5 comments about Folk Singer.

1. This is one of my alltime favorite blues albums. It is an acoustic album and Muddy shines in this format. The only thing I didn't care for on this version were the five bonus tracks. They just don't fit the vibe of the original version. On the other hand, it's some additional Muddy Waters for no extra cost! Get this album and you won't be disappointed.



2. A top rate blues album. One of my favorites, it gets at least weekly listens if not daily.



3. I found this in my friends cd collection, threw it on, noticed it had willie dixon, one of my all time faves, on stand up bass. It blew my mind!what a discovery. never had heard this before somehow altho i love blues. and have seen specials on muddy. get this immediately. stop everything you are doing right now and buy this lp. it is simply one of the best blues lps of all time. beautifully restored remastered in the 99 pressing. gold pure gold.



4. What a great blues album! I just received it in the mail, and this is one of those CD's that exceeds all expectations. First, I was floored by the sound quality - hi-res with beaucoups of air and a realistic soundstage. As I continued through the disc, it became obvious that this CD belongs on a short list of the best blues albums ever made because the performances were also incredible! No folk songs here - it's all acoustic blues with Willie Dixon on bass and Buddy Guy on guitar accompanying Muddy. The bonus tracks are all keepers too. This is absolutely essential blues, and music for the ages.



5. This is a wonderful CD, it has several alternate takes of songs that we've all heard versions of, which I find very interesting. One of the most interesting qualities of blues music is that the performers rarely play the song the same way twice, that's what makes it exciting. Definitely a good CD for you collection!

5 comments about Martin Scorsese Presents The Blues - A Musical Journey.

