5 comments about Live.

1. I have heard of the Fabulous Thunderbirds for years- but never owned any of their music til now. WOW! A High Energy driving band to say the least!
   They have an outstanding grasp of blues, rhythm & blues, rockabilly, you name it -they can play it- I highly recommend this for summertime road trips and playing it loudly in the car!



2. This CD is a perfect example of Texas blues. It's as close to hearing them lived ( as I did last week) as possible. I recommend it to anyone who likes good old fashioned American music. M



3. The California Geoseismic Institute must have sworn The Big Quake had hit LA when these guys hit the stage and let loose on "The Things I Used to Do." David "Kid" Ramos romps-there's no better word-on guitar behind the bulldozer drumwork of Steve Hodges, Willie Campbell's relentless bass, and Gene Taylor's cracking piano. However, it's Kim's love of singing that makes him the perfect lead vocalist: he can hold a phrase in his voice like Aretha Franklin until the dials jump on their own (check it out on the aforementioned "Things"), and there's that great baritone barrel chest to support it. Even better, when he grabs the harmonica and starts to pump, it literally buzzes like a giant barber's electric shears. Whooo, you can feel it right down to your shoes! This is what a house party should look and sound like.



4. In this February 2000 concert disc, the Fabulous Thunderbirds eschew the raw rocking sound that made their early records sound so vital for a full band sound complete with horns and (on the closing number) female background singers. Kim Wilson, like BB King before him, obviously sees that many concertgoers want a fuller sound when listening to their music live and the additional musicians certainly provide that sound. The horns in particular have the effect of taking some of the covers, such as "Wrap It Up" and "Things I Used to Do," away from pure blues and back to the rhythm and blues roots they originated from. Kim Wilson's vocals on these tracks are fabulous, and Kid Ramos plays some stinging guitar as well. Old favorites "Tuff Enuff" and "She's Tuff" sound tougher and finer than ever, while "My Babe" takes on the full-throttle rocking power of a high speed locomotive. Fans of Kim Wilson's harmonica playing may feel a little shortchanged; "Early Every Morning" is the only harp showcase on the album, with Wilson blowing like a maniac. A glorious, if all too brief, moment of solo improvisation. Overall, the band is tight, the numbers are together, and the music features many rockable, danceable moments, even though Live, like most such discs, cannot replicate the excitement of an in-person appearance.



5. I don't know what album the other reviewers are listening too, but it can't be the one I've got. I'm a HUGE Kim Wilson fan, I just love Kid Ramos to death, and the T-Birds have always been in high rotation in my house. But this? This is "Kim Wilson and the Contractual Commitments featuring Kid Ramos"

   Seriously, if you want live Kim Wilson, get "Smoking Joint" if you want live T-Birds, get "Different Tacos" and any of Ramos' solo albums are way better than this. (And if you enjoy hearing Gene Taylor play 8-to-the-bar octaves, there's no hope for you, so buy this...)

   I'm giving this 2 stars only because I like Wilson's voice, and Ramos does his usual crack job on most of it.
   But T-Birds?!?? No way, man.

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!

3 comments about Live at Buddy Guy's Legends.

1. The title says it all. If you want to purchase an incredible album, get this NOW. Every track is five star, all the traditional Junior hits. I guarantee that on "The Train," which is track five, you will hit the repeat button a few times. Enjoy!



2. Admittedly, this may not be of the same caliber as Junior Wells albums like "Hoodoo Man Blues" or "Calling All Blues." Nonetheless, this album is more than deserving of its five star rating because it is simply a joy to listen to.

   Performing at Buddy Guy's famous "Legend's" club, Junior Wells comes alive on stage in a way rarely captured in the studio. Wells seems to be inspired by the presence and he demonstrates his enthusiam for his fans with some excellent audience interaction as well as a level of passion which vastly exceeds that demonstrated on his recent studio albums. The songs here, though a bit on the funky side, are all highly enjoyable. "Broke and Hungry" and "Messin'with the Kid" kick the set off in funky style before Junior gets down to business with a fine version of "Hoodoo Man" and a haunting rendition of "Sweet Sixteen." One of the highlights is Junior's take on the Sonny Boy Williamson classic, "Help Me." With only the organ backing him, Junior brings an eerie ambience to the song not soon forgotten.

   The harp is here, though like a lot of later day Wells material, it seems to take the back seat to his vocals a little too often. In good form, Wells is capable playing on the level of Little Walter, so it's a shame to hear his harp so often regulated to the background. Still, when he does pick it up, Wells reminds us that he is still one of the undisputed masters of the craft with very well played solos.

