5 comments about Alligator Records 20th Anniversary Collection.

1. either one of these discs would be worth the price, but to get two discs of this quality of blues tunes, this is truly a bargain. song after song done by hall of fame blues artists - hound dog taylor, james cotton, albert collins, johnny copeland - that's just the artists on the first 3 songs. if you are just beginning to get into the blues, get it. if you are a big fan of the blues, get it. if you don't like the blues, get it anyway.



2. This is a great collection of songs celebrating the 20th anniversary of one of the preeminent blues labels of all times. Bruce Iglauer has managed to amass some of the great blues talent under one roof, and the results show throughout this two-CD set.
   
   Some standouts are all of the songs taken from the superstar collaboration of Albert Collins, Robert Cray, and Johnny Copeland entitled Showdown, which includes "Black Cat Bone," Sapphire's "The Middle Age Blues," "Drowning on Dry Land" by Roy Buchanan, and Son Seals' terrific "Going Back Home."
   
   This is a great collection to own for any blues lover.



3. The reviewer who said that SRV was not on this set obviously did not read the liner notes, which indicate that SRV played on the Lonnie Mack tracks from the Strikes Like Lightening sessions. The other artists the reviewer stated that were not there ARE, but are not the featured artist on the tracks.

   I bought this set, and the 25th, when they came out and was really wowed by what I heard. Houndog Taylor is my favorite, followed closely by Koko Taylor and Albert "Master of the Telecaster" Collins. There is some really fine musicianship, great feel, and real respect for the blues displayed on this set.
   Higly recommended.




4. Amazon keeps inter-mixing the reviews for the 'Alligator Records 20th Anniversary Collection' album and the similarly named 'Alligator Records 20th Anniversary tour' album. So I will include a review of both here to set the record straight.

   The 'Collection' album is by far superior to the 'tour' album. The collection has many artists on show and offers a bit of everything. The best tracks are AC Reed's 'These blues are killing me' with SRV brilliant on guitar, Little Charlie and the Nightcats with 'Rain', Roy Buchanan's classic 'Drowning on dry land', Koko Taylor with 'That's why i'm crying', Katie Webster with 'Pussycat Moan', Son Seal with 'Going back home' and Hound Dog Taylor and the classic 'Give me back my wig'. The album is uneven as you would expect for a label show case but well worth it as a introduction to a variety of blues styles and artists.

   The 1993 20th aniversary tour album has only Li' Ed, (the late) Kattie Wester, Elvin Bishop, Lonnie Brooks and Koko Taylor. The album does typify Alligator records music that by my definition is mostly reasonable blues without being great. This live album has plenty of energy and is listenable, but fails to scale the heights I expect of the blues.




5. Alligator records has some serious talent on it's label. Many of them are big names that you will recognize if you have been into blues for very long. I have tried samplers from other blues record labels and have been very disappointed with the mediocre talent on their label. Usually there are only one or two people -out of fourteen or fifteen - that stand out on other blues samplers. You will recognize that the vast majority of artists on Alligator Records are true talents - even if you don't like their style. This album is definitely worth the investment.

1 comments about Classic Blues from Smithsonian Folkways, Vol. 2.

1. If you've seen the great PBS/Martin Scorsese Blues series, or read any of the books about the great bluesmen (Muddy Waters, Robert Johnson, etc) then this disc gives you the opportunity to hear the old songs that started the blues music revolution recorded by the musicians who were at the start of the movement.

   Son House, Big Bill Broonzy, Lightnin' Hopkins were all part of the original movement -- the folks that brought the blues to light.

   Granted there's a number of modern cuts on this disc (I don't think Lucinda Williams was playing the blues in Chicago or the Mississippi Delta in the 1940's) but that doesn't detract from experience of hearing the old songs sung by the originals.

5 comments about Avalon Blues: A Tribute to the Music of Mississippi John Hurt.

1. Tribute albums can get pretty dire, but this disc is a great exception. Credit goes to musicologist/producer Peter Case for assembling a fantastic group of performers whose takes on these songs effectively bridge and transcend the categories of blues, pop, and folk music, just as Mississippi John Hurt's originals did.
   
   While these are not slavish covers of the originals, the songs here are completely in tune with the style, good humor, and craftsmanship of the Hurt recordings. It's particularly enlightening to hear how these artists interpret Hurt's syncopated acoustic guitar style. While Hurt's unique style -- which sounds relaxed and easy but is notoriously difficult to master -- is seldom directly imitated it's hugely influential and revered; this disc has some of the best playing you'll ever hear from John Hiatt and Bruce Cockburn, and the disc appropriately leads off with a showcase fingerstyle performance by under-discoverd Hurt acolyte Chris Smither.
   