1. Blues is a genre of music that is greatly under-appreciated by most Americans, despite being the fundamental roots and building blocks of all other forms of music, minus the Old-Timey music which was created by Western European immigrants in the Appalachians and down south, though even that music mingled with the Blues; the perfect example being "John Henry", which was hugely popular in both black Blues traditions and in Old-Timey music. Jazz, Rock 'N' Roll, Soul, Hard Rock and Heavy Metal all borrow heavily from the Blues. Though I am only 25 years of age, I have been a major Blues fan for over ten years. When I say "major", I mean that I am an obsessive collector, fan, singer and have just started to learn how to play the acoustic guitar. When I saw this documentary on television when it originally aired, I was disappointed. Upon renting the dvds from my local library three or four months ago, I was even more disappointed. It'd be much easier to tell one what's WRONG with this documentary than what's RIGHT about it.
   Firstly, Corey Harris is a wonderful musician, but his original compositions and the Country Blues classics which he covers have nothing to do with musicians in Mali. Although that (very long!) segment of the film was interesting, it didn't pertain to the subject matter at all. It's nice to hear that someone thinks John Lee Hooker's music is "African", but what exactly does that mean? His music is meditative, hypnotic and sexual, but when we look up "Africa" or "African music" in an encyclopedia, we don't see "meditative", "hypnotic", or "sexual", do we? I think this is just the romanticism of a bunch of middle-aged whites who worked on this dvd, and perhaps even some of the young black musicians. With that said, it's great that Harris is in the documentary, as he is one of the top three greatest living Bluesmen. Alvin Youngblood Hart is also present in a different episode of this documentary, but why is he never interviewed? He is the best, that is, he is #1, out of all the living Blues musicians. His guitar playing is fantastic, he is able to compose songs which sound like they are from Charley Patton in 1928 but which contain all original lyrics, and his voice has an accent and snap to it that sounds like a real Country Bluesman from the '20s or '30s. In addition to Hart and Harris being shown covering important songs from the past, Samuel James and John Hammond should have been included in this documentary. John Hammond has done more to spread the word about real Blues than any other person alive, for the last half-century, and his brilliant father did the same thing during his long life. It's deeply insulting that John wasn't included. Furthermore, the artists who WERE shown performing classic Blues songs are simply Godawful. Beck's reading of Skip James' "I'm So Glad" is the most horrendous, disgusting, laughable thing I've ever seen in my life. Keb' Mo is a lightweight and not a Bluesman; he sounds more like James Taylor than he does like Big Joe Williams. Also, Skip James did not re-record all of his 1931 classics, as this stupid documentary would have you believe. This is just poor research on the part of the people who produced this monstrosity. Bonnie Raitt turned in a considerably good performance. Los Lobos and Susan Tedeschi had no business being part of the project, just as Susan didn't belong on Buddy Guy's newest album. I have seen her live; she is very good at playing Blues licks on her guitar and she's a good singer, but she is not Blues. Chuck D. makes an absolute ass of himself, along with his rapper friends, and Marshall Chess shows that he has no taste in music, and can't distinguish good Blues from crap. The footage of Skip James and the discussion of James' life and career by Dick Waterman is the highlight of this entire project and is wonderfully done. The J.B. Lenior business was ridiculous, as the private tapes of him performing show his limited talents on the guitar. The episode about the young man going to live with his uncle is utterly ridiculous because few blacks in the south at that time knew who Robert Johnson was, though the uncle supposedly touts him as one of the greatest of all-time, and even fewer blacks or people in general had any understanding of the greatness of the Blues as a serious musical form, like we think of Classical music, or Jazz, these days. So, why would the uncle have a shrine dedicated to Blues and be a Blues historian?!?. "Sleepy" John Estes is mistakenly called "Sleepy" Joe Estes. If Ken Burns' "Jazz" documentary were to call Thelonious Monk, "Thelonious Blunk", can you imagine the outrage on the part of the Jazz community? Bobby Rush is a joke and isn't a Blues artist. He should stay on the chitlin circuit, doing his dirty dances and poor James Brown imitations. I have no idea why he was included in this documentary. Also, although we all love and respect B.B. King, perhaps we didn't need to see him sitting on his tour bus, talking about his love for the Blues for an extended period of time, but this is one of the minor things wrong with this atrocious documentary.
   The British episode of this abomination is ridiculous, due to Lulu and Tom Jones' presence. Honestly, Mayall and Baldry are of very little importance to Blues and we didn't need to hear about and from them, over and over again. If there needed to be a British "Blues"-themed episode to this disgrace of a documentary, why not focus on the lives of Clapton, the early Fleetwood Mac, Jeff Beck, and, more importantly, their influences, and why they (the British guitar players) love the Blues. Clint Eastwood's work is very well-done, but the problem is that very few of the musicians have anything to do with the Blues. Where was Roosevelt Sykes? He, in my opinion, was the greatest Blues pianist/singer in history. Dave Brubeck is a Jazz musician, and he doesn't even perform good Jazz; he does what Jelly Roll Morton or Joe Bussard would consider to be something other than Jazz, to put it nicely. The Johnny Shines footage in one of the earlier parts of this documentary was fantastic, but why wasn't the great Johnny Shines honored for what he truly was; a musician every bit as good as Robert Johnson, with a stronger and more versatile voice than Johnson, and the ability to perform both acoustic Country Blues standards and originals, and electric Chicago-style Blues standards and originals with equal force and beauty? When, oh, when, will Johnny Shines be recognized? He was the last of the great Bluesmen. He belongs up there with Blind Lemon Jefferson, Charley Patton, Robert Johnson, Blind Blake, Blind Willie McTell, Blind Willie Johnson, Skip James, and, perhaps, Alvin Youngblood Hart, who should have had a much more prominent role here. It would have been better to have a dry, historical reading of the story of the Blues, even if the directors and producers didn't know their stuff (which was obviously the case) than to have a mish-mash of different segments, done by different fools, with, and this is the really awful part, horrible performances by living, supposed "Blues" or Blues-influenced "artists". I am able to sing these old classic Blues songs better than any of these morons, minus the great Hart, Harris and Bonnie Raitt. I believe it was the Jon Spencer Blues Explosion that was the low-point of this entire documentary, though it's really hard to discern what the worst part of this walking disaster was. Lou Reed, Oscar Peterson, Dr. John; why are they a part of this documentary? There was plenty of great Son House footage here, but why wasn't Blind Willie McTell mentioned? What about the unique Henry "Ragtime Texas" Thomas, who sounds nothing like anyone in all of American music, and who was an important Songster who came before the Blues, along with the brilliant Luke Jordan and the heavenly Richard "Rabbit" Brown?
   I am not a huge fan of Eric Clapton, but the discussion of white teenagers' embracing the Blues during the 1960s and '70s is very important to the history of the Blues. With that being said, instead of having talentless artists who happen to be white covering Blues classics, it would have been better to sit down with Eric Clapton for one hour and just have him talk about the records he loved growing up, right off the top of his head. This would also help de-bunk the myth that "Clapton is God", and show young guitar-playing-Clapton-obsessed Blues-Rockers out there that Eric doesn't think he's the best; he feels he can never equal Muddy Waters' greatness, not to mention the beauty of Skip James or Robert Johnson. As Clapton has said in various interviews with various magazines, he is incapable of playing solo acoustic Country Blues because he is not a good enough player to play the complete guitar accompaniment to a song, which is what men like Blind Blake and Blind Lemon Jefferson did. This is why Clapton's album of Robert Johnson covers has other musicians on it. Finally, where the hell is the virtuoso of the Blues, Lonnie Johnson? This man was the inventor of Jazz guitar, performed marvelous guitar duets with Eddie Lang that still sound unbelievable almost 100 years laters, accompanied the brilliantly talented Texas Alexander by playing some of the most startling, dazzling, ominous guitar work in the history of mankind, pioneered Rhythm & Blues ten years later, and was able to play and croon Pop music standards with the best of them. I could probably go on and on about the inaccuracies and mistakes associated with this sad disappointment of a documentary, but I will have to stop here. Rent this thing from your local library. Do not buy it under any circumstances! If you want to know what Blues cds you should buy or which artists you should check out, just ask me, and I will tell you. I will save you a lot of money and aggravation, which is something that this documentary won't be able to do!



