5 comments about Blues Masters: The Very Best of Lightnin' Hopkins.

1. Just wanted to say that Item was every thing I expected of it and your attention and response to order was outstanding. will most probably be ordering from you again.



2. The songs on this CD were recorded between 1946 and 1961. They cover a wide range of his songs. The instrumentation is spare, with--normally--only Hopkins or playing or only a couple other backing players (sometimes we don't even know who the other musicians were). This is unelectrified blues, hearkening back to an earlier era in the history of the blues.
   
   A handful of examples of his work on this CD:
   
   "Baby please don't go." The cut features simple and spare guitar work by Hopkins. The liner notes comment that (page 12): "They say he only knew three chords on the guitar. I say that made him greater. . . .I saw how he turned technical limitations to aesthetic advantage." He repeats the title line several times to set a tone and atmosphere and implores her not to go to New Orleans. Hopkins plays alone, with no backing instruments.
   
   "Mighty Crazy", too, features no backing musicians. He surely displays a "lived in" voice. He begins the song, as with "Baby please don't go" with a repeat of the title four times.
   
   Finally, "Mojo Hand," one of his better known works. This cut features a nice rhythm section backing him (musicians' names not known). This has some of the best recording quality on the CD. He shows animated singing and spare but effective guitar work.
   
   The liner notes summarize Hopkins' place in the blues world (pages 11-12): "Lightnin' Sam Hopkins was one of the towering geniuses of American music. At a time when big-city blues was electrifying the world, Lightnin' brought us back to the basics. He infused his country sensibility and singular personality into every song he sang." This represents a nice introduction to the work of one of the finest blues players.



3. The blues do not get any bluer than this. This was my first foray into Texas/folk blues, and it will most certainly not be my last, as the music on this CD are some of the most representative blues music I have ever heard. One of my favorite songs is a song sung by both Hopkins and Sonny Terry, Conversation Blues. If you do not like this song, the blues are simply not for you! But every song on here is exceptional, something I had not expected as I picked this up more out of curiosity than anything else. Now, it is one of my favorites to listen to, right up there with Buddy Guy, John Lee Hooker, and Muddy Waters. The album covers Hopkins career for a 20 year period, from 1941 to 1961, and is ideal for anyone who is starting out their Hopkins' collection(as I was).
   
   Sam "Lightning" Hopkins learned the blues, at least in part, from Blind Lemon Jefferson, and for a time even became his guide. Let the music on this CD be your guide to Texas/folk blues. Surely there can be no better guide for an introduction into this genre.
   
   A definite 5 star pick, especially for all that Rhino has managed to pack on here for the inexpensive price. A must have.
   
   One thing to note however: If you believe from the outset that you will come to love Hopkins' music, Rhino's release of "Mojo Hand" is recommended; it is a 2-CD set of Hopkins career. Either way, you will not go wrong.



4. Bought this CD as a gift and he really loves it. He grew up listening to Lightnin' Hopkins, so it really brought back some good memories for him.



5. A classic from a little known, at least by me, talent. Lightnin Hopkins is easily one of the best blues artists I ever heard. This is down home, back in the day, drafty shack wif dee leaky roof Blues.

5 comments about Martin Scorsese Presents: The Best Of The Blues.

1. This CD, part of the soundtrack for Martin Scorsese's PBS series, showcases blues hits and singers from Robert Johnson and Son House to Robert Cray, Bonnie Raitt, Stevie Ray Vaughan, and the Allman Brothers. One can trace the evolution of blues from its raw beginnings to its more contemporary manifestations. As such, it is fun to listen to, although one can quarrel with the selections chosen for this single CD (there are other products available that are more inclusive). But I'm not quarreling about anything after having listened to this CD.
   
   It starts right off with Robert Johnson singing "Cross Road Blues." It is always interesting listening to this artist, legend that he is. He sings with a raw blues voice and his characteristic guitar work. His role in the history of the blues is unquestioned.
   
   Another pioneer was Son House, who--after many years of absence from the musical scene--was happily rediscovered in the 1960s. Listen to him sing "Death Letter Blues." No wonder he is so well reputed! A rough and ready voice and simple guitar work, a link to the early days of blues.
   
   One of my favorites is Howlin' Wolf, represented here by his wonderful "Evil (Is Going On)." His rough, raw blues singing always appeals to me. He sings of evil going on, with fine backing music. He sings of "Mule kickin' in a door" and "You better watch your happy home." I'd say there's a little tension in the air!
   
   And then another of my very favorite artists--Muddy Waters, singing "(I'm Your) Hoochie Coochie Man." The opening bars represent some of the absolute best blues work in the repertoire. Momma said of the birth of the character in the song that "He's gonna make pretty women jump and shout." Waters' blues singing is absolutely classic (Yes, I'm a cheerleader here). His backing musicians are wonderful (some great talent here, including Little Walter, Otis Spann, Willie Dixon, and Fred Below).
   
