5 comments about Martin Scorsese Presents the Blues: A Musical Journey.

1. If you've seen the movies and got frustrated at the short performances here is your solution. Definitally a great complimentary to the DVDs as now you can also enjoy hearing the music in full.



2. I owned this previously and I am glad to have it again. It will teach about the blues from their inception at the turn of the 20th century to the present day. All the classic songs that were later done by UK acts are here as well. If you can find it used, it is a better bargain because there is a lot here that is "filler not killer" but if you want to get a blues education, buy this collection.



3. This collection is an excellent synopsis of the Blues from its earliest roots on the rercording medium to modern times. It also shows how far and wide this genre covers in the musical landscape with its influence on rock-and-roll and jazz. Besides having over 115 songs, there is also a companion booklet that documents every track. I really recommend this collection to anyone not familiar with the Blues, because it can be a great starting point for you to expand on an area you find more interesting, like the Kansas City blues in the 30s, Chicago blues in the 50s, or diverse individuals such as Lead Belly, T-Bone Walker, Howlin' Wolf, John Jee Hooker, and Stevie Ray Vaughn.



4. IMO, this 5-disc set is par none the best blues compilation spanning over 50 years. Not everything noteworthy has been included, but it is the best bang for your buck you're going to find anywhere for a wide blues selection from early to recent, and Marty Scorese did a fantastic job in selection. I have given it as a gift several times and it is the gift that keeps on giving. Some very great tunes.



5. This box set compliments the film series very well. Musically, the set is wonderful until the middle half of the fourth disc and wans quite considerably on the fifth disc. This is not only a matter of bad taste in choosing appropriate music for these parts of the set, it is merely a matter of musical history: the blues at the time in which these portions of the set cover was simple not very good music.
   These portions would have been much better off if they included work by the likes of Carey Bell or RL Burnside instead of The Fabulous Thunderbirds and the Cock Rocker of Blues, Stevie Ray Vaughn.

5 comments about Jammed Together.

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



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



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



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



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

5 comments about Stone Free: A Tribute to Jimi Hendrix.

1. I got to this by clicking on a link to (supposedly) an mp3 download version of "Stone Free," the Hendrix tribute disc featuring names like Paul Rodgers, Seal, Jeff Beck - instead, this is some piece of dreck called "Tribute to Jimi Hendrix," It features NO ONE of note, and is credited only to "Studio Group!" Amazon, please fix this; I've had only good service from you, and I hope this is only an error. BUYER BEWARE.



2. I had this on cassette originally! But I had to get it on CD, and it was worth every penny!
   If you like tribute albums, you can't miss with this one!
   One of my favorites!



3. I bought this CD a long while ago when bands like the Spin Doctors and PM Dawn were "in". I liked it then and I still do now. Let me make one thing clear: I`m a true Hendrix fan. I have a lot of his output, even hardcore stuff like South Saturn Delta. However I also have RHCP, Tool, Audioslave, Pearl Jam in my stack, so I'm no refusenik. What I like about this CD is its at times liberal interpretations of JH classics, which basically all the tracks are. Reprise could easily have done a double CD in fact, but you takes what you gets. Some of the tracks are fairly true to the original, my favourites in this department being Bodycount's smoking Hey Joe and Slash's/Paul Rodger's blazing remake of I Don't Live Today, while others, like The Cure's version of Purple Haze, go in a completely different but nevertheless interesting direction. Nigel Kennedy would not get on the CD if they did it today, but there you go. Jimi was a free spirit and reinterpreted stuff he liked by others in his own unique way which didn't go down well with everyone in the late 60s. The BBC for example: there's one 60s session I love where you can hear the sound engineer complaining along the lines "It's no good Mr Hendrix, I`m just getting too much distortion here". I'm sure he'd have been flattered by this outpouring of appreciation.



4. A strange tribute to the great Jimi Hendrix. There are simply not enough guitar players featured here ... which seems odd, no? However, Jeff Beck's playing on Manic Depression is worth the price of the album. He is someone that can play the guitar in the same free spirit as Jimi Hendrix, he is a true artist that, like Hendrix, follows his heart and not the corporate mentality. Too bad much of this album is not like that.



