5 comments about A Man and the Blues.

1. Far and away his best solo effort. Everything that people love about Buddy Guy is present on this album: smoking guitar (yet still pure blues--B.B. and T-Bone on steroids vintage Buddy,untainted by rock producers and multitudes of guest appearances), passionate vocals, and lots of personality. Some highlights are title track which is textbook slow blues, unimprovable! A hot blues blues version of "Money," and the classic take on "Mary Had a Little Lamb." Actually though, in all fairness to Buddy, every track here is classic blues!



2. young buddy, delivering the hot licks. a must have, and believe what these other people say about buddy and this disc, both are that good.



3. Buddy Guy is one of my favorite all time blues artists, behind only the great Howlin' Wolf and John Lee Hooker, as well my favorite blues guitarist along with Otis Rush. A Man and the Blues is his first studio album, and regarded by many as his best. It might just be his best studio album, but if you are just now getting into Guy, I would start elsewhere. My favorite of his CD's in order are Buddy's Blues (Chess 50th Anniversary Collection) (his best Chess singles), DJ Play My Blues (his best live album), and Slippin' In (Silverstone album with no celebrity guests or pop covers). But I won't argue the fact that A Man and the Blues is essential Buddy Guy as well as essential for any blues collection.
   
   If you are expecting the frenetic Buddy Guy who not a single performer in the business can't match for pure energy and passion, you will not be getting that here. But, if you want a more soulful, controlled-passion Guy, then this is the best representation of that side. I love it when Buddy lets out a long, energetic guitar solo that will absolutely sear the flesh, but he doesn't have to play like that to impassion one`s soul, a fact he proves masterfully with this album. Also on this album is Otis Spann, widely acknowledged as the greatest blues pianist of all time, so naturally he is a great addition. He plays the perfectly understated piano, never stealing any of Buddy's fire, always firmly aware that this is Buddy's album, but when called upon he does his thing perfectly.
   
   The album starts out with a soft number, "A Man and the Blues" (penned by Buddy), with Buddy playing a perfectly gentle guitar. The next song is "I Can't Quit the Blues," one of many jams on the album, and Guy's guitar shines. Next Buddy covers the Barret Strong song "Money (That's What I Want)," probably the catchiest song on the album. I find Guy's version superior to Barret's (although I am a bit biased), certainly more inspired and passionate. It seems more energetic and upbeat. Buddy's vocals on this song blow Barret's out of the water. Buddy has one of the most powerful voices in blues, and this album displays it very well. In addition to that, Guy's guitar on this song is just excellent. The solo in this song is one of my favorite rockin' solos ever, and Guy finds three great melodies on his guitar. Next comes another slow burner, "One Room Country Shack." This is it, that gem of a song you find every now and then, the one that gives you goosebumps as only the blues can. Otis's piano in this song is extremely eerie, making ample use of the flatted fifth interval, and Guy's vocals are equally haunting ("Lord, have mercy in this cotton field"). As other reviewers have already stated, this is what the blues is all about. After that comes "Mary Had a Little Lamb," which is superior to Vaughan's version, "Just Playing My Axe," another jam, "Sweet Little Angel" and "Worry, Worry," two slow B.B. King covers that are very similar to "A Man and the Blues," and "Jam on a Monday Morning," where Otis in particular shines.
   
   So, if you want to hear the Buddy Guy that inspired Clapton, Hendrix, and so many others, look elsewhere, but if you want some great soulful, if soft, Chicago blues like only the masters can deliver, don't hesitate to pick up A Man and the Blues.
   
   Also, if you like Buddy, you should get into Otis Rush.



4. Releases since on Silvertone definitely are a step up in production over this short old LP. BUT as noted by others, THIS is a definite benchmark. If I had to count my most listened to discs over the past 20+ years this one would rate very high. It never gets old, classic in every sense of the word. Definitive Chicago blues sound. A must have by any blues listener.



5. I've been listening to Buddy Guy play the blues for thirty years. I've seen him in concert 6-8 times. I think he is the most talented blues guitarist, bar none, that there is. I laughed when I compared his recording of "Five Long Years" with Eric Clapton. This album is one of the first I listened to and is still one of my favorites. "One Room Country Shack" is what the blues are all about. He finds notes on the guitar that aren't there and his plainitve voice singing " why don't you make connection with me, give me some kind of good deal" grabs you by the soul and don't let go. He also does uptempo on "Money" and makes a pop song the blues. If you don't love this album quit listening to the blues, you don't get it.

5 comments about Live! Down the Road.

1. This is one fun CD! Great music, great fun. You'll be smiling, singing along and tapping your feet.



2. Marcia Ball is nothing short of fantastic...this CD simply puts a smile on your face!



3. An excellent Marcia Ball CD - full of her personality, playing and gave me some new favorites.



4. We have heard Marcia Ball in person twice and were blown away by her performances both times. This live CD helps us relive those great evenings. She is such a talent, unlike some performers we have loved in person and not liked as well on CD. This CD proves that listening to her is about as good as the live show. Her diversity, from La-ti-da, to Louisiana 1927, makes for a great combination of songs. We discovered, also, on a long trip home from the airport in the middle of the night, that this CD is great for keeping a very sleepy driver awake! We highly recommend it.



5. It is hard to say this is the best she has done because Marcia rocks the house down on everything she does. "Down the Road" is full of down home music with hits such as: Down the Road - Louisiana 1927 - Crawfishin.
   Its safe to say, buy it, listen to it and relish it. This will truly liven up a party when you plug this one in!

3 comments about Heroes of the Blues - The Very Best of Reverend Gary Davis.

