3 comments about Chicago Blues Festival 1964.

1. After giving this CD one listen I can say that an otherwise great performance was not recorded well. It seems like the horns were closer to the mic than the guitar or the harmonica. The vocals are muddy sounding and really weren't recorded well at all. The last three "bonus tracks" are studio recordings and don't feature Junior Wells either, so overall this release was a disappointment to me.



2. The Concert is great, typical Buddy/Junior Gig full of great music and energy, harp and guitar fantastic. But the sound on the first few tracks, especially on "Stormy Mondy" is so bad, it is not to be understood why it was released.
   There are many great recordings of these two fabulous blues-artists, but this bad bootleg is only to be recommended for the die-hard fan or completist.
   This being said, I can admit that I am both, when it comes to these two genuises. I enjoy the record, but it reminds one of sitting way too far in the back of a badly engineered concert.
   BEWARE!



3. This music is actually really good. Smouldering guitar playing from Buddy Guy, and great renditions of "Stormy Monday", "Leave My Girl Alone" (which is oddly titled "Woman Blues" on the cover), and "Messin' With The Kid" - in addition to a horrible "Satisfaction".
   
   But the vocals are terrible. Not badly sung, you understand, but badly recorded, at times impossible to understand unless you know the words by heart. The only exceptions are the three bonus tracks, and they are studio tracks, not live recordings.
   This is rather strange, since most of the instruments are decently recorded, but the vocal tracks vary from bad to awful, making this an album for dedicated fans only.
   2 1/2 stars.

No comments about Live at Sugar Hill, Vol. 2.

1 comments about At the Bunkhouse.

1. This is classic ST & BM. The lyrics and playing are phenomenal and at a time when both were relatively young. I cut my blues playing guitar teeth on this album. Not to be missed...

3 comments about Live.

1. Martin Simpson is an amazing guitar player and a fine singer. This CD shows off his talents by capturing a particularly good live show. His passion for his music really comes through.

   The only reservation I would have is that the recording seems to have quite a bit of hiss in the background. I didn't notice it the first several times I heard it, but when listening through headphones it's particularly noticable.




2. It remains a mystery to me how a performer of such powerful and emotional vocal mastery and guitar wizadry can remain in relative obscurity. For those of us who cut our teeth with Neil Young and Bob Dylan, Simpson's synthesis of heart-felt singing and superb guiter work will take us back to a musical age before MTV, when music had to pay its way with depth and emotion. Stylistically, Simpson's guitar and vocal work is most similar to Jorma Kaukonen's, though his vocal range is superior. Simpson throughout his career has penned his share of powerful ballads (on this session represented by the haunting "Dreamtime" and the paeon to peace, "Lilith"), he is at much or more at home as an interpreter of other's work. He has an uncanny ability to ferret out songs of stunning lyrical depth, and to infuse them with passionate vocal interpretation and truly magical, melodic guitar work. This 1994 session finds Martin at his best, with a fine blend of traditional folk songs, powerful intsrumentals (at times it seems hard to believe that all this sound is only one guitar) and originals leaping from the speakers. While there is not a weak moment in the 71 minutes plus of inspired performance, unquestionably the high water mark of the CD is Simpson's rendition of Bob Franke's "Hard Love". This powerful song (unknown to me prior to hearing this recording) shows Simpson at his most passionate best: infusing Franke's deep and powerful lyrics with heart-wrenching emotion, while those lightning fingers lay down a lilting, hauntingly beautiful melodic background. I have re-played this cut over and over since buying the CD. It is infused with the emotion of Bob Dylan's "Simple Twist of Fate" or John Lennon's "Imagine", and the lyrical depth is in the same league. It deserves to be as well-known. Martin Simpson's "Live" is a great introduction to this fine artist. I have to thank a gentleman from Leeds who took the time to introduce me to Simpson's work through his mid-80s album "Sad or High Kickin'" fifteen years ago, and opened up for me yet another musical universe of passionate excellence. As a song writer, I cannot think of another artist I would rather have performing my songs. I cannot recommend Martin Simpson's work highly enough.



3. In the days since receiving this CD I've played it again and again. From the opening track to the finish 70 minutes later I find myself asking "how is he making those sounds?" when it is only Simpson and his acoustic guitar - live with no overdubs. His use of alternative tunings and slide guitar make every song interesting. His vocals on songs ranging from the blues to Scottish ayres (sp?) is excellent. In a music world always clammoring for a new "guitar hero" he is truly a master. I highly recommend this disc.

No comments about After Two But Before Five.

No comments about My Head Is Bald: Live at Vern's Friendly Lounge.

1 comments about Live At Miss Ann's Playpen.

1. Sonny Boy Terry wastes no time proving his blues harp skills on the opening cut from his Live At Miss Ann's Playpen disc. He hits octave notes and full, fat, juicy chords that'll leave harp players drooling. He sets the rhythm that carries the tune as he bounces off the solid bottom that bassman Benny Brasket and drummer Samantha Banks provide on this original good-time ode to this venerable Houston venue. Clever lyrical wit is also on display within the song, in the same vein as Willie Dixon's "Wang Dang Doodle".

   This tune sets the stage, also, for what Little Ray Ybarra does--play the best darned blues notes that a guitarist can possibly dream up. It takes a special breed of guitar player to augment a blues harp driven band properly and Little Ray is equal to the best. With his sense of rhythm and timing, he'd make a mediocre harp player shine and he helps make Sonny Boy exceptional. "Let's All Go To Miss Ann's Playpen" simply jump starts the thought process that says, "Yeah, man, this is how it's supposed to be played". Oh, and wait until you hear him mix and match licks with special guest guitarist (who's equally talented) Jeffrey P. Ross on the original "Holman and Dowling" (a nod to the old neighborhood) and George Smith's "Tight Dress". Yummy, indeed.

   The aforementioned "Holman and Dowling", Silas Hogan's battle with "Rats and Roaches" and the original "I'll Be Your Fool" are indicative of what kind of tone Sonny Boy can pull out of single notes. The former is a full blown (pun intended) instrumental that sums up his job definition. Sonny Boy chooses notes and works them for their full emotional impact instead of displaying a lick-a-second style of noodling. One would be hard pressed to find more emotion coming out of the instrument than on this tune and especially on the intros to the latter two songs mentioned. Low down, greasy, and funky blues. Which, by the way, sums up the entire disc--one that should propel Sonny Boy Terry to prominence way beyond the Texas Gulf Coast.

No comments about Live At The Grand Emporium.

2 comments about Blueberry Hill: The Very Best of Fats Domino in Concert.

1. Could be Fats, but it sounds blimpy.



2. I have listened to this and it is all very good, but I must say Blueberry Hill is the plus song on it. It is very haunting and creepy if you think about it. I don't know but 50's music seems to have a haunting touch to me that stands up the hair on the back of my neck. I definitly reccomend it for all you nostalgic baby-boomers, even though I am only 15 years old.

1 comments about Thrill on the Hill.

1. GREAT cd. Johnny Nichloas is awesome,, on this cd.
   
   great fast service too