5 comments about Live from San Francisco.

1. Although this was released in 1994, it was actually recorded in March 1981. Etta and friends financed the recording but were unable to release it. Thankfully, this was pulled out of the vault. Obviously, this recording was a labor of love and it shows.
   
   I have to admit, I was not entirely ready for the growling vocals, and even at times it sounds like Etta is gargling water! But it's apparent she's just having fun and doing it on purpose. When she launches into a devastating cover of Take It To The Limit (my favorite track), you know you're in the hands of a pro.
   
   The backing band is tight and stripped down. One guitar, bass, drums, keyboards, and a minimum of horns. The audience obviously LOVES Etta and their enthusiasm drives the performance. Etta delivers a great set of blues, soul and R&B that is guaranteed to satisfy. Signature songs Tell Mama, Sugar On The Floor, and I'd Rather Go Blind are followed by a three song Otis Redding medley. Etta wraps it up with an exquisite song titled Born Blue.



2. I HAVE ALWAYS BEEN A FAN OF ETTA JAMES,AND HAVE ENJOYED BOTH ASPECTS OF HER CAREER: HER EARLIER DAYS AS A SWEET VOICED SINGER, AND HER LATER YEARS AS A GRAVEL VOICED FEMALE BLUES SHOUTER. ALTHOUGH SOME OF HER LATER RECORDINGS HAVE NOT BEEN AS "INSPIRED" AS THEY MIGHT HAVE BEEN, THIS ONE IS. SHE GETS DOWN AND DIRTY AND SOUNDS AS GOOD AS SHE EVER HAS ON THIS CD, AND THE REASON FOR IT IS THE LIVE VENUE SHE WAS PLAYING IN. SOMETIMES SHE EVEN CONJURES UP IMAGES OF BIG MAYBELLE OR BIG MAMA THORNTON. GREAT CD, WITH GREAT BACKUP AS WELL AS HER SINGING. IF YOU ARE A FAN OF ETTA JAMES, THIS ONE IS WORTH PICKING UP.



3. If you are a TRUE fan of Etta James, this is the perfect arrangement of some of her finest. My favorite is the live version of "I'd Rather Go Blind." Sister girl sang that one from the soul.



4. I do not know about you but every once in a while I need my Etta. No, not the material she did when starting out in popular music -essentially `bubble gum' music in accord with the teenage tastes of the times- but, the bluesy, gospelly material as presented in this cd. That said, this cd, as all cd's, which present live music, is a little uneven technically. However, the selections presented are fine especially when they allow Etta to go the full range of her voice. I recently saw Etta live in Boston. Although she has lost most of her edge she can still belt out the classics. Stick-out selections here include I'd Rather Go Blind and Born Blue- ya, those are fine, indeed.
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   



5. Sugar on the Floor...She Sung It...She Meant It...I Believed It...A POWER HOUSE SINGER...

5 comments about Live at the Fillmore.

1. Muddy Waters said "another mule been kickin' in your stall" (Long Distance Call).
   It's all about the sexual tension between men and women - the life blood of rock 'n' roll.
   This CD pulls and yanks that tension to amazing places with a heavy emphasis on the interrelationship of blues and R&B. As I'm writing I'm on my second listening to this CD and thinking, if it weren't for rock'n'roll and hockey, why are we here?
   I cannot fathom why some reviewers have problems with this CD. Maybe they just don't get that the blues and R&B are innseparable.



2. This CD is excellent - just like every other CD put out by The Tommy Castro Band. You will be hopping and bopping - to soulful, fun blues. A "bad sax solo" out of Mr. Crossan? NEVER - and if you buy this CD - you won't hear one either. CMD in Mass.



3. This cd seems to not quite get it.Tommy is a fantastic blues guitar player.He has made great cd`s in exception to the rule and right as rain,but those were in the blues mode.I don`t want to hear a talent like this just trying to make you boogie,come on this guy is a great guitar player.Tommy please,stick to the blues.



4. you can't separate the power of blues and the spirit of soul...and trust me, every lick of tommy's guitar and every shriek or whisper of his raspy soulful voice, will knock you off your feet, and if your booty ain't shaking by the end of the first track, i suggest you have cpr administered immeaditely...buy this cd...you wont regret it one second...better yet see the band live..you will walk away a firm believer...that they are the real deal



5. Tommy Castro rocks. He sings like Delbert & plays guitar like Buddy & Stevie. If you listen to this in you car, be careful to watch your odometer because the uptempo boogie-woogie blues will have you speeding in no time.

5 comments about Newport Folk Festival: Best of the Blues 1959-1968.

