3 comments about Live & Well.

1. This album is actually two separate recordings in different places. Although I own this album on vinyl, this is the first I have ever see of it on cd. Side one of the LP, or the first five tracks, are deffinately the smoother and in general, a cooler venue. It has some of his cool early guitar riffs as it's right out of the sixties, and LIVE at that! The quality on vinyl, although not as crisp as something recorded digitally, has kind of a club sound to it so it sounds actually live. "Please Accept My Love" is deffinately a must listen to!



2. Although "Live & Well" is a rather unique and dynamic work of art which contains ten tracks, it's actually two sides in one...no, make that two ALBUMS in one, being that the first five selections make up the "Live" part, while the latter half of this disc features studio cuts - the "Well" half. There's no comparing or contrasting both halves of this CD, as the live material and the studio material compliment each other quite nicely, and without any major flaws, too. The only minor flaw on the studio tracks which feature blues legend Al Kooper on piano, is his playing, although quite masterful, comes across as being barely audible for the most part. Kooper's piano digitry is somewhat drowned out by the heavy-bottom bass playing featured here, which is why a remastered version of "Live & Well" is so desperately needed, complete with bonus tracks. As for the upstanding compositions on display here, B.B. King is up to his usual guitar playing virtuosity, especially on the "Live" versions of "Don't Answer The Door" and "Sweet Little Angel". The lone "Live" instrumental, "My Mood", contains lots of soul-searching, power-driven down-to-earth chords. The studio tracks have a lot to offer as well. "The King of the Blues" really "Gets Down To Business", as he provides some down-home primo licks on the effervescent "I Want You So Bad", the utterly demanding "Get Off My Back Woman", as well as on the "run the gamut-like" studio instrumental "Friends". But, it is on "Why I Sing The Blues", where B.B. really cuts to the chase, as he gives his fans a major clue as to why he's in the business of performing in the first place (besides his mastery and his love of his "girl" Lucille). Besides the work of Al Kooper on the studio-based "Well" selections, Hugh McCracken provides some top-notch guitar licks as well. It is due to the musical talents which come to the forefront in grand form on "Live & Well", that makes it a must-have, must own CD, and is one title that every B.B. King fan definitely needs to add to their collection - no ifs, ands or buts about it!!!



3. "Live and Well" features a blend of concert material from the late '60s with tunes recorded in the studio. The material is not uniformly brilliant, but there are enough high points, both in B.B.'s singing and his playing, to make this a worthy release.

   The best of the live material is the menacing "Don't Answer the Door," which King shouts over a pulsing organ line and punctuates with some wicked guitar licks. "Sweet Little Angel," a staple of his songbook, is also great, especially vocally. B.B's still one of the best blues singers around, and on "Angel" he shows off the power and sense of vulnerability he can deliver simultaneously.

   There are a couple of clunkers in the live offerings, however. "Please Accept My Love" has another strong vocal, but the tune is hampered by sappy lyrics. "Just a Little Love" is a sing-along that doesn't offer a whole lot musically or lyrically.

   The studio work includes a genuine classic, "Why I Sing the Blues," which is surely the definitive statement on that subject. King here is again in complete command as he storms through verse after powerful verse and unleashes some of his best solos on the record, if not ever. "I Want You So Bad" is a dark blues, mournful in the way that his hit "The Thrill Is Gone" was. Again, not all of the studio material is as strong as these two tunes, suggesting that King wasn't completely on his game for this date.

   Still, there are plenty of good moments on the recording, making it a good representation of B.B.'s late '60s work, when he was working toward crossover status.

4 comments about Live from Chicago! Bigger Than Life!.

1. Growing up in Southern Illinois, it was a weekly event for Twist and the Mellow Fellows to sneak me (being underage) into Merlins to hear them play. What more can I say? They were phenomenal.



2. Saw the original Big Twist only once before he died. Recorded a tape and played it constantly. The CD is wonderful, only wish that it had included "Childrens Blues" which is a favorite of mine. He was a great bluesman and played great Chicago Style Blues. Everyone who hasn't heard this band, should!



