5 comments about Crucial Harmonica Blues.

1. Various Artists
   "Crucial Harmonica Blues"
   Alligator Records ALCD 115
   
   Big Walter Horton and Carey Bell continue the protégé and mentor tradition on "Have Mercy". Blues harp doesn't get any better than that. Under-rated Bell appropriately adorns the disc's cover. With one `whew', you will recognize the brown jug, country blues of Sonny Terry on "Sonny's Whoopin' The Doop". Junior Wells could combine funk, grease and sweat like no other. Experience it on "Broke and Hungry". James Cotton's "Superharp" remains one of the best harp-blowin' tunes ever, while fiery Carey Bell shows why he now reigns as best harpist/vocalist on "Lonesome Stranger".
   
   Do these artists and songs qualify as Crucial Harmonica Blues? You're damn right they do.
   
   -- Tim Holek



2. Don't get me wrong, it's a pretty good collection, but crucial? I don't think so. It should be re-named "A pretty good collection of blues harmonica from a diverse group of cats, ancient and modern", but of course, the name's too long.



3. It is a great collection, that harmonica lovers will enjoy - BUT it's also a great CD to give someone not all that familiar with harmonica playing. There is enough variety on here for everone to find a style they love.



4. Alligator Records hit it right on the head when they named this series, "Crucial". As in this is a crucial series that every Blues fan should add to their CD collection. I bought this CD because I'm new to the Blues and wanted to find a few new artists to add to my collection. This CD introduced me to several artists that I have now added to my collection buy purchasing several other CDs. This CD starts out with an up tempo and rousing romp with Charlie Musselwhite's "Make My Getaway" and then moves on to a Harmonica Duet by Big Walter Horton and Carey Bell. The Gems just seem to roll out one after another from there. Among the notables on the CD are Legends like Billy Boy Arnold, Sonny Terry, Junior Wells, Delbert McClinton and James Cotton. I not only recommend this CD from the Crucial Blues series but all of them, especially for new comers to blues material.



5. The tracks with Cephas and Wiggins, the harmonica champ Sonny Terry, and Billy Boy Arnold (best known for his work with Bo Diddley) are the standouts here. Among the many good collections of Harmonica music (particularly of the blues variety), this is highly recommended budget-friendly stuff that is for the casual fan of good music as well as the practicing harmonicist.

5 comments about Old School.

1. I mean she really can. This album is a must have. Koko Tailor doesn't leave anything behind her as she rips through every song with such power it is truly amazing.
   This album has such heavy sound it could be hard to handle for someone who was listening to Nora Jones and decided to experiment with blues.
   But for the true dedicated blues fans this is a treat that will make you sweat.
   Enjoy!



2. Koko Taylor still has got it! This is a great blues cd, some great musicianship and Koko sounds great1



3. When I saw Koko Taylor's fiery performance at the 2006 Pocono Blues Festival, I knew we had not seen or heard the last of her. Given The Queen Of The Blues had a close brush with death and months in hospital in late 2003 and 2004, the fact that she is still "Fixing to go to work" at age 78 is amazing. Even more remarkable is the strength of her vocals and songwriting skills on Old School. She wrote five vibrant originals and chose seven others with a special meaning to her. Many are about relationships and contain age old blues imagery and analogies. The music on this disc comes with power, forcefulness, and a certain sexiness. It's the Queen's first album in seven years and one that quite frankly Bruce Iglauer "Thought would never be made." In a career that practically spans half a century, she's been recording for Iglauer's Alligator Records for over 30 years and continues to be their monarch.
   
   Born just outside Memphis, Tennessee, Koko Taylor was influenced by the blues music she heard on the radio. At the age of 18, she moved to Chicago with nothing but thirty-five cents and a box of Ritz crackers. There, while singing in a club, she was discovered by Willie Dixon. "I love singing the real, old school blues," asserts Taylor. "This album is the kind of blues I was listening to down South and I when I first came to Chicago." That traditional style of electric blues, which now only attracts a small audience, is commonly misunderstood as boring. However, that isn't how these thrilling tracks come across.
   