1. I read about these concerts in an interview with Bonnie Raitt. I was really surprised with the sound quality on these CDs as well as the broad cross section of artists. I consider this an essential purchase for all blues afficionados as it contains performances by nearly all of the classic bluesmen



2. Just got the CD....a great live recording of some of the foundations of blues...if you want to start collecting the blues, this is a great place to start. A great collection of performers recorded in a live situation. Son House, one of the originators of the delta blues is well represented. This album is grouped into three CDs' that are well stocked with some of the best there is !!! Get this CD....



3. It's almost hard to believe that this CD exists. So many excellent performances by legendary bluesmen like Son House, John Lee Hooker, Skip James, Muddy Waters and a whole host of others, all recorded live at the legendary Newport Folk Festival. And the sound is amazing, crisp and clear.
   
   Disc one opens with a six-song set by "Mississippi" John Hurt which includes "Candy Man" and "Stagolee", and also includes two spooky songs by an ailing but still-powerful Nehemiah "Skip" James, four songs by Son House, and songs by Bukka White and Fred McDowell, as well as two excellent acoustic solo performances by Muddy Waters. House's "Death Letter Blues" and "Empire State Express", Muddy Waters' "I Can't Be Satisfied", and Skip James' "Devil Got My Woman" are among the highlights, but there aren't really any "lowlights".
   
   Disc two features a great little set by Sonny Terry and Brownie McGhee, a wonderful rendition of Sleepy John Estes' "Clean Up At Home", three excellent songs by the underrated Robert Pete Williams, and several other fine performances, including Mance Lipscomb's version of Blind Willie Johnson's scary "God Moves On The Water", and Jesse Fuller's "San Francisco Bay Blues" (which you may have heard Eric Clapton cover on his "Unplugged" album).
   
   On disc three, Sam "Lightnin'" Hopkins plays an electric guitar (gasp!) on a great, swaggering "Baby Please Don't Go", and is backed by drummer Sam Lay on "Shake That Thing". John Lee Hooker lays down haunting versions of "Tupelo" and "The Great Fire Of Natchez", as well as a gritty "Boom Boom". Muddy Waters is accompanied by pianist Otis Spann on a great, swinging "Blow Wind Blow". And the 6'6" John L. "Memphis Slim" Chatman plays a version of "How Long" to rival that of Leroy Carr himself.
   
   The vast majority of these performances are acoustic, and there is a lot of wonderful acoustic slide guitar here...Muddy Waters, Son House, Fred McDowell, Mance Lipscomb, and Bukka White all play ringing bottleneck phrases. Sonny Terry blows his customary harmonica, and Memphis Slim and Otis Spann both contribute some excellent piano playing. And while many of these songs have been available on various LP and CD releases before, "Best Of The Blues 1959-1968" includes almost a dozen previously unreleased recordings, of which Sonny Terry's & Brownie McGhee's "Drink Muddy Water", "How Long" by Memphis Slim, and John Lee Hooker's "Let's Make It", are among the greatest.
   
   This collection is a must-have for anyone with an interest in the 60s blues revival, or just acoustic blues music in general, and you won't believe the fidelity. A wonderful two hours and fifty-three minutes of music.



4. If there is a better collection of live blues than this Newport 3 CD set, I haven't heard it. This stunning CD covers 10 years Newport performances during the height of the folk blues revival in the early 60's. Many of the artists were rediscovered by blues enthusiasts like John Fahey, Al "Blind Owl" Wilson and Sam Charters by canvassing remote areas of the south and locating the M.I.A.s of the 1920-30s "race" records. Some of these performers were presumed to be dead, and Newport was their first time in front of an audience in decades. There is not a single throw-away among 16 performers and the 51 (count 'em!)cuts here.

   Vangaurd Records is to be commended for making the right artistic choices in thier production of this CD. Many of these performances had been floating around for years on other Newport collections. Producer Tom Vicker devoted an entire disc to each of these three categories: delta blues, country blues and urban blues. There is a sense of continuity on each disc without any jarring segues. Engineer Jeff Zaraya captures the warm analogic glory of the orginal performances and wisely chooses not to edit out foot stomping, hand clapping and crowd noises. Zaraya's mastering work captures the passion of the living blues and he avoids the mistake of reducing the performances to sterile museum piece curiosities.

