar talent receives exposure on ballads such as You Just Weren't There. The diminutive dynamo takes the usual ("My baby's gone") lyric a step further on Nobody's Fault But My Own. Here, he ain't just singing the blues; he is asking for forgiveness and making a life transformation. You can feel it in his brazen guitar solo. That's The Truth contains Littleton's masterful shuffles and playful beats. The most surprising track is Billy Joe Shaver's country and western Tramp On Your Street.
   
   In an age where musical styles have been blurred and misnamed, this 51-year-old remains an authentic American bluesman. For over 20 years, he has brought great joy to blues fans with his singing slide guitar and friendly, honest voice. Yes, his songs do become repetitious, and each album tends to blend into the next. Not all of these new songs contain deep poetry. Some have been created simply to have fun. However, don't be fooled into thinking this is a raucous, wild party without purpose. On Rattleshake, Lil' Ed is in touch with his inner self and it is expressed via jovial melodies and tough blues.



2. 'Icicles In My Meat Loaf' after the same name as the song, he would have sold more copies maybe, that song title alone is worth the price of admission, so funny and the song itself ain't half bad, I heard it on Bluesville on XM radio and that's what attracted me to it here, I have one of his other CD's but I don't think that one's as good as this one. And after all it's just my opinion. That's why I only gave it 4 stars.
   [...]



3. I don't intend to be mean, since Lil' Ed seems like a nice fun guy, but this is nothing but a lounge act, or juke joint band. He may be fun after you've had 10 beers, and everybody is sweating on you on the dance floor, but this is definitely not powerful electric blues. Ed's voice has no dynamic features at all. In fact there are only 2 songs on the CD that I would ever listen to more than twice. Obviously, Ed has a sense of humor, based on his "Icicles In My Meatloaf" song, but other than one other song, there is no "Blues Meat" on this CD. To be frank, I doubt anyone with real blues expertise and experience could possibly rate this above mediocre. Again, I'm sorry Lil' Ed, but just like the Budweiser Clydesdale's, though they are horses, you don't see anyone betting on them in the Kentucky Derby! Shaq says you need to decide if you want to order meatloaf.



4. I've been listening to Lil' Ed for more than 20 years. I have his work from vinyl up through this latest release. I first saw him live--amazingly live!--in 1987, at a Blues, Brews, and Barbecue show on a boat moored in the Mississippi River in St. Louis. I saw him again in the mid-1990s in Eugene, Oregon, when he blew the doors off the Good Times. This new CD shows him still driving harder than anyone around (with the possible exception of Magic Slim). His voice is excellent, the songs are strong, and his guitar work has never sounded more energetic. The torch carried by Elmore James, Hound Dog Taylor, and J. B. Hutto is in excellent hands!



5. This is the first CD that I got from this band, I must say is great. This is the best blues CD that I ever bought in months. It has a lot of energy on it and a great sound. So great job for Lil Ed and the Blues Imperials. I can't wait to see the playing live.

5 comments about Blues Singer.

1. First of all, let it be said that Buddy Guy is an electric Blues guitarist, and not a pre-War "Country Blues" artist. His guitar playing on the Skip James track really shows that Buddy was simply clowning around at these sessions and is also very limited on an acoustic guitar. The subtleties and nuances that Skip James provided us with in the song, on both the 1931 recording and on later versions, is totally missing from the Buddy Guy version. Johnny Shines, who is one of the greatest Bluesmen of the second half of the 20th century, has a song on this album that is covered by Buddy Guy, according to the liner notes from this album. The only problem is that the Buddy Guy track doesn't resemble the Shines version in any way. The music and lyrics are totally different. Every song on this album lacks the vitality and musical sophistication of the respective originals. People who claim to be Blues fans and rank this album very high are obviously doing so only because they are huge Buddy Guy fans. I enjoy Buddy Guy's Chess recordings and also some of the stuff he did during his comeback almost 20 years ago, but this album is just plain awful. If you want to hear some good acoustic Blues music, I strongly recommend Johnny Shines' "Standing at the Crossroads", "The Complete Recordings of Robert Johnson" or Furry Lewis' "Shake 'Em On Down". Those recordings are three of the best examples of excellent Blues music.