   If you've seen Taylor's energized show over the past several years, you'll not require the credits to confirm which adrenalin-laced track features her rockin' road tested Blues Machine band. On every other song, the young contemporaries step aside in favor of a band of lifelong musicians. With bellowing vocals and an unquestionable Chicago blues technique, Piece Of Man contains a classic Taylor sound. Bob Margolin's killer slide and Billy Branch's superb harp can be heard on Memphis Minnie's Black Rat and Lefty Dizz's Bad Avenue. Margolin is an old school aficionado who once referred to it as being a contagious disease. Like water into a sponge, you'll be so absorbed into the slow blues Money Is The Name Of The Game you will experience everything Taylor sings and each note Johnson plays. Now that's the blues.
   
   Most of the songs where Criss Johnson - her long-time arranger - is the only guitarist have a contemporary feel due to his modern-day guitar sound. By nature, Johnson isn't an old school guitarist. On occasion he can't resist playing a practically distorted hard rock style guitar solo. Ironically, distortion was purposely a part of the old school sound thanks to cranked up old amplifiers. Mark Kazanoff's bursting sax, Jimmy Sutton's commanding upright bass, and Brother John Kattke's stellar piano help to keep the structure in the past on Gonna Buy Me A Mule. It and Better Watch Your Step are the CD's strongest selections. The former features Taylor's best vocals of the album. You Ain't Worth A Good Woman - a kickin' and fashionable song - contains Taylor's well known sass, strut, and funk, which is absent from the dragging rendition of Magic Sam's All Your Love.
   
   I initially thought this CD had missed its mark of being an old school blues record because it is quite contemporary sounding. Upon realizing the goal was to create a blues record in the spirit of old school blues, I can honestly say the goal was exceeded two fold.



4. This album proves once and again that Koko Taylor was, is, and always will be the original "Queen of the Blues!" No one does it better!



5. released in 2007, her first album in seven years, Koko Taylor picks up right where she left off, without skipping a beat, as the undisputed Queen of the Blues. This woman still has great chops at 72 years old, her raw, gut-bucket style of singing can still peel the paint right off the walls, nothing subtle or introverted about her singing. Great backup playing by her band, too. LET THE JUKEJOINT JUMP!

5 comments about The Best of Slim Harpo.

1. A very nice recording of early bluesman Slim Harpo. Had a few hits, all covered here, and was a major influence on bands like Rolling Stones.



2. A great blues album.
   Two songs covered by the rolling stones,"shake your hips" and "I'm a king bee.They dind't make any changes...Dind't have too , the original was good enough to be reproduced note for note.



3. Slim Harpo was a terrific harmonica player and a fine blues singer. His works were covered by many rock and rollers. He died, too young, of a heart attack at age 46.
   
   Let's consider some of the exemplar tracks on this CD.
   
   "I'm a King Bee": The Rolling Stones covered this and came up with their own credible version. But Slim Harpo's take on this is great fun to listen to. The vocal riff that recurs throughout this song:
   
   "Well, I'm a King Bee
   Buzzin' around your hive."
   
   Another nice line:
   
   "I'm a king bee,
   I want you to be my queen."
   
   Harpo displays an interesting blues voice in this sensual song. The backing music is almost hypnotic with its rhythm. Harpo plays the harmonica well.
   
   "I've Got Love if You Want It": One of the Rolling Stones' earliest live albums played off this song title. The piece begins with Harpo's harmonica playing. This is rollicking music with the backing group playing well.
   
   "Shake Your Hips": What a neat song, a nice up tempo dance piece! Once more, the harmonica work is strong.
   
   "I'm tellin' you a dance that's going around
   . . . .
   Just shake your hips,
   Do the hip shake, Babe."
   
   The Rolling Stones, on their "Exiles on Main Street" recorded a close variation on this classic piece.
   
   Finally, "Baby Scratch My Back": This is a nice dance piece. As the liner notes put it, "a slinky dance groove." Harpo's harmonica sings.
   