   Highly recommended.



2. As I write this, new copies of this wonderful album are available for less than $3 (through recommended Amazon sellers - check the 'new and used' link). That, my friends, is an exceptional bargain! I paid about $20 (including postage and handling) for this album around 18 months ago and considered it great value for money at the time, since every track (even the much maligned Victoria Williams cover of 'Since I Laid My Burden Down') is at least listenable, if not a veritable aural treat.

   If you're a fan of the late Mississippi John Hurt (like myself), you'll find the contributions by Ben Harper and John Hiatt to be most reminiscent of his original recordings. Although these two modern artists come closest in replicating Hurt's distinctive finger-picking style, neither can match the deceptively subtle ease of his guitar playing. This is not to suggest that their versions are any less enjoyable, only that no one on this album can quite match the brilliance of Hurt.

   From my perspective, only one track on this album - Gillian Welch's version of 'Beulah Land' - actually surpasses the original. Although the guitar playing is much more subdued on this track, the haunting echoes of Welch's vocals will send shivers down your spine. This track alone makes this $3 album a bargain, but it offers so much more than that. Even if you can't stand the Victoria William's track (it's not that bad, people), this great album is packed with 14 other songs which are hard to skip past. How many other albums for under $3 can you say that about?




3. A lot of tribute albums trade on the popularity and fame of the "tributee" and fall into the mixed-bag when it comes to quality. This is truly no exception. There are some decent covers that are pleasant enough to listen to in the same way that luke-warm tap water might quench your thirst, but come on...you're interested in John Hurt, listen to his albums. The best song on here doesn't even touch his level of spontaneous genius. I mean its not even in the same room. Hurt himself has an otherworldly, almost angelic quality. Hurt didn't know theory. Hurt picked out a $200 guitar when they told him he could have any one in the place. These are just a bunch of halfway decent, semi-gifted, "folkies" who have wood shedded long enough that their chops aren't half bad. If this was all you heard, you'd dismiss the man himself in a heartbeat like "so what, these are simple, almost childish folk songs...no big deal". Get his Last Sessions album first, and then this if you still want to. Life is too short to listen to mediocre music.



4. ...I hadn't heard of John Hurt before. This CD is now one of my absolute favorites. "Chicken" and "Since I've laid my burdon down" will stay with you for days and you'll be replaying the CD several times so that you can get the lyrics right when you're singing them in your head later. "Sliding Delta" is another laid back personal favorite.
   Every song on this album is good. Since all of the performers have trained voices, the singing shows off Hurt's songs like he could not. (Nobody trys to beat his up-and-down melodic guitar however. For this you've got to buy the original.) I also liked the variety that different performers bring to the CD as a whole. Hurt's songs could sound a little too similar with his raspy half-whisper voice after a while.
   Mississippi John Hurt is an original, but I truly like this CD better than his Avalon Blues originals or his Complete Studio Recodings.



5. Hurt was a unique bluesman - funny, laid-back, and unassuming. There would be no value in merely imitating him. But at a time when many tribute albums are filled with third-rate performers parasitizing first-rate songwriters, it is a delight to find a tribute that justifies the word. Each artist tranforms a MJH song to fit his/her own style, and the results are memorable, and often outstanding. I especially liked Gillian Welch's spooky version of Beulah Land, but the entire CD is good (how often can you say that). If you like any of these artists, you will probably love this album. Highly recommended.

5 comments about Portugal: The Story of Fado.

1. I bought this cd on the spur of the moment because it was cheap. All I can say now is that it's the best cd purchase I've made this year! When I first listened to it, I was a bit bothered by the tinny guitar accompaniment, but after repeated listens I grew accustomed to it, and I now love this music.
   I had never even heard of fado before buying this cd. It's truly beautiful music. If you also have never heard of fado before, I will try to describe it. This is not a form of rock music. It sounds a bit like the songs of some female American jazz singers, for example, Ella Fitzgerald or Billie Holliday. The packaging says it is Portuguese blues, but it is definitely not as raw as the blues singers I'm familiar with (ie. Muddy Waters, Howlin' Wolf, and B. B. King.) Most of the songs sound sad, but not sentimental. There is a slightly rough quality to many of the singers' voices that is very attractive. The songs were recorded at various times over the last forty years, so the sound quality varies, but it is acceptable. Even though each track is sung by a different singer, the cd still holds together and feels like a unit. The cd packaging does not include the lyrics, unfortunately, but if you understand Portuguese the words are clear enough to figure out.
   Given that it introduced me to a new type of music that I now love, I would definitely recommend this cd to others.