3. If you don't own this cd, you should 'covet' the thought of owning it. Larry is no longer with us physically, but those of us that were privey to the wonderful world of his 'down home Chicago blues', will never get him out of our system.In his "hayday', he had one of the most gripping blues "bands" going. His voice alone, and the way he delivered it, was truly the essensce of what blues IS. For those that didn't get a chance to kow him or his music while he was alive, I feel sorry that you didn't. The redeeing grace is, that, through 'modern technology',you can have this experience now. Do you want to party? Then you need this CD. This is the best of all the "Twist" CD's. Turn it up! It doesn't get better than this!



4. BTMF was the best bar band I have ever experienced. I used to catch them frequently in and around Chicago in the late 80's and early 90's. This album captures and extremely tight, lively R&B band in their prime. Steamroller Blues, Turning Point, To Much BBQ are all classics. If these guys didn't get you moving, man you are dead!

3 comments about Live & Well.

1. This album is actually two separate recordings in different places. Although I own this album on vinyl, this is the first I have ever see of it on cd. Side one of the LP, or the first five tracks, are deffinately the smoother and in general, a cooler venue. It has some of his cool early guitar riffs as it's right out of the sixties, and LIVE at that! The quality on vinyl, although not as crisp as something recorded digitally, has kind of a club sound to it so it sounds actually live. "Please Accept My Love" is deffinately a must listen to!



2. Although "Live & Well" is a rather unique and dynamic work of art which contains ten tracks, it's actually two sides in one...no, make that two ALBUMS in one, being that the first five selections make up the "Live" part, while the latter half of this disc features studio cuts - the "Well" half. There's no comparing or contrasting both halves of this CD, as the live material and the studio material compliment each other quite nicely, and without any major flaws, too. The only minor flaw on the studio tracks which feature blues legend Al Kooper on piano, is his playing, although quite masterful, comes across as being barely audible for the most part. Kooper's piano digitry is somewhat drowned out by the heavy-bottom bass playing featured here, which is why a remastered version of "Live & Well" is so desperately needed, complete with bonus tracks. As for the upstanding compositions on display here, B.B. King is up to his usual guitar playing virtuosity, especially on the "Live" versions of "Don't Answer The Door" and "Sweet Little Angel". The lone "Live" instrumental, "My Mood", contains lots of soul-searching, power-driven down-to-earth chords. The studio tracks have a lot to offer as well. "The King of the Blues" really "Gets Down To Business", as he provides some down-home primo licks on the effervescent "I Want You So Bad", the utterly demanding "Get Off My Back Woman", as well as on the "run the gamut-like" studio instrumental "Friends". But, it is on "Why I Sing The Blues", where B.B. really cuts to the chase, as he gives his fans a major clue as to why he's in the business of performing in the first place (besides his mastery and his love of his "girl" Lucille). Besides the work of Al Kooper on the studio-based "Well" selections, Hugh McCracken provides some top-notch guitar licks as well. It is due to the musical talents which come to the forefront in grand form on "Live & Well", that makes it a must-have, must own CD, and is one title that every B.B. King fan definitely needs to add to their collection - no ifs, ands or buts about it!!!



3. "Live and Well" features a blend of concert material from the late '60s with tunes recorded in the studio. The material is not uniformly brilliant, but there are enough high points, both in B.B.'s singing and his playing, to make this a worthy release.

   The best of the live material is the menacing "Don't Answer the Door," which King shouts over a pulsing organ line and punctuates with some wicked guitar licks. "Sweet Little Angel," a staple of his songbook, is also great, especially vocally. B.B's still one of the best blues singers around, and on "Angel" he shows off the power and sense of vulnerability he can deliver simultaneously.

   There are a couple of clunkers in the live offerings, however. "Please Accept My Love" has another strong vocal, but the tune is hampered by sappy lyrics. "Just a Little Love" is a sing-along that doesn't offer a whole lot musically or lyrically.

   The studio work includes a genuine classic, "Why I Sing the Blues," which is surely the definitive statement on that subject. King here is again in complete command as he storms through verse after powerful verse and unleashes some of his best solos on the record, if not ever. "I Want You So Bad" is a dark blues, mournful in the way that his hit "The Thrill Is Gone" was. Again, not all of the studio material is as strong as these two tunes, suggesting that King wasn't completely on his game for this date.