2. First up I'll make it know that I'm a very big fan of Buddy Guy's music and can think of nothing better than sitting down and listening to Buddy do his thing. Now given Buddy's reputation for doing 'his thing' this recording is something of a suprise, possibly a shock for some. This is pretty much an all acoustic affair with minimal backing by other musicians and for the most part it works very well. Buddy undoubtly has his trade mark guitar sound and equally memorable vocal approach, this CD places Buddy in a situation where he only has the bare essentials to work his magic. His guitar work is understated and completely spot on for the mood of this collection of blues covers. His vocal work however, is what this CD is all about and why you should have it in your collection. No crazy unbridled blues vocals here folks, this time around Buddy has very successfuly tapped into a facet of his abilities we have not heard for sometime, keep in mind this CD came out in 2003. Standout tracks for me were Moanin' and Groanin' and Can't See Baby but the more you play this CD the more your preferences will move around, just seems to depend on how your feeling at the time. Well worth the money and your listening time, a definte Buddy classic.



3. So much of Buddy Guy's recent work is overproduced, guest-star-burdened, and hard-rock-oriented, aiming for the Stevie-Ray-Vaughn-fan market, and his live shows are famously unfocused and unsatisfying, but this album is a little jewel. Each song is a tribute to a different blues master, and his interpretation of Son House is particularly moving. Buddy Guy is still the best bluesman around, by far. This disk proves it.



4. This is probably the most heart-wrenching, Heartfelt, Soulful, Powerfully Moving albums (I just ran out of adjectives) I have ever heard.....In ANY genere !!!! Total sensory overload.....which is saying a lot considering the "bare bones" feel of the album. This is Buddy stripped Butt Naked.......And he NEVER sounded better. Kudos to you Buddy. You are the master !!! Long may you reign !!!!!



5. This is very overlooked new cd from Buddy, playing acoustic. True blues. Best effort.

5 comments about Live '92/'93.

1. It's amazing some of the idiots that bring down a solid release with one star reviews. The sound quality and performances on this disc are fine.
   R.I.P. brother.



2. If you are one of "Shaq's, The King Of The World Blues Reviewer's" loyal fans, you of course know that Albert Collins is one of my six favorite electric blues guitarists! Once again, a great blues performance, is hampered by faulty recording quality. The power and verve, that a true blues fan, knows is Albert Collins, is simply thwarted by the lack of loud, clear, sound. As usual, I was in a blues funk, due to the lack of any new quality electric blues on the market, so in February 2007, I took a chance, knowing the odds about buying an older (? Jeez! 1992 & 1993 ain't that old!) blues CD. What a disappointment! If you at least want some historical data in this review, here it is. The first part of the live recordings, were in 92 at Montreux, Switzerland, before Albert knew he was dying. The 2nd half of these live recordings, were in 93 in Illinois, when Albert knew he was dying, which he did in November of that year. Despite, being on deaths "door steps", Albert still played with enthusiasm, and his unmatched humorous look at life. If you're a blues collector, that might be enough to warrant your purchase. If you want Albert at his best, (I'm not talking about his health, I'm talking about recording quality!) this CD isn't for you!



3. I am a big fan of Albert's guitar playing and I bought this CD hoping that his last material before his death would be good to have and listen to. I am not disappointed with Albert's playing but the recording quality is woeful and it is not worth paying the money for unless you have to have all Albert's recordings, his other live material is much better. Sorry but it's simply not up to scratch for a 1990's recording



4. This is one of my favorite recordings from one of my favorite guitarists. If you want to play in Texas, you have to play music that people can dance to. Cowboys, oil workers, black folks and Mexican Americans all love to dance in Texas and expect to hear dancin' music when they go out to clubs. This influence is heard in most of the works of Mr. Collins, a Texas native, and especially in this CD.



5. These performances were recorded shortly before Collins' death in late 1993, but rather than sounding tired, they offer proof that the "Master of the Telecaster" remained a commanding stage presence until the end.

   Albert Collins' highly original, percussive guitar playing is still sharp, and his vocals are strong and soulful. He is backed by an excellent band which includes two sax players and a trumpet, and they offer solid backing and the occational soul-revue riff without overwhelming the 60-year old guitarist.

   Collins and his band swing on the superb "If You Love Me Like You Say" and the funky "Iceman", and they groove on the eight-minute blues workout "Put The Shoe On The Other Foot".
   Other highlights include the rocking "Travelin' South" and the sweaty soul of "Talkin' Woman". And listen to Albert Collins' solo on "Iceman", and his take on T-Bone Walker's classic "T-Bone Shuffle"...Collins played without a pick, and often used a capo high up on the neck of his slightly metallic sounding Telecaster, plucking tinkling, piercingly clear notes from the strings (this was the technique which gave his playing its "icy" tone).