2. I foud this CD to be absolutely awesome. It is truly a classic and Yes, thats what you call "Blues"



3. Great CD--A great selection of male and female fadistas... Berta Cardoso, Max, Amalia Rodrigues, and Antonio M...truly wonderful. Pure enjoyment.



4. This is a wonderful collection of fado. Even for those that are not conversant in the Portuguese language (like myself), the "essences" of the selections are communicated more than adequately through voice, tempo, and instrumentation. In general, the instrumentation is simple -- guitarras (Portuguese guitars), violas (Spanish guitars), and an occasional bass. They set the mood for the lyrics and the voice. Those that enjoy vocals, especially the "natural" voice, will fall in love with this collection. Amalia Rodrigues sings a marvelously passionate rendition of "Foi Deus." Tristao da Silva's silky baritone voice is exquisite in "Aquela Janela Virada Pro Mar." The other selections also stand on their own merits. The different artists that appear in the CD demonstrate the impressive range that exists within the genre of fado. I have listened to this CD often and will continue to listen to it many more times!



5. The fado (the word derived from the Latin for 'destiny') sings in a very nostalgic and intense way of lost love, lost loved ones, lost shores and any other suffering you may think of. The Portuguese will always listen to a fadista (fado singer) in silence, out of respect. A respect that is not always maintained in tourist places that offer fado. Some people find the Portuguese way of dealing with sorrow and singing about it in fados a bit oppressive. (Although there are some fairly merry fados as well.) The rather heavy suffering in the fado does make for very, very beautiful music, however, and this disc is a very good example of the art of fado. I particularly like 'A Rosinha Dos Limoes' which is about the singer going to the market to see his love 'littele Rosa' of the lemon stand, and also 'Partir E Morrer Um Pouco' ('leaving is dying a little'). The voice of the grand old man of Portuguese fado Alfredo Marceneiro is another treat on this CD. But it should be stressed that all tracks are of the same high quality. One may appreciate it even more, maybe, if one knows a little bit about the themes of the fados. A booklet with original and translated texts would be an extra asset. But even so: highly recommended!

4 comments about Sacred Steel: Traditional Sacred African-American Steel Guitar Music In Florida.

1. Mention the steel guitar and most likely you will get images of the Hapa Haole music of Hawaii in the 30s, or the twangy sounds of hard country. But there's another side of the steel guitar, one that is not as well known, but is perhaps one of the most amazing roots traditions still alive in this country, the black Pentecostal tradition of the pedal and laptop steel guitar.

   The sacred tradition of steel guitar playing reaches back to the late 20s and early 30s and is tied to the history of the Holiness churches, particularly the Keith and Jewel Dominions of the Church of the Living God, headquartered in Northern Florida. Holiness churches are deeply Pentecostal churches, taking as their primary spiritual tradition the "Baptism of the Holy Spirit" which they trace to the second chapter of Acts. Music in this tradition is more than just a pretty decoration for the service. It is a sacrament in itself, serving to open congregants to the power of the Holy Spirit. True Pentecostal music, whether in traditionally white or traditionally black churches is characterized by an infectious rhythmic quality and an ecstatic lyricism based on the spirituals of the south.

   In the Church of the Living God, the steel guitar is the primary instrument of the worship service, replacing the more common electronic organ of most gospel music. This disc presents music from some of the Church's finest musicians. The first 9 selections are mostly instrumentals. Each practitioner approaches his instrument differently, from the almost vocal inflections of Sonny Treadway, to the more modern, jazzy improvisations of Glenn Lee, the youngest musician on this disc. Particularly amazing are the three cuts by Willie Eason, the granddaddy of the steel tradition. He uses his guitar as a backup choir to his own folksy vocals, but intersperse them with tasty fills and blues licks. Most interesting is his original composition, Franklin D. Roosevelt, which is a latterday example of the historical ballad, a form of traditional song which interprets current events through the prism of faith.