   The scope of performers is staggering. Son House, self proclaimed mentor of Robert Johnson, whose piercing slap-time steel guitar was the alter-ego to his gritty emotional baritone. Skip James, ghost of the delta, sings in his haunting falsetto with his mastery of complex right hand poly-rhythymic bassline fingerpicking. Jesse Fuller, San Francisco's one man band, plays his ramshackle ragtime blues. Mississppi John Hurt demonstrates his wry humor and his delicate five finger picking of his brillant orginal music. Polished performers like Muddy Waters and Brownie McGee know how to pace a show and work the crowd. Harlem's Rev. Gary Davis' does "old time religion" gospel shouting and precision ragtime picking. The suprise is an obscure ex-con, Robert Pete Williams with his eerie "stream of consciousness" lyrics and elliptical song structures. Robert Pete Williams, more than any of the performers, is connected to the roots of West African folk music. By my own count, John Lee Hooker was the last performer on these recordings to die(June 21, 2001). These astounding Newport performances are, at once, a historical document, a tribute to the diverse artistry of American blues, and some of the most passionate and riveting music I've ever heard. An essential for anyone collecting blues or roots music.




5. This is a nice cd set done by the folks at Vanguard records. They collected many of the cuts that have been previously released into one collection, with some tasty unreleased tracks.

   Regarding the artists & their material.. well, you really can't go wrong with sets by Mississippi John Hurt, Muddy, Son House, John Lee Hooker, & etc. The artists on disc 1 alone is a "who is who" of the early blues that were only heard on scratchy vinyl before these organized festivals existed. Some might've considered them past their so called "prime", but their performances don't reflect upon it, as they take the listener & the white crowd on a trip down the Delta. Some of the performances on this package are unbelievable.

   Might be me, but John Lee Hooker's set REALLY stands out. He sounds DANGEROUS, & his unreleased tracks alone make this package a well worth buy.

   An interesting note, that in this mostly acoustic set is the inclusion of two Butterfield Blues band cuts. Having these cuts on different sources, it was great to hear them sonically remastered in all its glory.

   Recommended, but more importantly, this is essential listening.

5 comments about Live.

1. These cd represent John live without a band,just his guitar,dobro and voice which he use's as an instrument.These are sitting on the front/back porch, train station blues.Covering all of the original blues artist Willie Dixon,Muddy Waters,Robert Johnson and playing true to their oringinal feel and adding his own sense of emotion to them.I just came back from seeing John live,had the distinct pleasure of meeting him and talking to him. He is a perfect gentleman and a genuine american artist who will be remembered along with John Lee Hooker,Robert Johnson, Muddy Waters and all of america's great blues artist.If you truly love real blues, not the fabricated stuff that fills the airwaves. Buy any John Hammond cd or Charlie Musselwhite cd. They are about the only true blues musicians left.



2. A few years after this CD was released, I was lucky enough to see John Hammond live from a second-row seat at a small theater outside of Chicago. That performance included many of the songs included on this CD, and this recording is faithful to what John delivers live: pure, raw, honest blues that, once heard, will inspire you to see him live. Once you see him live, the experience will stay with you for a lifetime.
   All Hammond needs to mesmerize an audience is a guitar, a harmonica and his voice. For proof, listen to his incredible version of "One Kind Favor," which is my personal favorite on this release.



3. Fantastic,from the begining until the end...!!This cd will be ever under rated with only five stars.It's a superb album,what clarity,what emotional moments,and...what repertoire...Willie Dixon;Charlie Patton;Robert Johnson;Sleepy John Estes....Really
   a primorous work!Those people who were at the theater that night, are rare lucky people.No more coments....only adrenaline
   and i agree with the others reviewers...All of the bluesfans needs this album like few others.This is really BLUES,a MUST HAVE!! blues album!!! OHH!! GREAT!



4. This recording is a one night sample of the hudreds of nights each year for the past 30 years plus that John Hammond pours his heart and soul into his vision of keeping pre-war blues alive. His renditions of songs that are 60 to 70 years old make them fresh and vibrant, full of raw emotion and to this author are the epitome of "Blues Power".

   If you are new to John Hammond, don't be fooled by what you hear in this collection...there are not three or four musicians here, it is John-solo. He alternates between six-string, twelve-string, and throws in some searing slide on National steel guitars all the while blowing harp, stomping his foot, and singing like it will be his last chance ever to perform the music he adores.

   If you are looking for the best live recording of country blues, get this. If you have ever had the chance to see John Hammond live, get this. If you ever do have a chance to see him live, do not miss it. It will be an experience a blues fan will never forget.




5. What a sad day when a CD of this caliber is over 46,000 on the Amazon sales list.

   And how sad it is that I've spent most of the night already writing reviews for another website that I cannot give it the credit it is lengthily due.