   More contemporary? I could not resist listening to Janis Joplin again (It's been a long time since I've listened to her music), as she sings "One Good Man." Her familiar wailing voice sounds good to my ears. Some good backing music. She sings that she likes to go to parties and have fun--but what she really wants is one good man. As she says of such a person in her inimitable style:
   
   "It ain't much,
   It's only everything."
   
   So, in the end, this is a fine compilation, taking, as it does, only a small segment of the music covered in the original series. Nonetheless, it provides one a nice example of the evolution of the blues over time.



2. very good collection of blues all over the years of its existence. recommendable.



3. Having watched this series on PBS, I knew what I was getting when I made this purchase. For anyone new to the blues and wanting a good starter disc for a well rounded taste, this disc is a must have. It affords the listener a sampling of the evolution of the blues sound, beginning with the founders right up to today. For the established blues fan, it's a nice addition to their collection. A great disc for travelling.



4. Big thanks to the "gods" in heaven and other places were they maybe hangin' out, for gaving Mr. Martin Scorsese the vision and the tools to bring together the past, the present and the future of the history of the Blues music...so every man or woman will not have any excuse not to know that "the blues is the roots and everything else is the fruits...," according to (Willie Dixon)... In short, thank you Martin Scorsese! Exhilarating to say the least!
   
   --"Big Dave" Burleigh, an 'AmeriCanadian' Record Producre/ Artist/ Singer-Songwritre.



5. As a long time Blues player, I was very disappointed with this set from two perspectives: poor quality recordings on the CD itself (I expected a better digitally mastered sound, and the imprinted sound volume was sorta lower than normal) and the actual collection of selected songs (not overly representative of the best Blues by these artists or Blues in general). I had seen part of it on PBS TV and bought the collection w/o first listening to it. So after spending the big bucks for it, I was sorely disappointed and do NOT recommend it for anyone serious about the Blues. It's just an okay set. There are many other higher quality collections online. Check them out first.

5 comments about Raisin' A Ruckus.

1. Anyone who has listened to a Roomful of Blues CD knows that their music is hard to classify. That doesn't matter to the band's members. All they are concerned with is whether it sounds good, whether you can dance to it, and whether you can feel it. With suave horns that swing off the big band dancehall floors of the '30s and '40s, Raisin' A Ruckus is one of Roomful's most swinging CDs. Since 1967, the multiple award-winning group's combination of swing, rock `n' roll, jump, blues, and soul has earned it just praise. Forty-six band members have come and gone since then without a negative impact on the band's exciting music.
   
   This disc features a new bass player and a new drummer on this disc, but the most obvious newcomer is singer Dave Howard who replaces Mark DuFresne. Howard hails from Rhode Island, the band's home state, and his expressive voice contains a hint of Louis Armstrong. Listen as Howard reveals a state of feeling disturbed on Black Night then uses his voice as the band's fourth horn on Talkin' To You Eye To Eye.
   
   The chosen covers are vintage blues and R&B tunes. You'll swear someone has just put on one of your parents records from the 1950s when you hear their nostalgic version of Big Mamou, the R&B hit by New Orleans artist Smiley Lewis. The Crescent City connection continues on the often covered New Orleans and Eddie Bo's Every Dog Has Its Day, which contains as much fun as a summer beach party. Boogie Woogie Country Girl is loaded with exhausting boogie woogie piano. The song's legendary writer, Doc Pomus, helped land the band their first record deal in the '70s.
   
   Five band members prove they are capable of writing enticing songs that mesh perfectly with the band's extensive repertoire. Each of the eight original songs is a flashback to the big band era, e.g. In The Mood that influenced Roomful. On Talkin' To You Eye To Eye, the three-piece brass section trade licks like guitars do in guitar driven bands. The infectious horn arrangement of Solid Jam will remain etched in your memory. Horns as lively as a New Orleans street funeral procession appear on saxophonist Rich Lataille's instrumental title track. The song, which depicts Lataille's big band and jazz roots, is one of the highlights of the CD. In fact, it should be included on the soundtrack of the next '30s and '40s gangster film to come out of Hollywood.
   
   The rhythms of all 14 songs are so exhilarating; most of the light-hearted lyrics get lost or overshadowed. Life Has Been Good stands out as its lyrics are emotionally heavy and quite touching. It is about expressing true feelings toward your spouse and thanking them for making life so wonderful.
   
   The CD's strength, and in fact the group's greatest asset, is how well the band performs as a cohesive unit. Throughout, the horns hop, the keyboards sway, the vocals enthuse, the guitar rocks, and the band jumps. This record swings more than a number three wood on a golf course. You must experience it for yourself. Put this record on and watch as your house transforms into a building made of horns.