5. AWESOME! THIS IS A MUST HAVE FOR ANY HENDRIX FAN AND A MUST FOR ANY MUSIC LOVER.

5 comments about Favorite Hymns of the Homecoming Friends.

1. One of the best Gaither CD's I've listened to. Recommended especially if you like slow, spirit-filled ballad type music



2. We just love this group, they are like family to us, their songs of praise are just so beautiful to listen to. Added this one to my collection.



3. God delivery time and a great CD



4. This is an average recording all around, but it is worth it to hear Guy Penrod on "I will sing of My Redeemer."



5. You won't find a bigger fan of Gaither music than I am. I love the new songs of today, but there is something special about the old hymns. The highlight of this album is Glen Payne and Guy Penrod singing "The Haven of Rest". This is probably a 6 star album in my opinion!!!

5 comments about Deuces Wild.

1. I'm sure this was a fun cd for BB King (and friends)to make. If you have any "soul" you can't sit still to the Heavy D jam. I LOVE EVERY JAM! The Van Morrison cut is the BOMB, Dr. John, ALL of them bring something to the table. U can also "hear" the respect they all have for each other. I'm sure they enjoyed making this CD. I think they did a wonderful job and it's a really a well put together cd. THEY ALL GOT DOWN for BB!!! HAIL TO THE KING!!



2. First let me point out to my loyal "The King Of The World Blues Reviewer" fans: Obviously BB is an all-time icon, but he is not in my personal top 6 electric blues guitarists, nothing negative in that statement, he's just a little too sedate for me overall. Now, moving on to the review. Talk about the word "fun"! If you could use that anywhere, it is here! BB performs "duets" with everyone from Van Morrison, Tracy Chapman, Clapton, Bonnie Raitt, The Stones, Joe Cocker, Willie Nelson, and a few others. BUT! THE MOST FUN ONE OF ALL, THAT ME AND MY SON SHAQ JR. LOVED, WAS WITH THE RAPPER "HEAVY D"! They perform a rap/rock duet, where "Heavy D", talks about making a "move" on BB's sweetheart "Lucille"! I'm sure anyone reading this review knows who that fine lady is! This CD is a definite "buy" and can be enjoyed by all ages, and musical tastes!



3. While not the greatest blues album of all time or even the best from B.B. King, this is still a very good blues album that is a lot of fun to listen to. Album is worth the price of admission just for 'The Thrill is Gone' with Tracy Chapman. My favorite version of that song not to mention great cuts with Van Morrison, who in his own right is a great blues sing, Eric Clapton, and more. Just sample the first three cuts and you will be hooked. Sure there are a couple of sinkers on the album, like BB trying to do a Hip Hop song, which makes me a little sick to my stomach right before a I hit the forward button. The gems far our weigh the sinkers (which are few) and if you don't take the album so seriously you may end up really enjoying yourself. If you like BB King or just want to get more into the blues this is a great place to start. Also, BB's album with Eric Clapton - Riding with the King - is also very good.



4. A few years ago, before I moved to Minneapolis, I was in town visiting a friend and was having a hard time finding my way back to his house at night. Because I was trying to find the correct street that lead to the freeway I was having problems concentrating on the radio, so I gave up and left it the radio on the next station to come up on seek. It happened to be the local blues station playing "The Thrill is Gone" by B.B. King and Tracy Chapman (from this album), and a few seconds later the blues had a new fan.

   With one or two exceptions, the entire album is great.

   Highly Recommended!




5. Okay folks . . . take it from me. Buy this album. But please promise me to buy another couple of albums if you like this one, okay?

   I don't care if you've new to the blues, have never before heard a BB King song before, or have never seen BB King in concert. This is perhaps the best introduction to the blues as you'll ever hear. From the Rolling Stones to Heavy D, there's something for everybody.

   Typically the phrase "something for everybody" means lukewarm acceptance across a wide range of genres. I tried so hard to hate this album, but I just can't help loving it. Every artist here really sounds like they're pouring their best into the recording.