   Let me say this:

   If you own any Leo Kottke, Robert Johnson, John Fahey etc. etc. and you don't own this... shame, shame, shame!This recording is one of the greatest LIVE fingerstyle acoustic blues CD's EVER recorded. Simple as that.

   Buy it and tell me what you thought, Thank me later!

   Peace.

5 comments about Your Game: Live at the 9:30 Club Washington, D.C..

1. HIS STYLE IS SO HEY WILD,
   THE MUSIC MAKES YOU WANT TO SMILE,

   GO-GO IS THE REAL BEAT,
   THE SOUND MAKES YOU MOVE YOUR FEET.
   
   SOME OF Y'ALL DON'T KNOW
   ABOUT THIS MUSIC CALLED GO-GO.

   TOO BAD, NOT TOO LATE,
   YOU NEED TO FIND OUT, WHILE IT STILL AWAITS.

   STEP UP IN DA CLUB;
   ASK THE DJ WHAT'S UP.

   HE KNOWS ABOUT THIS SYNCOPATED BEAT.
   THIS SOUND IS HEARD ALL THROUGH THE STREETS.

   SEE YA LATER PEACE OUT.
   JUST REMEMBER, GO-GO IS THE REAL STYLE!!!!!

   GOGO LAKA




2. THIS IS THE REAL LIVE GROOVE OF GO GO MUSIC. CHUCK BROWN WILL NEVER BE FORGOTTEN. THE BASS IN HIS VOICE TELLS THE AUDIENCES THAT THIS IS THE CAREER HE HAS BEEN WAITING FOR. THE INSTRUMENTS USED FOR GO GO MUSIC IS OUTSTANDING. I AM A FORMER RESIDENT OF D.C. I AM NOW LIVING IN SUFFOLK, VA, WHICH TO ME IS BAMMA. ANYWAY, CHUCK BROWN, IS THE ONE TRUE GO GO MICKEY. HE IS THE ORIGINGAL GODFATHER OF GO GO. PEACE OUT.



3. Go-go is D.C.'s indigenous funk, but I'll freely admit that I'm way less familiar with it than I really should be. This realization came upon me with astonishing force upon listening to this record, which is unlike anything else I've ever heard except Chuck's actual live show, which I had to check out after hearing this CD.
   The audience for this live show seems to be specially selected people who know every rite of the go-go show and who appreciate the cameos from Jas, Funk, Benny, Andre "Whiteboy" Johnson (some irony there), and other special guest artists from old school go-go luminaries such as Trouble Funk. I hope one day to be well-enough versed in go-go to savor such moments.
   Coming to this CD from classical and hip-hop, though, there are priceless moments enough. A horn riff with (electronic piano doubling as) harpsichord under it in the opening "Wind Me Up, Chuck" sounds freaking exactly like the opening ritornello in Bach's second Brandenburg Concerto, but about five million times funkier. Herbie Hancock's "Chameleon" gets a conga-driven workout and some ultrasmooth Chuckster lyrics. "2001 (That'll Work)" again takes a classical work, in this case "Dawn" from Richard Strauss's Also sprach Zarathustra, and funkafies it mercilessly into the go-go strut, producing extra-special glee for anyone who likes historical irony and remembers Strauss's vile late-life racism. "No Diggity," the one hit in the wonder that was Blackstreet, and the Kool Moe Dee classic "Do You Know What Time It Is?" both get slamming covers towards the close of the album, showing that Chuck and his band can cover all the R&B bases they choose to.
   But mostly this record is about bold, jazzy brass playing, guitar riffs powerful enough to shake mountains, Chuck's magesterial presence, and the go-go beat powering it all. It's really a wonderful thing, and the only reason I don't play this record more than I do is that I'm worried about becoming inured to its glories.
   The fact that the first of like five shout-outs to Silver Spring occurs at 4:26 into the record is purely incidental to my enjoyment of it, by the way.



4. Chuck Brown brings Go-Go home where it belongs.....Go-Go is live, Audience-interaction, Conga-smacking, Backbeat-Drumming......if you are ever in DC.....Check out Chuck Brown.....this cd is hot



5. Is it possible for a CD to have one beat throughout its entire length, and still be as good to your head as to your booty? If Chuck Brown and the Soul Searchers are layin the groove down the answer is yes. Mr. Brown invented one beat--the go go beat--and he's stuck to it, but what he does on top of that beat is what keeps your attention. His guitar, the bass, keys, and especially the horns are all over the place in the jazziest sense of the word. Brown is a master, classy MC for the party. I have several other live discs by CB and this may be the best. Recommended highly for anyone who likes their music loose and funky.

3 comments about Strictly Live... In '85! Plus.