2. Roomful Of Blues just keeps on rolling. During the last 40 years or so, they have dealt with numerous personnel changes, and have had to shift some musical gears in order to accommodate them. But their latest release, "Raisin' A Ruckus", is proof they are still at the top of their game.
   Since the band's last release, "Standing room only", Roomful has added a new rhythm section, and also vocalist Dave Howard, late of the High Rollers. All the new parts fit very well.
   Unfortunately, this is the last CD to feature longtime trumpet player Bob "Bubba" Enos, who died shortly before its release. He will be greatly missed.
   8 of the 14 cuts are originals by various band members, including "While I Can", written by and featuring guitarist Chris Vachon's wife, Bethie, On vocals. Other standout originals include Dave Howard's "Sweet Petite", keyboardist Travis Colby's "Round It Down", Vachon's "Solid Jam", and sax player and longest standing band member (since 1970!) Rich Lataille's title instrumental. Covers include "Big Mamou", "Black Night", and a rousing version of "New Orleans", made popular by Gary (US) Bonds.
   There are many opinions as to which Roomful lineup is preferred, and I've heard them all. To these ears, this is their best yet. Give it a try, then check out some of their other offerings- you just might become a "Room Head", too!



3. In 2000, former Roomful of Blues manager Bob Bell wrote that the band "is, and always has been a living, breathing creative unit". How right he was. "Raisin' a Ruckus" is their 19th album, and with three new members, the current incarnation is as strong as any before it.
   New vocalist Dave Howard has the phrasing of Sugar Ray Norcia, but possesses the soulful grit of Kim Wilson.One of the highlights of the disc is "Lower on your list of priorities", an original he first recorded with his band the High Rollers (check out that band's "Sure Bet" to hear how hot this Rhode Islander is on harp).
   "Ruckus" has some well chosen covers including "Big Mamou" by the late Cajun saxophonist Link Davis. Jesse Mae Robinson's "Black Night" features a beautiful guitar solo by band leader Chris Vachon, who knows how to fit guitar into horn charts better than anyone performing today.
   "New Orleans" is given new life with a great horn arrangement featuring saxophonists Rich Lataille and Mark Early, with trumpeter Bob Enos, who sadly passed away on Jan 11, just four days before this recording was released. "While I can" is an original penned by Vachon's wife Bethie and features her and Howard in a duet remarkably similar to Lou Ann Barton and Kim Wilson. The title cut is a swinging Lataille original worthy of earlier instrumentals in the Roomful canon like "Red, Hot and Blue "and "Back on Front Street". Russian born bassist Dimitry Gorodetsky brings the vintage jump blues style to this band, while new drummer Ephraim Lowell drives the group, especially on "New Orleans"
   Personnel changes-about fifty to date-usually weaken a band of this stature.Not so with Roomful of Blues. A five star effort is just about what we can expect from a living, breathing creative unit.



4. Just received my copy and was just elated by the new vocals of Dave Howard.
   
   For those of you Roomful of Blues fans that liked the 'sound' of the Sugar Ray Vocals..........Dave has his own blazing gritty sound, but it reminds me of the Sugar Ray days.
   
   This CD will be a welcome bluesy, swinging addition to your 'jump blues' collection.
   
   Check out tracks Sweet Petite, Life Has Been Good and Lower On Your List of Priorities.
   
   Sadly, master trumpeter and long time musician for Roomful Of Blues, Mr. Bob Enos has passed away on January 11th, 2008 on his way to a blues-cruise getaway.
   
   The last song on this, Bob's last CD with Roomful of Blues, is aptly entitled..........Life Has Been Good.
   
   So were you Bob, and thanks for the many memories of swing, jump blues that we have listened to over the years with you.



5. I work in a record store and the store manager has been a fan of Roomful of Blues for a while now. When he put the record on over the sound system in the store, I started dancing in the aisles! Great energy, excellent vocals, tight playing and clever lyrics abound all over this record. This has to be the best band playing besides Bob Dylan's backing group and the E Street Band. Highly recommended.

4 comments about West Side Strut.

1. Eddy "The Chief" Clearwater's Alligator debut was one of the most anticipated blues CDs of 2008. Known around the globe as a consummate showman, Clearwater - a long-time giant of the West Side Chicago blues sound - is ecstatic about the record deal. "Recording for Alligator is a dream I've had for many years," says The Chief. Clearwater becomes the first Chicago-based artist to release a recording on Alligator since the early to mid '90s.
   
   Ronnie Baker Brooks was hand-picked by Clearwater to produce the record. This has resulted in different, newer, and younger ideas being added to Clearwater's established sound. Baker Brooks also contributes guitar, percussion, bass, background vocals, two original songs as well as three co-written songs. Best of all the differing styles (traditional versus contemporary) of these bluesmen complement each other instead of colliding with each other.
   