2. If you love music and love the Blues, this is a must have for your collection.



3. Save your money and instead borrow this set from your local public library. There is nothing about any of these DVDs that you'd want in your permanent collection. I guess I was hoping for more of a well organized documentary and less "filler". I mean, how many shots of BB King staring quietly out of his bus window do we need to see? This whole series is a collection of disconnected, rambling pieces that could have been better organized. All the parts are probably there, but it's like handing the viewer a pile of jigsaw puzzle pieces and saying "here's a nice oil painting".
   
   This mess has Scorsese's name on it for marketing reasons only. It's clear that, other than the single DVD that he directed, the only message the other directors got was "put something together about the blues".
   
   Out of the 900+ minutes of video here, I'd estimate that there are about 240 minutes worth of interesting material for the blues aficionado (I'm not talking just music here; for example the thread about Rosco Gordon was touching and worthwhile). The majority is senseless filler. Who cares about a rap musician's interpretation of a blues classic? Who cares about Clint Eastwood playing his piano?
   
   A much better approach to this would have been to start with the roots of this wonderful music, and then highlight notable musicians and performances in chronological order. Connections of "who influenced whom" and "who worked with whom" would help tie it together. Sometimes presenting something in a simple, organized manner is the answer, rather than lathering every trick in the director's book on top of the project.



4. I learned blues this DVD. This is my teacher about blues.
   I met several musicians in this DVD, I remembered lot's of person.
   Thank you Mr. Maetin Scorses.



5. I purchased this for my son for Christmas. He likes it very much.

5 comments about Ultimate Collection.

1. I had been looking for a good compilation of Freddie's music for a while. This one does the trick! This really is the best of his earlier work!



2. Freddie King was a master blues player. If you want to know where a lot of Clapton licks came from, listen to this guy. He was the original. The three Kings, Freddie, Albert and BB are the original masters. Unfortunately Freddie has been gone a lot of years but his legacy continues on. If you are into Blues, buy this CD. John



3. This is the best single disc Freddie King Collection on the market, considering that Hideaway: The best of Freddie King is out of print. Two or three selections are doubtful (Dust my broom and Sugar sweet), but mostly it is really good, combining his trademark instrumentals (Hideaway, The Stumble, etc) with wocal tracks. Freddie's sharp, melodic and intense guitar playing influenced a lot white blues guitarists - most obviously - at least to my ears - Eric Clapton on the John Mayall's Bluesbrakers with Eric Clapton album. If you like blues, or just great guitar playing (and there's some fine singing from Freddie as well), get this record.