   This is a nice sampling of the work of Slim Harpo. Well worth listening to. A good piece to add to one's blues library.



4. The first song I ever hear from Slim Harpo was "Rainin' In My Heart." I hadn't heard that song before and I had to find out who this guy was. I called up the a.m. radio station and actually asked the disc jokey who that was. That was back in the late 50s and times were simpler then. From that moment on, I was a Slim Harpo fan. Slim is great all the time but I especially was knocked out to hear again "I'm A King Bee," "Rainin In My Heart," and "Baby Scratch My Back." Slim Harpo doesn't blow you out of the room. He sneaks up on you and just gets you. I dig him and his music and I think you will to.



5. If you're not into ' 50's style electric blues....STAY BACK This is Slim Harpo...The KingBee......I litrally sleep with this CD

5 comments about Alone & Acoustic.

1. Buddy Guy is a killer electric guitarist, but this album shows off how truly great of a guitarist he is. Just acoustic guitar and harmonica with Buddy signing, worth more money then they are charging.



2. This product meets expectations any fan of the blues could ask for, content and cliarity are very good. If you are looking for a warm feeling old style blues ( circa 1940's to early 50's) this will satisfy anyone who enjoys the blues of older times and the twelve string rifs are impressive to say the least.



3. This album is a welcome return to acoustic blues. The guitar playing is crisp, accurate and soulful and the singing is first rate. An essential purchase for blues lovers.



4. It's geat live, impromptu blues, good quality, good jams, great harmonica, a must have for anyone who loves Junior and Buddy.



5. Buddy Guy and Junior Wells do not quite replicate the magic of Hoodoo Man Blues, but Wow, they come as close as could be expected nearly 20 years after the release of that marvelous and inimitable 1965 album. What we are treated to on this album are the songs which are in the annals of blues history as the tried and true blues greats. From "Boogie Chillin'" to "My Home is in the Delta", we get an experience of the blues as (in my opinion) they are meant to be, pure and acoustic. And listen closely to the lyrics of "My Home is in the Delta".....the lyrics are vastly different from those of the same song Muddy Waters sang decades ago. These two take blues classics and reshape them to fit their own style, instead of simply making a retread of a famous song.
   
   One of the "must have" albums in the modern blues genre.

5 comments about Blues Masters, Vol. 4: Harmonica Classics.

1. Another excellent collection of blues harp playing. Buy this and you won't be disappointed!



2. pretty much all the songs on here are actually good, unlike with a lot of compilations. a good buy.



3. cd was as advertised and arrived in good condition, in a timely fashion. this is the first used product i have purchased on the net and i am very satisfied with the results



4. Wow! A friend recommended this CD to me (as I am beginning to play), and what a treat this was. Terrific variety in style, and superb playing all around. Especially helpful were the extensive liner notes to the CD, listing each artist and going into their background as well as details about the songs. Really enjoyable reading. I just can't say enough about it if you are looking for a good sampling of harp songs. :)



5. Rhino's "Blues Masters" series is the best of its kind, and while this one disc obviously only scratches the surface of blues harmonica playing, it does feature a lot of good music.
   
   Most longtime blues fans will own the lion's share of this material already, but "Harmonica Classics" also features several lesser-known songs like Jerry McCain's "Steady", Lazy Lester's superbly groovy "Sugar Coated Love", "Boogie Twist" by Snooky Pryor, and "Easy" by the greatest blues harmonica player of them all, the great Walter Horton (that's the song credited to "Jimmy and Walter").
   
   Howlin' Wolf is here as well, Billy Boy Arnold is here, Little Walter Jacobs is here with his instrumental classic "Juke", and Jimmy Reed is here, doing the loping "Ends And Odds" in his lazy, minimalistic style. Other highlights include Junior Wells' tough "Messin' With The Kid" and Sonny Boy Williamson (II)'s "Help Me".
   