   The CD contains blues, soul, and gospel. The sonic innovation of Billy Branch's harp, in the opening number A Good Leavin' Alone, makes it known that this is a loud, proud, and bold Chicago blues record. Here, while blazing a trail on his fret board, Clearwater growls the lyrics out like a bear. Throughout the duration of the disc, his vocals are far more tame and weary. Gotta Move On is a soulful ballad that is emotional and sensitive whereas Too Old To Get Married is the exact opposite. The latter is a fun rock and blues boogie that features Lonnie Brooks on guitar and vocals. Clearwater's Indian heritage is heard in the heavy beat of the ultra contemporary They Call Me The Chief. Eddy, who has been in Chicago since 1950, doesn't need to lean on the strength of cover songs because his own songs are strong enough. Yet, Clearwater and Branch have a blast - literally - trading solos on Muddy Waters' Walking Through The Park which is made to sound very contemporary. Rock-A-Blues Baby was almost left off the album. It combines pop and hip-hop beats with heavy metal power chording and sounds unlike anything else on the disc.
   
   The best songs were written by all the contributing songwriters. Ronnie's hot rockin' guitar rips on the captivating Hypnotized. The gospel sounding Do Unto Others - about treating others with respect - was written by Clearwater's publicist Karen Leipziger. Guest vocalists Jimmy Johnson and Otis Clay make the track superb while Baker Brooks' remarkable guitar work brings forth the emotions of the stirring lyrics. Clearwater's best guitar performance surfaces on a brilliant cover of Lowell Fulson's Trouble Trouble. With a rich and deep message for hate and war to cease, the gospel-like A Time For Peace is enriching due to the backing vocals of six accompanists. Here and throughout the organ and piano of Darryl Coutts is dazzling.
   
   It could be a challenge to re-create these songs live as they were not recorded with Clearwater's band - they were recorded with Baker Brooks' band. Yet, this is an exceptional album. West Side Strut is the perfect mix of young and old, traditional and contemporary, today and tomorrow. It is a strong contender for blues record of the year.



2. As I often say, I very much like Eddy "The Chief" Clearwater in spite of this touch of soul sometimes present in his songs. But this 2008 `West Side Strut' is a very good record practically without soul in it, only "Hypnotized" has some touch of soul.
   This record features very good compositions, and great vocal and guitar performances: his guitar attack is still the one he took from his mentors Freddie King, Luther Allison and Magic Sam, with its typical West-Side sound. In almost any record there always are some songs that stand out. In this record there are three in my opinion absolutely great Blues: the originals "Blue Over You" , "Rock-A-Blues Baby" and Lowell Fulson's "Trouble Trouble", the latter brilliantly performed.
   All the record is very good excepting "A Time For Pace", which lacks inspiration and "Came Up The Hard Way" that although good has a weak acoustic start. I do very much like his version in "Boogie my Blues Away", on the other hand. To sum up, this Clearwater's record is very good. I give it 4 stars.



3. finally we can enjoy a real good electric blues cd, after too many disappointments. the chief has recorded maybe his best record (but i haven't listened yet a bad cd by him). after all, you can simply read the guest musicians' names: Billy Branch, Lonnie Brooks, Otis Clay, Jimmy Johnson. what can you expect by these? great solos, great energy, great souls. everybody should buy this record and have great fun.



4. " The Chief" sparkles on his superb new disk. Ronnie Baker Brooks handles the production with one foot in the past, yet gives the record a modern feel. Classic Chicago Blues. Good originals like Hypnotized really sizzle. The covers are outstanding. Lowell Fusons Trouble Trouble growls and burns. Muddy Waters Walking through the Park is a perfect example of the Chicago sound. Modern and retro is hard to pull off. " The Chief" and company pull it off in grand style.

5 comments about Alone & Acoustic.

1. This product meets expectations any fan of the blues could ask for, content and cliarity are very good. If you are looking for a warm feeling old style blues ( circa 1940's to early 50's) this will satisfy anyone who enjoys the blues of older times and the twelve string rifs are impressive to say the least.



2. This album is a welcome return to acoustic blues. The guitar playing is crisp, accurate and soulful and the singing is first rate. An essential purchase for blues lovers.



3. It's geat live, impromptu blues, good quality, good jams, great harmonica, a must have for anyone who loves Junior and Buddy.



4. Buddy Guy and Junior Wells do not quite replicate the magic of Hoodoo Man Blues, but Wow, they come as close as could be expected nearly 20 years after the release of that marvelous and inimitable 1965 album. What we are treated to on this album are the songs which are in the annals of blues history as the tried and true blues greats. From "Boogie Chillin'" to "My Home is in the Delta", we get an experience of the blues as (in my opinion) they are meant to be, pure and acoustic. And listen closely to the lyrics of "My Home is in the Delta".....the lyrics are vastly different from those of the same song Muddy Waters sang decades ago. These two take blues classics and reshape them to fit their own style, instead of simply making a retread of a famous song.
   