   I defy you to tell me Bonnie's not leaning back and gritting her teeth when she plays slide guitar. Tell me that Heavy D wasn't breaking more than his usual room-temperature sweat when BB kicks the track back to him. My money's on Mick Jagger wishing he had some of Keith's alcohol-sodden blood running in his veins when the first few riffs of BB's guitar hits back harder than Mick expected.

   Now that you've listened to it, go buy Blues on the Bayou. Then buy a Susan Tedeschi album. Grab some Little Milton too. Oh, and it wouldn't hurt at all to round it out with some Albert King, Ronnie Earl, and maybe some Johnny Lang or Kenny Wayne Shepherd if you're feeling spunky. But overall, shame on you if you don't have any John Lee Hooker!

5 comments about Bad News Is Coming.

1. I can't say too much that listening to the samples above won't more eloquently say for themselves..stripped down, visceral, authoritative blues. If you like blues, this one's a keeper!



2. I don't want to review this cd as much as I want to implore you, the person reading this, to treat yourself and buy it. Out of the 100's of cd's I've owned and listened to, this is the most soulfully smooth music I've heard. This album is an unknown classic. Allison's voice rock's, his guitar work stings, the piano is perfect. Track after track this cd is either perfectly sexy, painful, funky, or rocking. Why this guy wasn't hugely popular is beyond me. Buy this cd and then buy it for your friends. They'll love it too--Peace



3. "Bad News Is Coming" was Luther Allison's debut album and from the first track, (his version of Willie Dixon's "Little Red Rooster"), he EXPLODES with an intensity that is refreshing every time I hear it. He belted out his vocals in a raspy, impassioned wail, and his guitar playing was just as searing. This should have been a smash, although the blues market was drying up by the time this was released in 1972 and it ultimately didn't sell in big numbers. Luther Allison himself is quoted in the liner notes as saying that he got lost in the shuffle when Motown moved from Detroit to L.A. Luther Allison was an amazing guitarist and unfortunately remains underrated. Songs like his own "Raggedy and Dirty" are perfect examples of how he could play the blues over a funky groove and just sound plain DIRTY. I don't know how else to describe it. He didn't hold anything back on this album. Also notable is the piano playing of Paul White, who has some great solos on this one. If you are a fan of the blues and haven't heard Luther Allison, this CD serves as a good introduction to this unsung performer.



4. An incendiary guitarist and all-around performer...I first came across Allison's "Serious" back in the mid-80's, and the power of his voice and that nasty slide guitar had me hooked from the start.
   
   I first dug up a dusty vinyl copy of this Motown release, and was struck by it's sound. Generally simple arrangements, but they conveyed a young Allison's determination. As far as I know, he was the only blues artist on Motown, at a time when the label was still in power on the production of soul/R&B hits for the Supremes, the Temptations and the like.
   
   Mostly standards, Allison tears through "Little Red Rooster," "Evil Is Going On" and "Dust My Broom" and makes them his own. The funky "Raggedy and Dirty" remains one of my favorite personal tracks, and I detect a little Jimi Hendrix in there somewhere.
   
   On this CD, the bonus tracks are a great addition, Allison's version of "Sweet Home Chicago" and songs like "Take My Love" really filling things out.
   
   A great document on the early Allison. His roots weren't just in the blues, as his career would bear out. I can't say enough about this one, it's special in more ways than one.



5. This album is simply a classic. A must have for ALL music fans across the world. I'll finish this review with this:

   Luther Allison is the finest entertainer to ever walk the face of the earth!

5 comments about Showdown!.

1. I cut out and kept a magazine review of Showdown! for about 6 years before I finally picked it up. To (loosely) quote the reviewer, "Whoever got these three guys together in the same studio, at the same time, deserves a goddam medal."
   Right on.