   Still, there are plenty of good moments on the recording, making it a good representation of B.B.'s late '60s work, when he was working toward crossover status.

No comments about The Iceman at Mount Fuji.

No comments about House Rockin' and Blues Shoutin'!.

2 comments about Blues Harp Meltdown, Vol. 2: East Meets West Live at Moe's Alley.

1. I OWN ALL 3 VOLUMES. This one is the worst. Volume One is 5 stars and my favorite album. Volume 3 is 4 stars and very good with Lazy Lester and Cephas and Wiggins. Unfortunately this one has some incredibly bad tracks, starting with the first one which is truly awful. Combine that with Annie Raines' vocals which are utterly horrendous and you have about one album of decent blues harp but certainly not two. Buy volume 1, it's fantastic.



2. If you love the sound of big, heavy, honking, amplified blues harp, like me, you will appreciate this recording. It's really great to listen to so many good harp players on one set of (two) disks.
   
   I have played harp myself for many years, but only as an amateur. I play along to recordings and try to learn new things. The first person to really turn me on to blues harp was Paul Butterfield, and from him I went back to Little Walter, the amplified originator of most of the riffs that ALL electric players learn to play sooner or later. Little Walter was the true genius and innovator of the instrument; without Walter and his influence, nobody would be playing in quite the same way they do today. He casts his shadow over the entire spectrum of Chicago blues. So, in a sense, everyone after him is somewhat of an imitator. He has hugely important contemporaries, like James Cotton and Big Walter, and to a lesser extent George Smith, but for my money, Little Walter Jacobs with his three-piece band, his endless experimentation with different instruments such chromatics and big bass harps, his virtuoso technical expertise, and his phenomenal creativity, was the greatest blues harp player of all-time.
   
   One other thing that should be said is that, compared to most instruments, the blues harp is a very, very easy instrument to learn to play in a basic manner. Let me clarify: you can practice for a couple days and if by that time you have learned to (1) blow single notes and (2) bend, you can sound decent, especially if you amplify. (That explains why there are so many guys like Dan Ackroyd and Bruce Willis who play and even lead bands. Not to knock them at all; it's just that music is not their main gig; it's a hobby. But they liked the music and picked up the harp and in no time at all they thought they were good enough to play in front of people. Try that with slide guitar!).
   
   But to really master the instrument you have to play for years, and you have to constantly push yourself, like attempting to play ALL the holes, not just the easy ones like #3 and #4. And you can spend years copying guys like Little Walter and never be as good as he was because you are only copying, not creating.
   
   That said, it's nice that there are a lot of real good players, and a few greats, to keep this music vital, and I try to grab a listen to whoever comes along. We are right now in the midst of maybe the third or fourth generation to follow Little Walter. I've enjoyed Charlie Musselwhite's playing for over forty years, since I first heard him on the landmark Chicago: the Blues Today! sets from the mid-sixties. Other great blues/rock harpists I like are Magic Dick (one of the true innovators and creative forces), Rod Piazza (probably the most technically advanced and creative player around today), and James Cotton. Sugar Blue is amazingly fluent; Billy Branch is an outstanding player. There are just so many really good ones that it blows your mind. I'm forgetting a bunch, no doubt.
   
   On this set, the people who stand out to me are Gary Primich, Mark Hummel and Gary Smith. You may not like Primich's singing, but I do. It's rough, it's growly, it definitely ain't pretty. A really big plus is that he sounds like he's not taking himself too seriously. I like what he does with the tune about the gal with the drinking problem (...."the guy who owns the liquor store, over on the avenue, he bought himself a sailboat, named it after you..."), and his playing is really powerful. It sounds like he might blow out a couple dozen harps each night! Gary even does a wonderful Sonny Boy II-style acoustic blues as his last number.
   
   Mark Hummel is a fabulous harp player, a true vet of the scene and is credited with putting the whole show together. His band backs up all the harpists and the group does a really nice job. Mark's playing on this disk is solid, but he seems to modestly take a back seat to the others; I think he didn't want to seem pushy and desired to shine the spotlight on some of the lesser known players. Pick up any one of his own disks and you will hear what he can do.
   