   One of the "must have" albums in the modern blues genre.



5. 10 years I've had this cd, and it has been a constant favorite. I also love the heavily instrumented and "loud" albums of buddy guy and junior wells, but this album is much different. It covers a completely different mood, occasion for listening.
   
   the vocals are amazing, the guitar is feel good. I can't get enough of this sound, so the fact that some of the songs sound like the one before is not a bad thing here.

5 comments about Chasing the Sun.

1. I recently saw Indigenous play out at the Roxy near Tahlequah, Oklahoma during the Cherokee Nation annual festival and he was truly amazing. It is not often that you see a lead singer who also plays lead guitar, and who writes his music as well. He is, all around, an excellent musician. I recommend this particular CD highly. Some of his earlier ones I was not as big of a fan, but he is growing and maturing in his music. I plan to see him again on June 8 at Cain's Ballroom in Tulsa. I am sure it will be an awesome concert.



2. I remember when CDs first came out - one of the big selling points was that they would last forever. Well, I proved that one wrong listening to "Things We Do" often enough in the two years after I bought it that it started to skip in places no matter how much I cleaned it. The guitar pyrotechnics were great, the riffing was top-notch, the band was tight and provided great accompaniment to Mato's soulful deliveries. So naturally I was drooling in anticipation when I saw a new Indigenous release coming out. I wasn't particularly impressed with the self-titled disc, but I chalked it up to sophomore slump. Now I see that it's more of a linear progression, or should I say regression. The new disc is listenable, but it just doesn't reach out and grab you by the throat like "Things We Do" did. The backing band plays it so straight, they could be autopilot. Now blues is a pretty straightforward format in a lot of ways. We appreciate it because its pure. But it does have an element of swing to it when its done properly. That's why you can often two-step or swing dance to it. This is like having Rycrisp crackers after a banana split. There's a lot missing from what was there before. I guess the key word here would be "uninspired". I'm going to go back and dig out my old disc again and fast forward past the parts that skip... I wish I would have spent the money on a new copy of that instead.



3. This is a great rocked-out blues album doing serious homage to Stevie Ray Vaughn. I'm very glad the artist is now branching out on his own. He's definitely got the talent to do this and I'm looking forward to seeing more of this happen as he earns his place in the music world.



4. I went to see Mato's reinvented Indigenous 2 nights ago with high expectations. I have been a fan and seen him many times with the family members that he has since DUMPED because someone got him to believe they weren't good enough. The sound mix was so BAD it was painful to my ears, it physically hurt. Mato came off so look-at-me egotistical it would have been laughable if it wasn't so offensive. New band members - nothing special, certainly no great improvement from his family which he obviously does not understand was a portion of his band's original appeal. I walked out on a 15 dollar ticket to save my ears. In the past couple days I have visited with a few people and they ALL said the same word "DISAPPOINTING".
   In summation - I highly recommend the early Indigenous recordings. I strongly advise you to AVOID the new and supposedly improved "Mato" and any new recordings. Hopefully he will come back down to earth and rediscover his roots but I doubt it. I gave 1 star only because the review format forced me to.



5. This is what the front of my new Indegenous cd says. Early on, there was Jimi Hendrix and Eric Clapton, Then later Carlos Santana and SRV. Heres a new name to throw on the blues rock alter Mato Nanji.
   Are you serious? This is a misprint!! I demand my money back! This cd blows! I have been hearing about Mato lately and figured I couldnt go wrong! This cd is a joke. I could play better then this guy and that aint no laughing matter! I spent $19 dollars on this false advertisemnet. I should sue the record company for placing that quote on the front of the cd. I will never spend any money on this guy again. Is this what a recoed company has to do to sell something. Geeesh. Mato has a horrible voice to boot. This guy dont even come close to the guitarists it advertises. If you want a guitar player that fits in with SRV, Santana, Hendrix, Clapton, check out Joe Bonamassa!! Joe would blow this guy completely off the stage! Please people, get real! There are way too many other great guitarists that are much better these days. If you wants some blues that is just another Texas style guitar player buy this but Im getting burned out on SRV knockoffs!

5 comments about Slippin' In.

1. I admit to being a big fan of Buddy Guy, and while this album does not really have any of his "greatest hits", it still might be my favorite album of his, simply because of the variety of the songs and the overall high quality of the performances.
   I Smell Trouble is a great opening cut,and Shame Shame Shame has a unique rockabilly tempo to it. Little Dab A Doo, Don't tell Me About The Blues and Slippin Out Slippin In are 3 classics blues tunes, and the last song on the album, Cities Need Help, written by Buddy, adds a surprising dash of social commentary in a low key way.