   For any fan of Junior Wells, or blues, this is a highly reccomended album. The energy and passion Junior brings to the stage make this a must have live blues set.




3. Was at the recording of this album. If you consider Juniors priorities, first an entertainer, second a singer, and third a harp player, than you'll realize this is junior at his prime. Rumor has it that Junior was aware of his illness at this time, and it appears that he is going out with a bang. from the openning tracks to the final note this album cranks. It will live in your C.D. player. This album is currently in my top ten of blues picks.

1 comments about Blues Live from Mountain Stage.

1. Mountain stage is a terrific radio program that is seldom heard around these parts, yet these records document the strength and talent that the program has attracted over the years. Here, the focus is on the blues, and mountain stage has gathered a strong stable of artists. A welcome addition to any collection.

1 comments about Live at Rosa's Blues Lounge.

1. Little Arthur Duncan is old, and still awesome. Some really good tracks. I picked this up after hearing Pretty Thing On My Mind on the radio. Fortunately, the whole disc is great. The guitars are in separate channels, which adds a special effect, especially when listened to with headphones. For a good time, pick up this disc.

5 comments about The Late Show.

1. The music here is raw and real and the crowd is having a ball. I had the opportunity to see Jimmy Smith at this same venue, Marla's (maid on The Jeffersons) Memory Lane in Watts section of L. A. When I was there it was a unique adventure. My friends were from the Midwest and working in L. A. and never even knew the club existed. I wanted to see Jimmy Smith; so, we went. Some well-dressed young adults parked our car with all the courtesy and care you would expect in Beverley Hills (It turned out they were some of Minister Farakhan's church in the neighborhood.) They were just making sure that we would want to return. The show was nearly as good as the third act of this series. It brings back memories.
   Dot Com Blues



2. This is a great aggregation of talents; I admire these vocalists very much and the musicians are very strong. However, there is not enough interaction between the singers; Vinson sounds somewhat out of shape and song selection is less then perfect (spiritual as a closing number?).
   Four stars is therefore the maximum I can give to this live cd.



3. with two blues powerhouses like Etta James and Cleanhead Vinson, there's no way you won't like this CD. This was recorded live in 1986 in blues club in L.A. featuring Red Holloway, Shuggie Otis, and Jack McDuff, and you feel like you're right there for the performance. Ettas James sounds great, and I am not really too impressed with a lot of her later stuff after the 60's and early 70's.



4. the blues is beatiful...

   etta and eddie got that smokey, silky, low-lush soul flowin with this...
   i've been lissenin to vol. one forever!!! and i could never find this one, but i lucked up into it one day a couple months ago and found it in the basement of some back-alley, burnt-down record shop and ever since then, i keep it with me wherever i go...
   this is "instant blues" - jus add bourbon and heartache and you got yourself an event!




5. It's never better than live and this 1986 recording and its companion finds blues legends Etta James and Eddy "Cleanhead" Vinson at the top of their game at an L.A. blues club. Etta sounds great but don't loose sight of the band, Shugie Otis and Red Holloway, et al. create a groove and Vinson's alto brings it all home. A performance for all time. Not to be missed. Sound quality is excellent.

No comments about A Taste Of Honey: Live In New Orleans 1977.

No comments about What a Night - Live!.

1 comments about Live in '63.

1. Chicago, 1963, Nina's Lounge on the West Side. A small club with a little homemade stage in the corner & an old upright piano off to the left of the stage. Not as well known as Pepper's, Sylvio's, or Teresa's, Nina's was the center of Chicago blues on July 9, 1963. Norman Dayron, student at the University of Chicago, armed with an Ampex tape recorder and a pair of Electro Voice mics placed just right, recorded this exceptional night of blues. On piano, Sunnyland Slim,On guitar J. B Lenoir. Eighteen tunes, one hour, and done. Helping on vocals John Lee Granderson, doing three tunes. Sunnyland & JB split the vocals on the rest. Sneakin' in from the alley, on guitar, Mike Bloomfield. You are sittin' first row. You are there. Live Blues gets no better then this.As intimate a CD as I have hear in a long time.Sunnyland & JB playin' & preaching the blues, as uncomplicated as it gets.WARNING, this is an acoustic CD. This is one helluva good live performance. You love Chicago blues, circa 1963, GET IT !! A Fuel 200 release, JB LENOIR SUNNYLAND SLIM & FRIENDS Live in '63 @ Nina's Lounge

5 comments about Sunrise.