2. A wonderful mix of two old Texas slingers and a youngin',sharing, stomping' and blastin' the blues like nobody else.
   This could have been an absolute disaster, what with this much talent in one room.
   Fortunately, the classy side of these giants prevails and we are left with a remarkable gift. The mutual respect just pours out of the speakers as you hear these guys compliment each other not attempting to out gun each other.
   This could arguably be called the best modern blues collaboration ever....
   B.B. & Bobby???
   Stevie Ray & Albert???
   Clapton & King???
   Albert & Moore???
   I'm open for suggestions 'cause there are none I know of.
   Wrap yer head around this Blues Summit and be prepared to witness some of the sweetest sounds ever wrung out of Fenders!



3. Showdown is one of the top two or three blues guitar collaborations of all time. Albert Collins, Johnny Copeland, and Robert Cray, all on one record? Unbelievable. But that's what happened, and the result was magic.
   
   All three get a chance to show their chops, and all three were on top of their blues guitar game recording this record. The energy, skill, and unbridled joy at performing with talented musicians always brings the best out from other talented musicians. Every cut is excellent.
   
   It's a shame that Showdown could have been repeated more often than twice. Both Collins and Copeland are gone, leaving Cray to find other blues greats to jam with, but we will always have Showdown to remember when.



4. Man this is one great blues guitar album! It may be listed under Albert Collins, but this is a true collaboration. Robert Cray really shines here and is much bluesier then you will find him on his own albums. All three share in the vocal duties and the guitar solos. No one plays over each other - it's a great collaboration that results in a great album. Just listen to the first cut and you will get a good taste of what is in store. Buy it and enjoy.



5. I just came across this disc recently, while I was doing searches on Johnny Copeland's records. When this record came up, I was surprised to see Albert Collins, Johnny Copeland, and Robert Cray play together, but now I know that both Copeland and Cray were Albert Collins' proteges when they were starting out.
   
   So in other words, it's kind of like a blues family reunion, and that is exactly how this CD feels. It's a meeting of the blues admiration society. You can hear it from the respect each musician pays to one another on record and how they talk and respond to each other.
   
   Collins, Copeland, and Cray work incredibly well together. The tunes they put out are nothing short of stellar - intense, soulful, masterful, emotional Chicago blues from guitar virtuosos.
   
   -"Hey Albert!"
   -"Hey, yea, what's happening Johnny?"
   -"You got your harmonica with you today, man?"
   -"Yea, I brought it with me today, man."
   -"I think we better get on down, you know, because I got the bluuuuues."
   -"You know I got 'em too."
   -"Here it is...."
   -"Here it is, man..."
   
   With those words, the bluesmen start playing "Bring your fine self home." Albert is playing harmonica in a way that's just so ornate and beautiful, it will send tingles down your spine. Johnny is growling on the vocals, while Albert keeps blowing that fine harmonica, and what a fine tune they make. Slow rolling blues that's is as soulful as it gets.
   
   "The Dream" is a beautiful song where Robert Cray gets to show everyone his beautiful vocals. I agree with other reviewers that Cray adds certain touch of sophistication to this record. His style is quite a bit different from the two other men, but when he sings and Albert plays his guitar in that icy hot trademark way of his, you just have to hold your breath and listen to every note.
   
   "Blackjack" is probably my personal favorite on this record. It's a slow-rolling blues tune with a strong beat, excellent vocals, and intense guitar solos by each of the three. It's mostly Johnny Copeland that's doing the singing on this record with his trademark growl, but on this track, Albert is doing the singing, which is pure delight. When Albert calls out on each man to solo, you can see just how different the sounds and styles are between the three guitar players. Albert's guitar is unmistakable - it cuts your ear real sharp. Johnny's sound is also stinging but in a different sense. His style, to me, is sort of a hybrid of Albert Collins and Albert King school of sound, squeezing the notes and yet keeping the icy electrical edge. Robert Cray's style was highly reminiscent of his guitar work on his disc "I Was Warned", a more aggressive rock-flavored battering that he played back in the day. What a unique track!
   
   I can't believe I didn't find out about this disc sooner. It's any electrical blues fan's dream.

5 comments about Live Wire/Blues Power.

1. I'll keep this review brief. This CD is nothing less than a Blues guitar statement. One like few others! An absolute must for Blues fans, period! Five stars are not enough for this CD!