2. How bad was Buddy Guy missed before he came back on the scene with "Damn Right I Got The Blues?" "Too badly to even say" is the answer. His playing on "Slippin' In" ranks as some of the best he's ever recorded.
   
   Guy demonstrates the finesse, skill, flexibility, and raw power possessed by only a very few guitar players. His solos on "Please Don't Drive Me Away" prove that what those who saw him play live even back in the 60's say is true. That Guy plays like a cross between straight blues, jazz guitarist, and heavy metal. His playing on "Please Don't Drive Me Away," "7-11," "Don't Tell Me About The Blues," and "Cities Need Help" is unbelievable at times. The same thoughts cross your mind listening to him as they do when you listen to Hendrix. "How did he do that?" "How can you make that kind of sound with a guitar?"
   
   "Slippin' In" just proves that we've got to grab a hold of Buddy Guy and not let loose of him. He's not allowed any more sabbaticals. We miss out on way too much when he's away.



3. WOW! I just finished listening to this, and I am blown away.
   I try to listen to as many different styles of music as I can. This album is a fine example of blues.
   This is what any great blues album should sound like.
   Just take this album for a spin.
   You can't really talk about one song on this record, without mentioning the other ones.
   It starts with a great opener, and follows through to the end.
   Just do yourself a favor and listen to Buddy Guy.



4. I admit I love Buddy Guy. I have seen him live twice and Slippin' In does a great job of catching his show. Raw, hard Chicago blues with some R&B and Rock. A must buy for blues fans or anyone wanting to get some BG.



5. Okay, I'm a Buddy Guy fan, and rarely am I disappointed when I'm listening to him. This album is exciting, and if you think you like the blues at all, you need to listen to this.

5 comments about At Newport.

1. Recorded and released in 1960, Live At Newport is one of the most beloved albums in the Muddy Waters catalogue, and is considered by many to be one of the greatest blues records of all time. To be honest, I'm not really sure why. Don't get me wrong: It is by no means a bad album. In fact, some of the performances found here rank among Muddy's very best: The legendary, show stopping rendition of "I've Got My Mojo Working" is a total barn-burner, with its fiery vocals, grinding pianos, and surging rhythms. "Tiger In Your Tank" raves with a similarly infectious abandon, and "Baby Please Don't Go" is tight and muscular.
   
   Sadly, too much of this album is devoted to unspectacular, standard-issue blues. "I've Got My Brand On You" is an uninspired combination of generic songwriting and soulless instrumentation, while "I Feel So Good" doesn't deliver an ounce of the enthusiasm that its title promises. "Soon Forgotten" and "Goodbye Newport Blues" are slow burners that simply don't burn- the music is free of the tension that marks the best slow blues numbers. Perhaps the biggest dissapointment is "Hoochie Coochie Man." In its studio incarnation, "Hoochie Coochie Man" is simply one of the greatest blues songs of all time. On this record, however, it's bland and unentertaining, devoid of the raw sexuality and smouldering passion that made the original such a classic.
   
   So, there you go. An incredibly dissapointing album from a great performer.



2. Newport 1960, the mecca of a yearly festival of live Jazz that crossed over the greats of the day, and I do mean Greats,into a larger audience where the money and acclaim justifiably started to flow was not lost on this wonderful blues-man who with the likes of jazz men like Cannonball Adderley, Chet Baker and others did a lot of good for inspiring groups like the Stones and others whose homage to Muddy is clear.
   Creating rock and roll from pure live excitement from albums like this and another legend's stellar album, BB King's Live At The Regal LP are benchmarks for much that followed.
   As to this wonderful CD, great sound, nice notes, mono studio bonus tracks found on the live portion makes this a worthwhile companion with historical importance while not forgetting the contributions made by Middy's band of pianist Otis Spann,the harmonica of James Cotton, an artist in his own right,and a special treat, the inclusion of the poet Langston Hughes within the proceedings.



3. This is Muddy Waters rocking out! He is in fine voice, a force of nature, with a hard driving band. Forget the labels, this is joyous rock n' roll.



4. According to the liner notes from this one, Muddy had a tough time with Blues festivals. First he was too electric and loud. The next year he was too acoustic and quiet. From the sound of this one, he finally got it just right.
   
   This is not a barn-burner. Oh, it has plenty of energy, but if you're looking for the jolt found on his Blue Sky-era recordings, you're going to be a bit disappointed. This is smoother blues. Not mellow, but not as rowdy. Remember, the younger Muddy Waters was trying to find wide-acceptance of his misic. (It is a shame he didn't find that until the last few years of his life)
   
   The song selection is fantastic. "Tiger in your tank" is fun. "Got my mojo working" is a foot-stopmper. But, my favorite is "Goodbye Newport Blues", which was allegedly penned on the stairs to the stage and ad-libbed by the band. But, what a band to have ad-lib!
   