4. They say timing is everything, and in Freddie King's case, that certainly was true. His early hits, especially the classic instrumentals, "Hide Away" and "San-Ho-Zay," came out in 1960 and '61, at precisely the right moment for his career to intersect with the SoCal surf scene (which also centered on instrumental numbers) and the nascent British blues revival, which was ever eager to find American bluesmen to latch onto and laud. Here, white kids on both sides of the Atlantic had a guy who bridged the gap between raw authenticity and pop polish, setting the standard for the zilllion-and-one future Fendermen who sought to sharpen their guitar chops. Fittingly, King cracked into the US Top 40 while also picking up flocks of converts (such as Eric Clapton) who worshipped his fluid, pop-tinged electric guitar leads. King's style was a perfect distillation of the smooth yet soulful postwar blues style, rootsy yet accessible and perfectly pitched for the ears of adoring white blues fans. His career had its ups and downs, but by the time he passed away in 1976, he had packed them in on the pop and blues circuits... This disc covers the breadth of his career, matching the ace oldies up with a good selection of his often overly-bombastic later material.



5. I don't have this actual CD, but I have most of the songs that are on it from other collections and they are all great. This is a great collection of Freddie King's work from his earliest recordings (1960's "Have You Ever Loved A Woman") to his later Shelter records material (1969's "Palace of the King" and "Going Down"). If you like blues guitar, then at least one Freddie King CD should be in your collection. He influenced countless guitarists, particularly Eric Clapton. This is a good place to start if you're new to this blues guitar master.

5 comments about East-West.

1. This recording contains what has to be the one of the greatest blues/rock songs of all time. The song is East West which contains some of the greatest music I've ever heard. It is a preview of what the bands later in the 60's will produce and remains one of the finest example of the extended guitar solo pieces.
   
   At this time the Butterfield Blues Band had two of the best guitarist around, Elvin Bishop and (my favorite) Mike Bloomfield. They each take an extended solo, Elvin Bishop first. Elvin throws out a blazing fast mountain of notes. It is what happens next that makes this an unique experience. It is Mike Bloomfield's turn next, not with another show stopper solo, instead he pares back the music to the absolute minimum. His clear ringing notes lifts one from out under the mountain into the clear blue sky. From this he slowly builds, never to excess, an exquisite solo that sends us flying above the mountains. There is nothing else like it that I've ever heard. I cannot do it justice, this music must be heard. It is unique moment that everyone deserves to experience.
   
   For this reason along, the song East West, makes this recording a must. But there is also all of the rest of the songs, including Butterfield's catchy solo on Work Song.



2. I sampled all tracks and was surprised that I knew all of them since I had never owned it or even heard it in 30 years. Bought it and love it.



3. I too had this on vinyl and wore it out 5 times and one listen to "I've got a mind to give up living" will send you out of your head. Maybe this is one of the cd's or of of the bands youeither love or hate because I don't love evry cd they have made. But with this versions line-up, the Butterfield Blues Band ain't s***. Sorry to all u die hards.
   
   There are many more memorable sond here than on any other PBBB albums, but go ahead and listen and u be the judge.



4. I'm a huge fan of Chicago blues and a big fan of Paul Butterfield and Mike Bloomfield, but this album doesn't do it for me. The title cut East West is great and is nearly half the album hence the three stars. This album sounds a bit dated and I its due to the slightly heavy phycodelic rock influence found on this album. PBBB was on of those groups (like the ned of the Peter Green Fleetwood Mac era) that was trying to push the boundries of the blues art form. What you have 30 years later is an album that just doesn't sounds that good. that doesn't do it for me. I don't think this album as aged well. The blues are timeless and should hold up to the test of time. Great artist like Magic Sam and Lowell Fulson still sound great today. This album doesn't. Buyer Beware I guess.



5. The Jazz-Rock fusion movement of the late 70's (Weather Report, Spyro Gyra, Tony Williams) was born on this album. If I could only keep one record in my collection, this would probably be the main contender for that position. This album is a musical safari including a remarkable variety of musical idioms in a Blues context that goes way beyond Blues. Obviously, the East-West track is the pinnacle of this exploration. Listen closely and you will hear East Indian, Calypso, New Orleans Jazz, Bluegrass, and 4 or 5 other distinct musical styles each in a separate movement with very striking transitions. When I first got this album as a sophmore in college in 1966, I used to put on the East-West title track in the late afternoon and drift off into a wonderful, dreamy nap carried off in a magical concoction of World music as I think no one had ever heard before.
   
   This is just a glorious masterpiece, a high-point in American popular music. It feels as good today to listen to it as it did in 1966.
   
   Oh, aspiring blues guitarists would be wise to try to copy Mike Bloomfield's delicate, complex and powerful solo on "I've Got A Mind to Give up Living." I wore out my vinyl copy trying.