   This is a strong collection of some of Collins' best and most accessible latter-day material. It is a great place to start if you're new to the music of Albert Collins, and a must-have if you're a fan.
   Definitely recommended.

5 comments about Feels Like Rain.

1. Buddy Guy. One of my favorites. Picked up this one and it is fast becoming one of my favorites. I'm not a blues purist. I like the Southern Soul and this fits right in there. Some Kind Of Wonderful. Wow! Change In The Weather. Wow! A little taste of Ray Charles. A little taste of Muddy Waters. That's what the blues is all about. Feels Like Rain!



2. A nice album from the legendary Buddy Guy, Feels Like Rain is about as straight forward as it gets. A strong set of electric blues, served up with a heapin' side of boogie, the album plays out as an old blues man just havin' a great time makin' music.



3. Feels Like Rain was my introduction to Buddy Guy, and what a fine introduction it is! Altho some blues purists will complain that it isn't "pure" blues, and with it's all star cast, a sell-out, but I prefer to look at it as Buddy showing his versatility. From the Stevie Ray Vaughan-sque She's A Superstar, and Feels Like Rain (the smoldering and sensuous cover of the John Hiatt classic), to the red hot finale of Country Man, this to me is a much more consistant album than Damn Right. This CD proves that blues doesn't have to be confined to 12 bar covers of Elmore James and Robert Johnson. And since blues was conceived from slaves easing the pain of their confinement, isn't that what it's all about?



4. More of a mainstream rock record than Guy's first Silvertone album ("Damn Right I've Got The Blues"), and much more so than his third, "Feels Like Rain" is not where you go to listen to Buddy Guy the legendary blues guitarist.
   In fact, this is some of Guy's least blues-oriented material...the only real blues tunes are Muddy Waters's "She's Nineteen Years Old" and John Mayall's "I Could Cry"; the rest of the album is dedicated to rock- and soul covers, blues-rock and pop-rock.
   
   The production is rather slick and lacks muscle, and a little bit of grit would have been nice, but Guy himself comes off quite well. His guitar playing is not the best you'll ever hear from him, but his voice is excellent, strong and expressive, and while some of these covers are superflous at best, Guy's rendition of John Hiatt's "Feels Like Rain", Ray Charles' "Mary Ann", and the soul classic "Some Kind Of Wonderful" are really enjoyable (the latter is a duet featuring Paul Rodgers of Bad Company).
   Bonnie Raitt guests on "Feels Like Rain", playing bell-clear slide guitar, and the band includes a great pianist, Bill Payne from Little Feat.
   
   If you want to hear Buddy Guy play the blues, pick up "Buddy's Blues" from MCA/Chess, and Rhino's "The Very Best Of Buddy Guy". If you just want a regular feel-good rock record played by a number of better-than-average musicians, well, you'll probably like this just fine. After all, you can't keep a real professional down.



5. First off I love this CD and listen to it all the time. The only reason I gave this CD 4 stars is that this album is very Heavily produced and at times get a little to slickish for my liking. Listen to "Sufferin' Mind" to see what I mean. But still the production doesn't alter the fact that this is a good album.

3 comments about A Tribute to Muddy Waters - King of the Blues.

1. A must have for music lovers - - before this type of information is lost to history. A good visual treat to a master and foundation of american blues...



2. this item is week.people who sings the blues they must be more energetic.songs run time is 3or4 minuts what is it they heve not time or what.dont buy this dvd.i love blues my soul bealongs to the blues.buy tail dragger



3. Excellent concert. Very good HD transfer and DD-5.1 audio. Some incredible talent assembeled for this tribute to the great Muddy Waters. If you like the blues - you will want this...

1 comments about Mississippi Kid.

1. Nobody does low-down, deep blues like Byther Smith. At times his guitar playing invites B.B. King comparisons, but Byther is lonelier, edgier, tougher and more personal. Byther's blues cut. "President's Daughter," "Blues on the Moon," "Give Me My White Robe," (harrowing, that; who else packs such a wallop singing about getting ready to die?), "Runnin' to New Orleans" and "Monticello Lonely" are standouts. Two or three cuts are weak, but that's a minor quibble on a very fine Chicago/Mississippi/Delta electric blues record.