   These songs don't necessarily rank among the artists' very best, since they were chosen primarily for the harp playing, and that may be seen as a little bit of a drawback. But that's not to say that these songs are generally below par, however, and this collection does focus on blues harmonica after all.
   And there is some impressive instrumental prowess on display here, including the Fabulous Thunderbirds' lyrical "Cherry Pink And Apple Blossom White", "Last Night" by George "Harmonica" Smith, and the one-armed John Wrencher's rendition "Take A Little Walk With Me".
   
   As I said, this is not excactly the defintive word on blues harmonica, or on the artists represented here, but "Harmonica Classics" and its companion volume (excitingly titled "More Harmonica Classics") are still a fine purchase for casual and "mid-level" blues listeners.
   Lots of great music here.

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 Indianola Mississippi Seeds.

1. The first track stuck with me and I have never forgotten the words: "Nobody loves me but my mother , and she could be jivin' too."This album is not typical of BB King but I believe it os one that new listeners should try as it really does give you a feel ofthe blues but with a different tilt . It has been a favourite of mine for almost 30 years and I still want to play it over and over again and now can on CD .



2. Indianola Mississippi Seeds is a really good rock/blues record. Really good.
   
   BB King purists apparently disparage it as "selling out," or some such thing. I can respect that, but just disagree. Among others, "King's Special," "Chains and Things," and "Hummingbird" are just awesome songs.
   
   FYI, my favorite music is along the lines of 1969-74 Rolling Stones (e.g. Ya Ya's, Exile on Main Street, etc.) and bluesy rock generally (e.g., Lynyrd Skynyrd). If you like that kind of music and want to see what BB King is about, you will enjoy Indianola Mississippi Seeds.



3. First of all, I don't claim to be that much of a BB fan but I do really enjoy this cd. Reminds me of John Lee Hooker's "Endless Boogie" and Freddie King's "Burglar." It's got that early 70s bluesrock feel to it.
   Also, the album cover is a great example of a 70s blues concept.



4. This is standard stuff from BB, which is to say it is better than most other blues singers.



5. Although Indianola Mississippi Seeds is not a classic B.B. King album in the same sense as "Live at the Regal," it has some inspired moments and offers a different perspective on the Blues with its incorporation of strings. B.B. is in fine voice here and adds some welcome humor to his piano blues on "Nobody Loves Me But My Mother." And check out his guitar solo on "Ain't Gonna Worry My Life Anymore." B.B. says it all in just a few notes. But the real highlight of this album is a completely different departure from anything B.B. has done previously. B.B.'s rendition of Leon Russell's "Hummingbird" is soulful and beautiful, especially the final choruses belted out by some of the sweetest sounding angels you will ever hear.

5 comments about T-Bone Blues.

1. The sound is a little old-fashioned, but the playing remains of interest. Not as flamboyant as many of the modern players - just good, solid blues that is consistently entertaining. A classic.



2. Most blues fans know that T-Bone was the man. He influenced virtually every blues, jazz, and rock guitar player that came after him, wrote some timeless classics, and had a wonderful, smooth voice. This album consists largely of re-recordings of some of T-Bone's best songs, but don't let this discourage you, because even if you have the sublime originals, this disc is worth every penny and more... and not just for the spectacular tracks unique to the album. His remakes of his own classics are executed with stunning grace and skill. As another reviewer noted, some of these versions are actually the definitive versions, such as "Papa Ain't Salty." The instrumental "two bones and a pick" is a breathtaking duel between three masters, who T-bone, at the very least, gives a heck of a run for their money. Once again, if you have the original captitol/imperial recordings, but don't have this, then your T-bone collection is lacking... this is absolutely essential!



3. My favorite single T-Bone disc. Listen and learn how lead guitar came to be. Incredible groove that never grows old. If I was stranded on an island with 10 CDs this would be one.



4. This is a different kind of blues that is very enjoyable



5. I am appreciating this CD more every time I listen to it.

5 comments about I Am the Blues.