1. I told a coworker what I loved in a live album. A talented, inspired band, no dead weight on the stage and a small, appreciative audience. His recommendation, this disc, delivers in every way. This has become a staple in my station wagons juke box, right along with "Muddy Waters Live at Mister Kelley's", Duke Robillard's "Stretchin' Out" and Junior Brown's "Austin Experience."
   
   Regardless or genre, if you love live recordings, this one will satisfy.



2. James Harman blows hot harp and his band cooks like crazy on this live CD. Good quality recording of live set captures the energy and power of JH & company's timeless blues.



3. Years ago, Iwalked into a local club to listen to this band. Never heard them before. Afterwards. I thought they were as exciting as any blues band I'd ever heard. And that night, he'd only one guitarist with him. I immediately picked up this tape (in those days, it was either cassette or LP). Much to my pleasure, he had two great guitarists with him, plus a fine bass and drum section, probably the same ones that I'd heard before. This band was not only more exciting than the one I'd heard, but tighter as well. And then there were those excellent vocals and harmonica playing. Imagine my pleasure at seeing this out on CD, with extra cuts besides. I eagerly await even more, if possible.

5 comments about An Evening of Acoustic Music.

1. Blues on steroids. If you like blues guitar, this is the cd to have, and the playing meshes perfectly with his near perfect vocal interpretations. He had a good night, probably the best of his career.



2. I haven't heard everything Taj Mahal has recorded, but I've heard a lot of it, and this is the best CD of his I know of BY FAR. It's absolutely awesome. The electric guitar sound he gets here just blows you away. His version of STAGGER LEE is a direct throwback to Mississippi John Hurt and it is stunning. DUST MY BROOM is as good as any of the many versions Elmore James recorded of his famous song. COME ON IN MY KITCHEN is haunting and brilliant, in a different way, as Robert Johnson's original version. No matter how many times you listen to this music it continues to give pleasure. If you love the blues, this is a must-have CD.



3. From the heartfelt Crossing and Come on in my Kitchen to Big Leg Mama, this album traverses alot of emotions and really packs a great blues punch. I have enjoyed this album alot and it is a great live recording, definitely worth your purchase. Taj mahal is an extremely versatile and talented artist and this live recording strongly reflects both of those characteristics.



4. At first listen, the guitar can be a little annoying, but once you get into the mood of the CD, it's phenomenal. I've never seen Taj, but would love too, this CD is why. I find one of the most enjoyable ways to listen to is on a clear night with your window open while you drift off to sleep. At the point the songs take an aural quality that is hard to desrcibe--just great though!



5. The "Acoustic" in the title is a bit of a misnomer. Taj plays an electric piano on a couple of cuts (which is fine) and his guitar sounds like it's miked through an amp with the "chorus" effect turned up to 11 (which I could have done without).

   Some reviewers have panned the songs where he's accompanied by Howard Johnson (not the hotel guy) on tuba, calling them "sloppy", however, in my opinion, these are the highlight of the CD. In particular, "Cake Walk Into Town" stands out- This is a song that should be prescribed for people that are chronically depressed, as it never fails to put a smile on my face.

   The CD lags a bit on "Ain't Gwine Whistle Dixie Anymo" (live or in the studio, this is a song that is always an endurance test to me to see if I can get through it) and the part where he coaches the audience on clapping in time, which I've never heard any audience do. This is one of those things that are much more fun in person that hearing on a CD, and could have been left off.

   I also urge all fans of Taj and Ry Cooder to check out Austin, TX group "Bad Livers", especially "Hogs on the Highway" - Banjo & Tuba at it's finest!

2 comments about Live at Lupo's Heartbreak Hotel.

1. ronnie earl, guitar virtuoso, is the guitarist on this cd. that is all that needs to be said.



2. No matter what Grove Press says, this is a fine example of a great live blues performance!

1 comments about Live at Slim's, Vol. 1.

1. If you like blues at it's best, this is "The Album" to purchase. Smooth, funky, slow & fast paced. Just what u need for the weekend or week beginning!

2 comments about Live on the Queen Mary.

1. During Paul McCartney's Wings Over America tour, Paul had a party on board the Queen Mary. He invited two bands - Professor Longhair and the Meters. That should tell you a little something about what music HE thought was good. Buy both albums, this one and the Meters - Uptown Rulers, Live On The Queen Mary. Not the best performances by either group, but really historical in their significance. Overall BOTH are decent albums.



2. The Professor and his band is playing on Paul McCartney's houseboat. The album cover was taken by Linda !
   The New Orleans piano and rhythym section flow like ocean waves.
   It's an experience.