   This one is must for those who want to move beyond blues/rock.



5. Muddy Waters' July, 1960 appearance at the Newport Folk Festival was recorded and issued as one of the first live blues albums, and one of the very best as well. A bit short at only nine songs (plus four studio recordings), but that's just about the only complaint you could possibly lodge against this classic recording.
   
   The sound on the remastered 2001 edition is simply excellent...the original masters have been transferred in high-resolution digital audio, bringing up Andrew Stephenson's bass overall, and moving Muddy's singing several layers forward in the mix.
   And the result is superb. The Muddy Waters Band of 1960 included top-notch harmonica player James Cotton, guitarist Auburn "Pat" Hare, drummer Francis Clay, and the great Otis Spann whose superb piano playing graced almost all of Muddy's 1960s recordings (listen to the swing he adds to "I Feel So Good"). And Muddy Waters himself is in his prime, his big, confident voice possessing tremendous power.
   
   Talking about highlights is a meaningless excercise..."Muddy Waters At Newport" features the definitive renditions of the classic "Got My Mojo Working" and the swaggering "I Feel So Good", but literally everything is superb, from the hits ("Hoochie Coochie Man", Big Joe Williams' "Baby Please Don't Go") to the little-known songs ("Soon Forgotten", the then-newly recorded "I Got My Brand On You" and "Tiger In Your Tank"). And the live portion of the album winds down with the slow lament "Goodbye Newport Blues", which is pretty generic and obviously slapped together for the occation, but it actually works quite well (and pianist Otis Spann provides a good lead vocal).
   
   The original live recordings have been augumented by four bonus tracks recorded just prior to Muddy's Newport appearance, three of which appear "live" as well. Notice how the live recordings of "I Got My Brand On You", "Tiger In Your Tank" and the slow "Soon Forgotten" are almost twice as long as the studio versions.
   The fourth song is one of Muddy's least-known songs...a mid-tempo blues shuffle anchored by a great rhythm section and with some superb harmonica playing by James Cotton. A fine little gem.
   
   "Muddy Waters At Newport" is a must-have for any self-respecting blues fan, casual or fanatical, and one of the greatest items in Muddy Waters' catalogue.

5 comments about In the Beginning.

1. A strong live effort from a still young and less-than-famous Stevie Ray Vaughan, In the Beginning hints at greatness to come. Much of the album focuses on SRV's harder rockin' blues side, but it's on the soulful, slow blues of "Tin Pan Alley," underneath Vaughan's incredible guitar work, that his abilities really shine. For me, these slower blues numbers that really allow a player to pour out emotion into the music, and to take it slowly or play faster over the slow beat, are the ones where talent really shines. It's really an incredible rendition, and alone makes this album one worth owning.
   
   Of course, it's not all about "Tin Pan Alley," and a rockin' performance of "Love Struck Baby" is also memorable.
   
   Great SRV!



2. I first heard of SRV in the winter of 1982. There was a terrible movie on cable called "Cat People"; the only noteworthy thing about it was a David Bowie song called "Putting Out Fire With Gasoline" with some incredibly incendiery guitar playing. Came to find out a young Texas blues guitarist named Stevie Ray Vaughan played guitar on Bowie's entire "Let's Dance" album. Soon Vaughan and his band Double Trouble had some product out, the "Texas Flood" album, and a new hit single, "Pride and Joy." My friends and me caught him live at Bill Graham's nightclub, The Stone in San Francisco around May of '83. I stood on a chair against the wall behind my table and watched his hands all night. He did "Love Struck Baby," "Pride and Joy," "Mary Had A Little Lamb," "Texas Flood," "Testify," "Wham!" and on and on. But when he played "Manic Depression" and segued into "Third Stone From the Sun," my jaw must have hit the floor and stayed there. We knew he had that Johnny Winter southern gunslinger thing down but we had no idea he played Hendrix or that he played Hendrix so well. I saw Stevie play many times after that but nothing ever matched the energy and connection of that first time. His material got better and more varied and his band grew more professional over the years but nothing compares with that first time around on a national tour with a new record blasting out of everybody's radio (and for me "discovering" somebody new that was that good). So anyway, onto the cd review:
   Years before I had ever heard of Stevie RAY Vaughan, there were people living in and around Austin, Texas who could experience Little Stevie Vaughan nearly every night, burning down local blues clubs with his rhythmm section, Double Trouble. This cd is taken from a recording made on one of those nights, a midnight show recorded on two-track, and simulcast on Austin radio station KLBJ-FM. Vaughan and DT rip through nine frezied tracks in about 45 minutes here, three SRV originals and six covers of old blues and r&b numbers. They open with a rousing rendition of Freddie King's "In the Open," Stevie growls his way through Eddie Jones' "Guitar Hurricane," and plays incredible harmonics during Otis Rush's "All Your Love I Miss Loving." Stevie burns the house down during an eight minute "Tin Pan Alley" that puts the version on "Coudn't Stand the Weather" to shame. Then they roar through "Love Struck Baby," Howlin' Wolf's "Tell Me," a very funky version of Willie Dixon's "Shake For Me," and "Live Another Day," which was called "I'm Crying" on the "Texas Flood" release. All these songs are so much better than the cleaned up versions recorded in the studio a couple years later for national release. Both the guitar and vocal are so much rawer and more spontaneous, maybe because of the excitement of playing live in front of the awestruck audience, or maybe because by the time they got to the studio they had been playing the songs so long they were going through the motions. And Stevie's playing is great too, because in this power trio format that Double Trouble had until 1985, Stevie has to fill up the sound with his guitar. In the studio he can use overdubs (hello Jimmy Page), but live he has to play rhythm and lead, and he and Hendrix were the two best at embellishing hot lead licks while still keeping his chord pattern. As far as whether you should buy this cd, well, it depends. If you don't have any other SRV discs and you're mostly pop-rock oriented, forget about it. Buy the Essential set and you'll have most of his radio hits and a few good live blues tracks. But if you just want to hear a hot guitar player killing his audience with the best r&b a white man has ever played, this is the one to get. I just wish there was more.