2. Wow. I just came across this CD for real cheap, and boy was I glad I got it. I have listened to lots of blues players of different types, and the guitar of Albert King is amazing, especially on this disc. I have his In Session CD live with SRV, which was a really strong CD, but this particular CD presents a better sound of his guitar, in my opinion. It sounds sweeter, more well-rounded, powerful, diverse, and dead-on. I really love Albert King's work, and I always wish songs like "Blues Power" and "Blues at Sunrise" were much much longer because this type of slower blues has the sweetest licks. Get this CD. It radiates such warm, positive energy.



3. I just unwrapped this CD this afternoon, popped into the player and ... it's EXCELLENT! What an inspiration Mr. King must have been to Clapton et al. Each track on this one SMOKES BIG TIME ! The guitar is perfect, raw, loud and captivating. This is what I've been looking for since I expired all of Michael Bloomfield's stuff. If you love Bloomfield, you'll love this and vice versa.



4. Albert is THE master!! This CD is truly powerful guitar playing and great vocals! A must for ALL Blues and rock fans.
   As great as Live Wire / Blues Power is, it is very misleading to say that these were the best songs of the live SF shows. ALL songs were great, and the "leftovers" that were placed on the Wednesday night in San Francisco and Thursday night in San Francisco were just as good. All three CD's form the greatest collection of the sweetest guitar playing ever!!!! He was the TRUE master. It's amazing how few paople know about this secret pearl of music.



5. This is a seminal album....one of the finest live concert recordings ever, irrespective of genre. I saw King Albert twice at the Fillmore East in the old days [this one was recorded at Fillmore West], and this CD [or my old vinyl LP for that matter] captures him in all his live glory. Albert was a consummate professional who hadn't played large venues for the most part in his career when Bill Graham tapped him for the Fillmores, and he succeeded in pleasing [no, knocking out!!] audiences and turning them on to the blues....if you're counting your coins and wondering which next blues CD purchase will best serve your budget [or even if you're made of money and don't care either way but love the blues] - BUY THIS ONE!!!

5 comments about Right Place, Wrong Time.

1. If you're one of "Shaq's, The King Of The World Blues Reviewer's" loyal fans, you'll know that I love Otis, and he is one of my six all-time favorite electric blues guitarist's. My prior reviews of his CD's, all have exemplary reviews. But this CD, fails two of Shaq's critical tests. First, the volume and clarity of this CD is terrible. I had to turn up the sound on my stereo louder than on any prior reviewed CD. Second, there are a total of 10 songs on this CD, and the total running time of the entire CD is 40 minutes. So as Shaq always says: "You can't get da blues in 3-4 minutes. Summary: If you're the type of person who likes to turn your portable CD player up to it's highest volume, and sneak up behind someone you're stalking, and not have them know you're behind them, this is the CD for you! Playing this CD at its highest level won't bother the librarian, or your neighbors.



2. Otis Rush is one of the greatest singers and guitarists in the history of the blues. "Right Place, Wrong Time" is his unmistakeable masterpiece, far surpassing the Cobra recordings, his initial reputation was built on, and setting a standard he unfortunately never quite reached again. Over ten songs (four of which are originals) he conveys a lifetime of sadness, pain and passion through his tasteful guitar playing and soulful singing. When he sings "they say there's someone for everybody/ Ooooh I wonder where in the world is the one for me," on the title track its the poetry of loneliness brought to life. The final song "Take a Look Behind" is one of the most moving songs about the regret over a life badly lived in all the blues. There isn't a dud on here though. Every track is a thing of beauty.
   
   I first bought this album on vinyl in the 80s and nearly wore it out. The CD I replaced it with continues to get plenty of air time on my home stereo. No blues collection can be complete without this disk.