   The second part of the disc is the real killer, the live services. Recorded in churches throughout Florida, these cuts offer generous selections of congregational singing, lead by the steel guitar. Many of the selections represent "praise" music, songs of increasingly fast tempo that are meant to raise the spirits...and boy do they ever. Sonny Treadway's This is a Holy Church and Aubrey Ghent's Praise Music are so sanctified that you almost levitate listening to them. The music isn't polished, but that's essential to it's spirit. The music flows without restraint. This music is as wild and free as any that I've ever heard. It is truly spirit-filled!

   So if you are a fan of real down-home Gospel, or a fan of roots music, this CD is a must have. But it is also recommended to adventurous people into edgy jazz or other forms of alternative music. Certainly music like this goes a long way toward helping people understand the spirituality of movements like the avant-garde jazz movement. This is music of the Spirit and as any Pentecostal will tell you...the Spirit frees!




2. A thoroughly captivating collection of one of the most obscure offshoots of the blues/gospel music axis, this disc collects 20 tracks of African-American gospel music as performed on electric steel guitars. The liner notes trace the style back to the 1930s, when steel guitars came into vogue; the performances are by a handful of contemporary performers who come from a Pentecostal church in Florida, where the tradition is still very much alive. Blues, R&B and gospel have always had an interesting Saturday night/Sunday morning interrelationship, and these recordings inject a distinctive "white" country flavor into that mix. This is one of Arhoolie's biggest-selling and best received releases in recent years and when you check it out, you'll understand why. Cool stuff. (There have also been several follow-ups and solo albums featuring the same artists on here, but this is the disc that, to me, seems most magical.)



3. I grew up in North Florida and the sounds and faith behind the words of this beautiful album are a revelation and a confirmation both. NPR uses bits of it as bridge music on their "All Things Considered" and "Morning Edition." I think it is because of the essential purity and sweetness of the music. "Little Church on the Hill" is something celestial. It evokes heaven, a place that exists only in time, not on a map. I don't listen to this every day, it is too good for that. I just listen to it in moments, and those moments, like this collection, are too lovely to convey.



4. Being raised in the pentecostal church (Mt.Calvary and House of God keith Dominion). This cd is a reminder of the church services in Mt.Airy, NC. with my uncle on the steele and sweet sounds of the steele, giving direction and inspiration to the church service. GLenn Lee is remarkable,the way he blends country and blues with tradional steele playing. His interpretation of "Pass me not. oh gentle savior" is without comparison, an old gospel favorite, with a country twist. Totally original! Also his own "Joyful sounds" has the uncanny imprint of his uncle bishop Harisson, with a nice twist. Nothing can compare to the old favorite "Franklin D Roosevelt,A poor man's friend", by Willie Eason. Let's not forget the foot stomping "Live religious services on the cd. IF you don't get uplifted by these selections from both Jewel and Kieth Dominions check your pulse 'cause something is definitely wrong. Believe me you will love this cd and be uplifted.

No comments about Bob GeddinS Big Town Records Story.

2 comments about Superharps.

1. This CD explores blues harmonica playing, almost in the form of a harp master class, and delivers in wonderful production, band and frontmen. Essentially, Sugar Ray Norcia is the main man here, playing on 7 of the 11 tunes, and he proves to be the best player AND singer. I have never heard him play as well on record before and he outplays the other players throughout. James Cotton also plays better than in a long time, which is nice to hear. Charlie's 3rd position playing, including his signature odd tuning work can also be heard and as far as I can pick up 1st, 2nd and 3rd position playing is covered on the CD. The playing by Billy Branch is good, but I have heard him better, especially on Johnny Winter's PointBlank releases where he is simply oozing. What makes this CD so enjoyable is the backup band, led by guitarist Kid Bangham, formerly of Sugar Ray's Bluetones and Fabulous Thunderbirds, providing excellent backup. This not just a harp record, it delivers nice guitar, piano, bass and drums. I can wholeheartedly recommend this CD to all blues lovers, but you have to love or enjoy harmonica.



2. I picked this CD up as an promotion, and was pleasantly surprised when I first listened to it! Charlie Musselwhite,Billy Branch and James Cotton out perform themselves, along with the other performers. Track No. 3 is outstanding in it's own right. I recently met Billy Branch at a local performance and stated to him that it was an outstanding CD..he stated to me at the time, that he did not even have a copy yet. You will listen to this CD over and over again and get new meaning everytime.

5 comments about Not the Same Old Blues Crap.