   Gary Smith is a powerful and innovative player and is does some top-notch work here.
   
   RJ Mischo is a pretty good player but does not get much of a chance to shine on his two numbers. He doesn't seem to play anything too challenging or different here, but he may on some of his own disks. Paris Slim plays a competent acoustic harp on his number, but Sonny Terry (R.I.P.) need not worry. The best woman harpist I've ever heard, Annie Raines, does a decent job, but nothing special. The best thing about her set was her sexy line, "...the smaller the cracker jack box, the bigger the surprise...(!!)", which got a few appreciative howls from some of the guys in the crowd. Johnny Dyer is a nice singer and competent harp player who has been around for many years.
   
   All in all, this is a good set of disks at a good price for those interested in hearing basic amplified harp. Not a lot of creativity or innovation, but, hey, that's tough to do. If you want that, get Little Walter's double disk set, which is where the whole thing started.

5 comments about Live in Cook County Jail.

1. BB King had already recorded over 300 songs when this album was recorded. Prime arrangements of some standards and a few lesser known tunes. If you've never seen him live, this is close to it.



2. great fun.takes you into the hall ,the booing of the sheriff and judge sets the tone for a fun gig.foot tapping and air guitar.



3. B. B. King is more than a talented musician and songwriter, he is a phenomenal entertainer as well. He works a crowd like few others with his obvious love for people and his devotion to giving his best. This album captures BB as he is best, live and in action. He does not need light shows or other props to sell his work, he just plays and sings with a style and an infectious joy that few entertainers can match. One of his best albums.



4. Fans often call B.B. King the king of the blues guitar, but if B.B. were only a brilliant guitarist he wouldn't be a household name for decades. B.B. King is also a powerful singer, a terrific interpreter of others' material, an effective bandleader and - most importantly - a thoroughly professional entertainer. You can experience all B.B. King's sides on the "Cook County Jail" CD.
   
   Virtually every cut on the CD is a powerhouse. Although the Cook County Jail setting might lead one to expect that B.B. King would play up the outlaw aspects of the blues (the way that Johnny Cash did with his prison LPs), B.B. takes the opposite approach. He delivers a well-rehearsed and utterly professional show. It must have seemed a revelation to rock fans, as most blues-rock concerts at the time were notoriously sloppy affairs. But it's what we expect from B.B. King. He may define himself as a bluesman, but B.B. applied many lessons learned from tight jazz combos.
   
   For the uninitiated, the strong performances of B.B. King's best-known hits "Sweet Sixteen" and the "Thrill is Gone" will be the selling points, but every track has its delights. For me, the strongest moment comes with "How Blue Can You Get?" Here, we clearly get to experience how B.B. King is able to feed off the energy of a responsive audience, to the point where the inmates are practically bandmembers. When we hear their laughter and applause, we know that B.B. King has won over one of the most difficult audiences to please. Every solo on the CD is well-constructed, and at no time does B.B. allow himself to become self-indulgent.
   
   The CD's short running time is the only deficit. While appropriate for an early 1970s LP, this is one short concert by modern CD standards. It would be nice to see this CD reissued with material cut from the original release (as is the usual trend for live album reissues), but there is no denying this is one of the very few live albums worth revisiting again and again. It belongs in the collection of anyone who truly loves post-war blues.



5. This CD captures the very essence of what makes Blues Boy King the King of the Blues. The power of BB's music thunders througout the CD. This album has the best rendition of "The Thrill is Gone" I have ever heard, and I've heard just about all the versions he has done over the years. You can almost see him crooning to the microphone with his eyes closed, and Lucille gives this song so much more with her solo at the end. If anything buy this CD for the "The Thrill is Gone"; as soon as you get it turn it up, sit down and close your eyes...

2 comments about No Sweat.

1. This is a great CD by a really top notch live band. Check out Rocket 88 and I Need an Angel. Sadly this amazing group is breaking up. This CD is your last chance to get your own little chunk of their live magic... don't blow it.