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 The Complete Imperial Recordings: 1950-1954.

1. Are you kidding, who do you think Eric Clapton learned his best licks from?? Yep, T-Bone. This CD has no bad, average, or even great recordings on it. They are all spectacular!! T-Bone is the master of the "modern" blues style, yeah, like Eric Clapton, only earlier and beautiful music in his own right.



2. TBone is the best in my book. I like the smoothness of his music. I heard the Allman Brothers state on a live album many yrs ago that "Stormy Monday" was an old "Tbone Walker song." I guess I got curious and bought a casette tape by TBone at the time.... This was when I decided that he is my favorite of all Blues Musicians. These CD's include some of his best work. Glad to find it on CD.



3. T-Bone not only invented the electric blues but he still remains it's most towering stylist and symbol of pure cool. T-Bone's smokey after hours blues is still one of the most vital parts of the genre. Smooth is the key word here. T-Bone's singing and playing never lacked the smooth quality that was T-Bone Walker. He could sing songs of misery and hurt with incredibly deep soul but still manage to keep it cool. This set is a fantastic value! Each track stands on it's own merit. I don't have a favorite here because all are top notch.
   You won't be disappointed.



4. The late "T-Bone" Walker, a pioneering mastre of the electric blues guitar and a close friend/ certainly unremitting influence on my Uncle "Pee Wee" Crayton another "axe-handler" during the immediate postwar era. However, avoiding comparisons, Uncle "Pee Wee" Crayton brought enough "heat" and daring innovation to his playing to avoid being labeled as a mere "T-Bone" copy-"kat."
   
   As a young teen in the early 70's, I was extremely fortunate to experience the greatness of his "vibes" up close and personal...on many occasions, I would soak-up like a sponge and weld to memory those rare meetings when the "Texas 3" (1) Uncle "Pee Wee" (2) "T-Bone" Walker and (3) "Big Joe" Turner (another pioneering mastre blues singer, even though he was born in Kansas City, MO., he sang like he was from the state of Texas...) would get together at "Pee Wee's" house in West Los Angeles, California, and rehearse all day on Saturdays or Sunday afternoons up until the late evenings, just before going to there "gig" at the Perisan Room (a defunct legendary popular "night-spot" during the 1960's - late '80's located on the southwest corner of La Brea Avenue & Washington Blvd., of which now sits a U.S. Postal Station). These Complete Imperial Recordings: 1950-1954 are nothing but short from shear enjoyment fo' da soul...buy the CD you won't be disappointed!
   
   Those were exhilarating times to say the least!
   
   --"Big Dave" Burleigh, 'AmeriCanadian' Record Producre.



5. T-Bone sweet T-Bone - he is the founder of modern blues - and I think he does not get enough credit for his influence on jazz guitar. Kenny Burrell, in fact, has mentioned that T-Bone was one of his early influences. He certainly has a sweet tone, and he has a nice voice too. Pair this with a hot horn section, and this cd is a steal at 10 bucks. T-Bone is a classic.

5 comments about King of the Blues Guitar.

1. If you like blues you probably already know about Albert King. If you don't then sit back and listen to a few tracks. You'll love it.



2. Listen to this and you can hear a lot of where SRV got his style. It's no secret and he's the one who directed me to listen to Albert in an interview I saw with him. Albert wears it out, flying V upside, bendin' the crap out of those strings. He's got chops, feel and soul, not a bad singer either. I wish this CD had his version of "Stormy Monday," but it's a great CD anyway. Enjoy!



3. Agreed - this is some of the best songs I heard Albert play on record. Truly an excellent collection. You'll hear not only Albert's awesome soulful singing but also a LOT of intense blues guitar, which is truly "King". The sound quality leaves more to be desired, but it is acceptable. Material more than makes up for it. I played this record to someone who's never heard Albert King's material before and they were shocked. I'm a fan of Albert King, and this is a valuable disc in my collection.



4. This is my absolute favorite recording by Albert King. I had the album for years and literally wore it out playing it. I finally got the CD to replace my album and was pleasantly surprised to find it included some additional material not on the LP. Any collection of blues material is not complete without this.
   
   Albert King's "Personal Manager" is one of the best examples of why he was such a genious. The soft, syncopated piano, the delayed introduction of horns, the gradual build of energy in his voice and the blazing guitar lead send chills up my spine. I love this CD.