1. WARNING: Listening to this CD will warp your perception of blues music. Anyone within earshot will conclude that you are, indeed, insane. Playing the CD with the windows open will kill your lawn. Do not handle this CD without protective gloves. Sanitize your CD player after each play.
   
   Fat Possum has released three compilations of their stable of artists. This is the first in the series and most potent. This is rough, raw, in your face blues peformed mostly by old men who have lived hard lives. You will either love it or hate it. I love it.
   
   You have been warned.



2. Not everything on here is great, but if you're at all open-minded about the blues, you need to listen to this record.
   
   It's raw, it's unfiltered, it's unproduced, it's authentic, it's brilliant in spots.
   
   It's cheap, buy it now.



3. I bought this CD from Amazon because it was shockingly inexpensive and I wanted to pad out an order. I wasn't expecting great things; I hoped merely that I hadn't wasted the meager amount of money I'd spend. Boy, was I happy when I finally played this. This is great!

   The blues. A genre which can communicate untold pain, depthless heartache and a universe of suffering. Or it can encompass songs like "Crack Whore Blues", which is exactly what you would expect it to be from the title. The tracks on here are vibrant and alive. This is wonderfully thrilling, foot-tapping stuff that can be serious on the few occasions that it wants to be.

   Since this is a sampler compilation containing disparate artists, it's difficult to sum up this album in a few paragraphs. We go all the way from rompy throwaway musical jokes right into genuinely soulful lyrics. But the one constant is quality. What many of the performers lack in technical ability, they more than make up for in enthusiasm. This is a release from a tiny record label with no terribly big names, which goes a long way towards explaining the emotion.

   The liner notes are absolutely hideous -- green text written on a purple background. It makes my eyes water just thinking about it. There's also a funny gag on the back, which I shall not spoil here.

   As a sampler, the idea is to throw as much onto the disc as possible and hope that the customer likes at least one or two selections enough to purchase a full album. They've convinced me; I have some shopping to do. Anyone with even a passing interest in the blues should pick up this one. You can do it without breaking the bank, and, unless you're familiar with the artists already, you'll be hearing the blues like you haven't quite heard them before.




4. I'm a fan of Mr. Burnside, so getting this was easy, and enjoying it easier even. This is not revolutionary music by any means, but it is refreshingly wild and iconoclastic. Get it, it is fun



5. As a long time blues fan and blues musician I have heard lots of blues, but rarely have I heard a steaming pile of unlistenable rubbish like this collection.As if the back cover art of some old fool wearing a nazi hat, smoking a plastic cigar and wearing a dog collar wasn't warning enough- the front cover art of someone wearing a gas mask should have been. Perhaps he got a whiff of the contents of this cd. Even at [price] it is grossly over-priced.

2 comments about Red Hot & Blue: Lee Atwater & Friends.

1. Never heard of Lee Atwater? No matter. More important is the all-star cast on this wonderful album. Isaac Hayes, B.B. King, Carla Thomas, Sam Moore, Billy Prestonm , The Memphis Horns, Chuck Jackson, Arlette Nightingale--a fabulous collection of great R&B roots musicians. The effort was put together by Lee Atwater, a political activist with a history as a musician. He was a competent guitarist and singer, but the album was put together as a charity event with a simply fabulous cast.

   The song selections and arrangements are excellent. Anyone who enjoyed the old Stax records sound, or just enjoyed the music of The Blues Brothers, is virtually guaranteed to love this album. The fact that it's so cheap is just a bonus! Buy it while you still can!




2. Awesome blues mix. Atwater is onfire on this CD which was a 1991 Grammy Award winner. These tunes can be heard at Atwaters BBQ chain after the name sake- Red Hot & Blue. The name was from the 50's radio program hosted by Dewy Phillips in Memphis. This CD is fantastic and features the late Lee Atwater along with such Blues greats as BB King, Isaic Hayes, and Areatha Franklin

2 comments about Blues Piano Orgy.

1. If your're a barrelhouse blues piano fan, this CD compilation will not let you down.
   
   The classic barrelhouse blues piano style is pounded out by Roosevelt Sykes, Sunnyland Slim, Little Brother Montgomery, etc. If you're lookin for Otis Spann, check out his other cds, better selection on those. My favorite tune on this cd is Kickin Motor Scooter. This is a nice intro to old time Barrelhouse piano styles compiled off the Delmark label.



2. Excellent piano blues album. 19 beatiful blues tracks. especially Roosevelt Sykes, Sunnyland Slim and Little Brother Montgomery are in great condition on this cd.