2. Man, these cats really wail! They hail from Michigan, but whenever they come to town, I line up for the best seats in the house. Big Dave and company never disappoint. Their studio work is great, but the live show is pure energy. Their version of Jump Jive and Wail is better by far than the "popular" version you'll see on MTV. If you love blues, check out Big Dave and the Ultrasonics!

1 comments about Diary of a Band, Vol. 1 and 2.

1. This is an interesting concept for a live album. The title tells it as it is, isn't a typical live album, more a sonic diary of the band on tour. What you get are "selected highlights" of songs, full songs, and pieces of conversation of the band members interacting with the audience, and with each other. The mixture is an interesting blend, though in places it is a bit frustrating, in particular the Medley on disc 1 leaves me wanting to hear the full songs as the pieces fade in and out.
   Overall, the band is fantastic, each member is given an equal share of the spotlight, and the level of musicianship is amazing. By the end of the CDs, I really wish there was more. Lots more.
   Just a technical note, the music was recorded on a 2 track tape machine in mono (to my ears) and it is not a fantastic sounding multi-track recording. Even so, you get a really good sound for the band, but Mayall's singing is a bit buried in the mix. But it still sounds good; the CDs really have a unique sound.

5 comments about Where Have You Been? Live in Montreux 1976-1994.

1. Due to the fact that Chicago blues great, Luther Allison, had to flee Chicago to earn a living playing da blues, (See earlier Shaq Review!) the famed Montreux Jazz festival became his stage. Included on this CD are nothing but "live" performances from this venue covering the years 1976-1994. Every cut is great, so you can't miss with this selection, but let me point out a few extra ordinary highlights! I have heard many performances of "Little Red Rooster", and this performance by Luther is the absolute best. It is 11 minutes and 30 seconds long, and every second, is a gift. No one has ever performed "The Sky Is Crying" live, better than Stevie Ray Vaughn, and in Shaq's opinion, Albert King is second. But, this performance by Luther, highlighted with a slide guitar, is a different approach, and interestingly, enjoyable. And how "bitter sweet", must it have been, for Luther, under self-exile, in Europe, to earn a decent living, singing, "Sweet Home Chicago!" This CD is a must, for any true electric blues enthusiast!



2. Fans of the blues have always been blessed to have the Montreux Jazz Festival since it has produced a huge number of classic performances with just about every great blues artist. When comparing Luther to his fellow Chicago bluesmen, his sound is more similar to Buddy Guy than Muddy Waters due to his raw, energetic, & frenzied guitar solos. Just about everybody has recorded Willie Dixon's 'Gambler's Blues,' but Luther's version recorded at Montreux back in '76 absolutely smokes. His extended version of 'Little Red Rooster' heats things up with the same intensity. 'Bad News is Coming' recorded in '84 & 'Bad Love' recorded in '94 are two other fiery tracks. I also highly recommend Luther's 'Live in Chicago' CD (recorded in '97). Between the two live CD's, they encompass the majority of Luther's best work.



3. Luther Allison was one of those artists that seemed to play better live than in the studio. This CD is compiled with performances over almost 20 years. Even though some of the material is very familiar, Luther has a fresh take on the songs and he delivers all of them with a lot of energy. There's really not a weak cut on the disc and for those of us who never saw Luther in concert, this is a great memento. Many of the cuts feature some fine jams and the disc is a very generous length also.



4. The day I saw Luther Allison play live changed me forever. For months after that I practiced the guitar for hours every day, hoping one day to approach his skill level. This is the kind of performer Luther Allison is. This album comes in a close second to his stunning "Live in Chicago". Fans of blues standards may even prefer this one, because it contains his takes on "Sweet Home Chicago", "Little Red Rooster", and "The Sky is Crying", just to name a few. I'll miss Luther to the day I die. He was one of the greatest bluesmen ever. Check out his son, Bernard Allison. His style is different, more Stevie Ray/Jimi influenced, but every bit as exciting and dynamic as his father's.



5. tome this is the greatest live blues recording the late great luther allison,this cd contains versions of sweet home chicago,same thing,gamblers blues to name a few,luthers guitar playing is at the top of his game,if you love luther this a the live video from paradise is great.