1. How can you give Willie Dixon less than five stars? The man has played on some of the greatest blues recordings in history and he has written some of the genre's most memorable songs. Recorded in Chicago during the summer of 1969, the album only features one third of the material recorded in that session. The band featured Johnny Shines on guitar, Walter "Shakey" Horton on harmonica, Clifton James on drums, either Sunnyland Slim or Lafayette Leake on piano, and of course Willie Dixon on bass and vocals. If you're looking for instrumental flash, this is not for you. However, Willie's deep growl is pleasant, it has a great beat, and every single song is a classic!



2. Willie Dixon really is the Blues, and the genius who wrote many of your classic rock favorites. Unless you already know more about this guy than I did when I bought this album, you'll find yourself saying...."I didn't know he wrote that song" over and over again. On this album we hear the man who lived the life that became classic rock and roll songs by The Doors, The Rolling Stones, and Eric Clapton. This album is a must have.



3. Probably more interesting for who he is, rather than the music itself. There isn't a song on this recording that isn't done better elsewhere - but Willie wrote 'em and adds his own style and emphasis to each one. The backing is by un-named session players who deliver stock riffs, for the most part. I agree with another reviewer that the harp playing is really good, though I disagree on the piano playing, which comes off as tinkly and pedestrian. Willie is best on "Back Door Man", on which he really rips and which fits his voice to a "T". It's worth the price for that tune alone. The best-balanced song might be "Seventh Son", with a really nice shuffle/swing to it. I was particularly disappointed in "Hoochie Coochie Man" and "Little Red Rooster", but given recordings of the original artists (the tunes given to them BY Willie), the bar was pretty high.



4. You don't have to look very far to have proof this is a good album. In fact, just look at the tracklist of just about any rock album from the '60's and '70's. Chances are, you'll see a Willie Dixon song off this album. Out of the nine tracks, a good seven have been covered by famous rock bands, be they Jeff Beck (You Shook Me, I Ain't Superstitious), Led Zeppelin (You Shook Me, I Can't Quit You Baby), Cream (Spoonfull), the Doors (Backdoor Man), the Allmans (Hoochie Coochie Man) or the Stones (Little Red Rooster).
   Okay, so a lot of people played his music. But is it any good? A stupid question, of course. The answer is a loud, resounding, "Yes". Nine cuts of pure blues, with Willie providing the bass, the vocals, and innuendo-laced lyrics. But hey, it's the blues. As for the best songs, I'd say the top three are Spoonful, Back Door Man and Little Red Rooster, though I love every song here (You Shook Me and I Ain't Superstitious, by the way, get honorable mention). Although it's a blues album and recommended to any blues fan, it'll do well in a rock fan's collection as well.



5. Willie Dixon is one of the few that could name an album "I Am The Blues" and not have it be a brash overstatement. Where would the blues be without the songs on this collection, every one of which he wrote himself. The proof is the number of artists that have covered his songs over the years: The Doors, Led Zeppelin, Cream, Muddy Waters, Howlin' Wolf, Chuck Berry, Bo Diddley, Magic Sam, Sonny Boy Williamson, and Sam Cooke, just to name a few. Willie Dixon was an integral part of the Chess records label and the Chicago blues scene, but also could deliver as a performer. Unlike the Amazon reviewer, I found this collection to be worth getting. While Dixon may not be the greatest blues singer ever in terms of technique, he delivers with heart and feeling, which is what the blues is all about. The backing musicians are talented too; my only complaint is that the personnel and the recording dates are not listed in the liner notes. Aside from that though, this disc is a chance to hear a blues legend play some of his best known material, and if you are a fan of the blues (as I am), you will enjoy this one.

5 comments about Precious Lord: The Great Gospel Songs of Thomas A. Dorsey.