1. So you order one CD and then receive another. Usually a hassel of returns, yes? Not this one! Talk about a mistake bringing fortune. This is a great blues CD for all the reasons a blues CD should be great - titles, interpretation, musicanship, and sequence.
   
   May mistakes for you be few and far between but if they should find you - may they find you with this CD



2. I have a lot of respect for Robben Ford but this CD dazzled me. Recorded in 1972 this work showcases a brilliant performance by a man who must have been all of 21 at the time. Many songs in this collection are filled with jazz chords against which Ford plays a distorted guitar. There is a lot of solid Fender Rhodes work here as well and the combination gives the CD a '70s feel.

   When I discovered this CD I expected the Blues that Mr. Ford does so well but instead I found out why Miles Davis hired him. He does some great work in this jazz setting. If you like Robben Ford, like jazz or even better like them both then BUY THIS CD! You'll love it.




3. This is the companion piece to Avenue Jazz's 1997 release, Discovering The Blues. Tracks for this CD were selected from the same 1972 performances as Discovering the Blues, as well as some from the Marquee Club in London. This collection leans quite a bit more towards Robben's jazzier side, but as always, the blues still runs deep. For my taste, the music here is more interesting and varied then on the previous release. There are slow simmering moments but there are boisterous ones as well. When playing in a more jazz-based framework, the band sounds freer and more adventurous. Ford shows great maturity in his playing that belies his young age. His beautiful tone and flawless technique are always present, but never at the expense of the song. He allows the band alot of breathing room (in particular keyboardist Paul Nagle, who adds a tremendous amount to the performances) and shines when it's his moment in the spotlight. At maybe just 21 years of age he proves to be smooth, soulful, intelligent, and electrifying in every note he plays. To showcase his Saxophone chops, Ford and the band pull off a supercharged version of Miles' Eighty One. Certainly no John Coltrane, Robben nonetheless shows he's amazingly talented, and the Coltrane influence is strongly evident.

   The lineup for these gigs was: Paul Nagle on keyboards, Stan Poplin on bass, and Jim Baum on drums. Jimmy Witherspoon also contributed some guest vocals on cuts four and eight. Times on the tracks are: Oh Gee (6:31); Red Rooster (4:25); Eighty One (8:08); Ain't Nobody's Business (3:50); Sunrise (11:28); Blue & Lonesome (8:23) (also appearing on Discovering The Blues); Miss Miss (8:58); and Everyday I Have The Blues (5:26).

   This is an incredible opportunity to catch a young Robben Ford stretching out and blazing away live, and I strongly recommend it. It's something every Ford fan should own. Of course, as I said above, this release has more of a jazz vibe to it, so if you're interest is primarily blues you may rate this a bit lower than I would, and I'd suggest checking out Discovering The Blues first. However, I think the energy and adventurous spirit of this music, along with the guitar mastery of Robben Ford, makes this CD a sure thing. Take a chance...




4. Dam this guy is one talented guitar player! This whole CD burns straight through with a jazz-blues blend that flows smoother then a Michael Jordan jumpshot. The opening instrumental and "Red Rooster" make me want to stop playing the guitar because i know there is no way in hell I'll ever sound like him The whole thing is a gathering of live performances from the 1970's and the music is fast, furious, original, and inspiring. An overall awesome live album.



5. This album was recorded when Robben Ford was in his early twenties in a club in L.A. He knew what he was doing even at that young age. His guitar work is a mixture of jazz and blues that will leave you mouth gaping and drooling.

   Ford starts off the album with "Oh Gee" a great piece that sets the mood for the entire album. Ford doesn't dominate the entire song, and steps back to let his piano and bass men take solos of their own. Next, he covers "Red Rooster" with a heavy blues feel. There is more to Ford than just great guitar licks. He started out playing the sax three years before he picked up the guitar. He shows us his chops on the horn on Miles Davis' "Eighty One". "Miss Miss" is another of the instrumentals on the album. A great tune. Jimmy Witherspoon jumps in to provide his bluesy voice for "Ain't Nobody's Business" and "Everyday I Have the Blues" trading vocals with Ford and getting great support from the band. .

   Rhino records should be congratulated for releasing this great sample of the young Ford. If you're a fan of Ford, guitar, or the blues don't hesitate to check this one out. You won't be disappointed.