3. If you like rockin blues this is for you! Stevie pulls out all the stops and just plain wails for the entire album. Tin Pan Alley is the standout track, which although is slower than the rest, rocks with seering vocals and a blistering extended guitar solo where Stevie truly shines. The stripped down sound jumps out at you and makes you realize what a raw talent Stevie truly was. The passion and energy on this live disc is unbelievable and lacking on a lot of blues albums. Buy it and prepare to be dazzled.



4. I'm a huge SRV fan and enjoy Stevie's early more pure blues work more then his later more rock influenced music (which is still great). I was excited that a live album from his early period was put out, but became disappointed after repeated listings. My disappointment stems more from the band then from Stevie. This is the Layton\Shannon Double strouble we have come to love as Double Trouble. This album features Jackie on base it is just no comparison. Steve could be Stevie because DT was so GOOD. To understand how great and tight Doubel Trouble is just listen to Texas Flood. This is for hard core SRV fans only. Better live albums can be found in Live at Carniage Hall and Live at Montreux are much much better.



5. As a longtime fan of Stevie Ray Vaughan, I had the priviledge of seeing him play live at one of his last gigs. As always, he was brilliant. As time went on throughout his career, he began to experiment and expand a bit with new ideas, musicians, etc...
   
   But not here. This album is raw, unadulterated, straight-ahead, ballsy blues guitar playing from a young Stevie Ray, who emerged onto the music scene fully formed and ready for business. Listening to IN THE BEGINNING, I feel like I'm right there in the audience. It confirms that Stevie Ray's playing was more than just something he learned to do. It's who he was, 24 hours a day.

5 comments about Is It News.

1. I went to see CC Adcock at Jazz Fest this year. Had a guy named Bramhall playing with him. CC was his usual mix of cool and grease but the songs were instantly catchy. Turns out Bramhall is sort of a legend. Turns out they are playing together because they just put together an album. Turns out the album is even more terrific than the Jazzfest set. Bramhall writes good hooks. The songs stay with you. Adcock keeps it raw."Cryin" is pure classic Swamp Pop.
   CC Adcock is becoming the great collaborator. Robert Plant hung out with him in Lafayette (Louisiana, the Cajun capital)last year. Plant says "He's a piece of work - but I like him."



2. The writer of Stevie Ray Vaugn's "Life by the Drop", Doyle Bramhall has produced an instant classic with this great new album. Produced by himself together with Louisianna guitarist/vocalist C.C.Adcock this CD kicks of with the rollicking rocker "Lost in the Congo" and continues the high standard throughout.
   
   Supported by a cast of excellent muscians, including Jimmie Vaughan and Adcock this CD is a must for any fan of good American roots music.



3. This is original music with heart and soul. Hear the sound that made Eric Clapton want to be a sideman.



4. what a great cd 5 stars I cant beleive no one has heard of this guy



5. I bought this cd on the recommendation of a friend and Amazon's review. I have to agree with smiley mike; this music is very boring, plodding, repetitive. I kept waiting for all the great guitar riffs described in the review but they were few and far between and muffled by the poor mix.
   If you want some great Texas guitar music check out Chris Duarte and Joe Ely.