1. Back in 1973, I bought the double LP set and was able to fit the whole set on one CD, so why this had to be abbreviated, I'll never know. The whole two-record set clocks at just over 77 minutes and the one track left off was a bit over two and a half minutes. The track in question is "Let Us Go Back To God" by the great Sallie Martin. At the time of the recording, Ms. Martin and Willie Mae Ford Smith were considered the living legends of Gospel Music and both starred in the film, "Say Amen, Somebody!". Sallie's voice is dry and husky, but carries a great deal of conviction and heart. "I'll Tell It" showcases her in a slight swinging style of the late thirties. She was certainly one of a kind and her presence is greatly missed. In fact, the vast majority of these artists are no longer with us, but these recordings each bear a testimony of significance in these troublesome times. Marion Williams is truly the best voice here as she sings the title cut with so much fire, the listener is first amazed and then running for cover. As she sings, "Please, Sir, Please, Sir...oh, Lordy!!, one can scarcely contain himself until the hushed ending of the performance, asking himself, "What did I just hear?!" Williams goes on to sing four more tracks, sometimes pulling up southern delta blues phrasing and handling one in particular, "If We Ever Needed The Lord Before" with breakneck tempo as if being self propelled into the stratosphere. Professor Alex Bradford, of whom Chuck Jackson has paid homage to in many of his recordings for both Wand and Motown, is heard on no less than three tracks. "How Many Times" is his definitive track, displaying his soul-stirring shake-the-rafters swing during the first half of the song. The performance then gives way to a dizzying display of joy that is undeniable. Rebert Harris, who Sam Cooke replaced in the Soul Stirrers, is a welcome voice here as well. In the tradition of his former group, he is joined by a crack team of singers who support his vocals tremendously. "Thy Servant's Prayer" unveils unimaginable terror as he pleads with his Judge, "If I falter, don't be angry...let me stay". In "Peace In The Valley", his focus is completely on the end when all is well, the lion shall lie down with the lamb. And then there's the Hummingbirds. I believe Paul Simon produced these recordings. Simon always had a deep respect for Gospel music and if you don't have his "Live Rhymin' disc, get it now. "Hide Me In Thy Bosom" is a strong case for the Hummingbirds' harmony. I still maintain that the greatest bass singer is none other than Willie Bobo. "When The Gates Swing Open" is another absolute gem. (The Temptations were faithful students of these pioneeers--just listen to the tight harmonies in their recording of "Talkin' About Nobody But My Baby", which can be found on "Emperors of Soul" and "The Complete Motown Singles, Volume 4".) This leaves the magnificent Bessie Griffin and Delois Barrett-Campbell. Griffin's treatment of "Old Ship of Zion" is nothing short of mesmerizing, while "Search Me Lord" and "I Don't Know Why" are both ends of the rock and blues spectrum of Gospel. "My Desire" is handled by one of the most gorgeous of all singers. Ms. Campbell is too seldom heard these days. Her work with both the Roberta Martin Singers and The Barrett Sisters should not be overlooked. The person who finds these precious recordings will certainly find something far better than gold. I'm putting Sony Legacy on notice right now and urge everyone else to do the same: This disc should be re-issued in its entirety. Each and every track is essential to the making of this fine album. Honorable mention, at last, should go to the fantastic organist, Jessie Dixon, who played on "Old Ship Of Zion", among others. Paul Griffin (Highway 61 Revisited) played organ on Marion Williams' tracks. I hope this review proves noteworthy to those out there who are searching for the last of the classic Gospel singers.



2. This is truly a classic of that old time spiritual gospel we all grew up on. Every time I hear anything by Dr. Thomas Dorsey, it takes me back to my childhood and going to church with my grandmama in Alabama... a MUST have CD!



3. I first heard of Thomas Dorsey on a PBS program. I was very impressed
   then,and this album has just increased my love of his music. A very good
   CD which has to be heard to be appreciated. Highly recommended!



4. Outstanding, a highly recommended if you are interested or would like to get to know, feel and understand GOD SPEL, please sink your spiritual heart in this and reach deeeeep down to succumb to the meaning by understanding the trials and tribulations of the times. True voices, lyrics, deep in your soul, way back when GOSPEL. The much older generation know Mr. Dorsey, who was/is Gospel. The younger generation know Lift Every Voice and Sing, Thank you.



5. Five stars does not do justice to this classic. Trust me; if you are a fan of true spiritual gospel music, this is the CD for you. A CD for all times that will magnify your collection.
   
   PEACE.