3. I heard this record on the telly. Channel 18 it was, a public access outfit on Long Island who when The Simpsons aren't on are absolutely the best thing on the box. See, what they do is put out a round-the-clock bulletin board of upcoming community events but they back this up with entire albums, often double albums, chosen by the dudes what work there. Each record plays for a couple of days at a stretch too so you can miss it a bunch of times and still catch up. They've even got a screen with the date, time and temperature. Like I said, prime time television. These old geezers are free to broadcast just about anything that takes their fancy and mostly it's not too crappy although once they played Hank Snow and I had to take up cycling just to get out of the house. Because really Hank Snow, I mean that sap's the Andrew Llyod Webber of country music, isn't he? I sent an e-mail to the guy in charge of this gig complementing him on their choice one night of early Charlie Parker--what I don't know about jazz could fill a warehouse but this bird is the spring in wintertime--and the felly wrote back an actual letter in which he described in the most amiable manner how they do things down at Four Village Studio. Tastes there run to older acoustic and electric blues, rhythm & blues, jazz and, like I said, lots of cowboys. Over the last several months as a for instance I've watched, usually from my bed, the following compact disks: Long John Hunter's Ride With Me, Texas blues tailor made for a Saturday afternoon. I own this record now on account of buying it there recently because it's just that good; Bob Dylan's John Wesley Harding where he sings that song about Saint Augustine--as perfect a number as that man ever rolled. I love Dylan, his Chronicles are stupendously cranky and funny and I for one am eagerly awaiting volumes two and three. I didn't think much of David Crosby until I read this book but his crack after the Princeton debacle is a thing of beauty; A Junior Parker compilation which I'm pretty certain I remember not minding one bit; Celtic Solstice by Paul Winter and Friends, a processed slab of Irish cheese that made me want to fly into O'Hare International Airport and drink a lump of pints in The Green Potato; the first two albums by The Paul Butterfield Blues Band, a double CD and Jehesius H. Horselips just a mongo kablammo twofer--red barn blues and on disk two the incomparable Elvin Bishop crooning some serious voodoo on Never Say No; and this record here by Otis Rush, searing big band electric blues, the perfect prescription for shutting up shop on a Sunday night. The thing about this record is that all the good bits--lead guitar, bass, drums, keyboards and brass--come through on their own but somehow stay together in a right snazzy arrangement. It's like one of those glass clocks you often find on mantlepieces where you can clearly see the whole gizmo actually ticking but in the wind up you still get the right time. I own this record now too so I do on account of it also is just that good.



4. If Rush had only ever recorded this single disk his place as a Chicago Blues great would have been secured. Add to this his incomparable late 50's sides for Cobra and you have a selection of the greatest West Side recordings ever made.
   
   'Right Place, Wrong Time', is quite simply the best straight blues recording made during the 1970's, bar none. Rush is on fire throughout, whether delivering wracked slow blues or up tempo shuuffles. He plays and sings with incredible passion and feeling throughout; constantly striving for the next lick or turn of phrase which might take these songs to a new level. The backing band are never fussy, the horn section restrained, the production sparse and tough.
   
   Highlights include the brilliant original 'Right Place, Wrong Time' and a definitive reading of Albert King's (Lets have a) 'Natural Ball'. Rush makes 'Lonely Man' his own and manages to deliver 'Rainy Night In Georgia' as a first rate blues ballad.
   
   These recordings carry none of the excesses that blight many of his later recordings, but rather capture Otis delivering at the very peak of his considerable powers.



5. From a fellow guitarist's perspective, this album is a masterpiece. The well-placed silence between mesmerizing, shimmering guitar licks is deafening. Otis is masterful at telling a story or setting a mood with the confluence of his anguished singing, espressive guitar-playing, and impeccable timing. What sets him apart from other, perhaps flashier, guitarists, is the patience he shows while telling a story---i.e., the spaces between guitar playing, the patience in holding a note. His phrasing on the guitar is simply hypnotic. One of his secrets is that he puts on a silky-smooth vibrato while deftly bending the string---a difficult task for many.
   I wish more current blues musicians played like this---less busy noise going-on,...
   His other indispensable studio album is "Cold Day in Hell," which has even sparser, intense playing, and perhaps a better, upfront tone.
   For a great LIVE album of Otis, I would suggest TOPS, or else LIVE IN EUROPE.

5 comments about A Man and the Blues.

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



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



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



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



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