5. CD arrived in sealed jewel case, new, and was without flaws. The music was great, as expected, and the artist lived up to his reputation as one of the truly fine blues pickers.

5 comments about The American Folk Blues Festival 1962-1969, Vol. 3.

1. I'v been avoiding writing a review about these dvd's (American Folk & blues festival vol 1, Vol 2, vol 3,) for a while now, mainly because I get so emotional when I think about them. So I wont even try. But I will say this much....The ONLY place in the world where you can see the fabulous T-Bone Walker on dvd... is on these sets (he appears on all 3 volumes). And where else are you gonna see Lonnie Johnson, Shakey Horton, Junior Wells, Big Joe Williams, Willie Dixon, Otis Span, Sonny Boy Williamson, Big Mama Thorton, A very young Buddy Guy, and a very young Hubert Sumlin, Big Joe Turner, Son House, Koko Tayler, Lightnin Hopkins, Sonny Terry and Brownie McGhee, Howlin Wolf, AND MANY MORE!!! YOU NEED TO HAVE ALL 3 VOLUMES FOR YOUR COLLECTION!



2. If you like the blues you'll love this DVD. I especially liked the acoustic set with Skip James, Son House & Bukka White. The Black & White is cool and the sound is good.



3. buy all 3 volumes - if you are a music fan, this is the origin of the blues.



4. I am new to the Blues. I've listened to many songs, from Delta Blues to Chicago Blues, and loved them all. After listening to so many songs, it is nice to put a face to the name. Not only that, but to see and feel the energy of real Bluesmen and women. I absolutely loved this DVD! I'd highly recommend it to anybody looking to start or continue a Blues DVD collection.



5. This dvd is an historical treasure. The product is very high quality in every way. It has some of the earliest films known from some blues artists, as well as some of the only known films of some as well(Little Walter).Everything from the urban blues of Big Mama Thornton, Buddy Guy, Hound Dog Taylor,and Koko Taylor. To the haunting,country blues,of Skip James, Bukka White, and Son House. I particularly like the performance of the famous song " Crow Jane" by Skip James, as well as the extras like the raucous, obscure Earl Hooker, who evokes shades of Eric Clapton and Jimi Hendrix with his Univox guitar and Sound City amplifier. Buy and enjoy this forgotten legacy!

5 comments about Lightning in a Bottle.

1. I first only heard a part of this recording, on 'Lone Star 92.5 FM, but I knew it was special - I love blues. There isn't enough space to explain what I went through, to locate this particular recording,...because I was informed that this was a LIVE PERFORMANCE!, and it is not known if saleable copy even exists. As I say, eventually, I found it at AMAZON, and it was all that I expected....and I expected it to be EXTRA GOOD!!!
   This is not the first time that I found a difficult-to-fine item, at AMAZON!



2. Great to see so many talented artists come together. Awesome music and rhythyms. Also great to listen to while working out!



3. This autobiography of the blues shows the past and the present of a music steeped in African American culture and rich musical history. Legends of the past perform live with the greats of the past decade presenting the musical form at its fullest potential. The movie incorporates benhind the scenes footage and rare clips of blues artist such as Son House, Muddy Waters and Robert Johnson crafting the art of Blues music. Performances like India Ari singing Strange Fruit by Billie Holiday and Guy's rendition of Cant be Satisfied by Muddy Waters, inspire me to watch them over and over again. Lighting in a Bottle is more than just an event; it is a celebration of the life and breath of the music that has inspired countless other genres and has captured the emotion of represion and pentence. Lighting in a body is a journey worth taking.



4. This CD is the actual performance of the DVD, which I also have and play at least once a week. You can't possibly get bored with this and you won't want to miss one song. However I highly recommend you get the 2 disc companion, so you know the history behind the making of this well produced and presented concert. Abosolutely genius!!!!!!!



5. This event certainly had a star studded lineup and there are many highlights with Buddy Guy, Gregg Allman, Warren Haynes. Angelique Kidjo, BB King among the many winning performances. The only negative is a poor rap antiwar piece towards the end that just isn't a celebration of the blues or the many diverse artists that produce the blues. There may be a forum for this but this ain't it! The many highlights drown out this so 4.5 Stars.

No comments about Road Runner: The Chess Masters 1959-1960.