1. The Reverend Gary Davis is one of the exemplars of the blues. Many of his songs have been picked up by other artists and groups. For instance, the Grateful Dead took his rendition of Samson and Delilah and made it one of their concert favorites. There are also many other blues and gospel songs to enjoy listening to. He sure plays the banjo and guitar with aplomb that preceded other great guitar players of the rock & roll and country traditions.



2. I learned about Reverend Gary Davis's music by listening to a Hot Tuna concert DVD. Jorma and Jack mentioned him in their interviews. I quickly found this cd at Amazon.com and enjoyed hearing the real thing from the reverend in a very good recording.



3. My local record store was doing a promotion on this series, so I took a chance on this collection, and I'm glad I did. I'm pretty familiar with Chicago electric blues, as typified by Chess Records, but I've been wanting to go beyond that. This collection of Rev. Gary Davis's work is really strong, and the notes indidate the original label each track was taken from, making it easy to follow up and get additional CDs by him. I went back the next day and got all the rest of the CDs in the series, and I will report back when I have had a chance to absorb them.

5 comments about The Four Aces' Greatest Hits.

1. There are various CDs available for sale here on Amazon on singing groups from the early 1950s, and if you are looking for one on The Four Aces this is the one you want to buy. It includes all the hits and the sound is first rate. The sound you hear on this CD is how I remember listening to The Four Aces when they were in their prime. I honestly can't imagine anyone rating this CD with a negative review. The voices you hear on this CD is how I remember them sounding, and that's good enough for me. If you enjoy the singing groups from this time period then this CD belongs in your collection. I've purchased several extra copies (I'd be embarrassed to say how many) as a gift for students in my after school elementary music class.



2. The Four Aces' Greatest Hits may not have every last hit they ever had; but as a single CD compilation it's a pretty good one. The quality of the sound is excellent and the artwork is very nicely done. This is anything but elevator music!
   
   "Tell Me Why" opens the CD with a beautiful number that features The Four Aces singing at their very best. They harmonize beautifully; and the individual lyrics lack nothing--it's all THAT good. ""Tell Me Why" is a hauntingly beautiful number that I'm sure you're going to enjoy very much; this is classic Four Aces material and it proves their talent right from the start. "Perfidia" gets a great treatment; this peppy little number shines bright when The Four Aces sing it--the Latin beat gets replaced with a pop beat and it holds its own remarkably well considering how big a change they made in the musical arrangement. "Three Coins In The Fountain" is a very touching, moving ballad that actually won an Oscar for best song in a motion picture in March, 1955; and The Four Aces do justice to this great classic pop vocal with their exquisite sense of timing and their excellent diction. I love it!
   
   "You Brought Me Love" has a fine organ arrangement and The Four Aces perform this with panache; the melody is perfect and the music that accompanies these men fits in perfectly with their vocals. Again we hear The Four Aces harmonizing flawlessly; and the individual lyrics that are sung are equally impressive. Excellent! In addition, listen for "Heart And Soul: this excellent classic pop tune really brings back memories of hearing my parents hum this tune to themselves as they went about their household chores.
   
   "Stranger in Paradise" never sounded better than when The Four Aces sang it; I love their rendition--indeed, I believe that their rendition of "Stranger In Paradise" is THE definitive rendition of this timeless ballad. I know you'll like this number; "Stranger In Paradise" is easily a major highlight of this album. The Four Aces make it look so easy--but we know it was their exceptional talent that allowed them to give us this false impression. Singing this well requires great talent; and that's exactly what The Four Aces had.
   
   "Love Is A Many-Splendored Thing" is another huge highlight of this album; The Four Aces were born to sing classic love songs like this one. The woodwind instruments add to the musical arrangement; and there's also "Heart" from the stage play "D*** Yankees." The Four Aces perform "Heart" with great style; and the backup vocalists sound great, too. The album ends with The Four Aces doing a sublime rendition of "Mister Sandman." "Mister Sandman" is a catchy pop tune from the 1950s that I always enjoy hearing; and The Four Aces do this so well it makes a very strong ending for this CD.
   
   Fans of The Four Aces will consider this a must-have for their collections; and it also makes a great introductory CD for newcomers to the artistry of The Four Aces.



3. Samuel Johnson wrote "Every man has a right to utter what he thinks truth, and every other man has a right to knock him down for it. Martyrdom is the test." The reviewer who gave this CD only one star must be a real martyr.
   
   All I can say is, if The Four Aces are as bad as he describes them, then there must have been a worldwide epidemic of tin-ears among the millions upon millions who bought their records, and listened to their songs on radio and juke boxes, to a point where they chalked up 45 hit singles from 1951 to 1959.
   
   You also have to think that the reviewer must have a personal grudge against Peter Grendysa, who wrote some of the most comprehensive liner notes [seven pages of them] you'll ever find in a single-disc CD package. Add to that several nice photographs, one with the luscious Mamie Van Doren, and a complete discography of the contents, and you have a nice, neat package which gives you sixteen of those hits, along with two flip-sides: You Brought Me Love which backed Perfidia (# 7 in 1952), and I Understand which was the B-side of I'm Yours (# 21) that same year.
   
   Another nine of their hits can be found on More Greatest Hits. If I have a gripe it's that neither this CD nor More Greatest Hits contains Two Little Kisses, one of two releases by the Palda Record Company [on their Flash label] which made it to # 29 in 1952, the other being Sin which was their first hit [# 4] in 1951 on Palda's Victoria label.
   
   If you know and loved The Four Aces you won't be turned away by the negativity in that other review. If you don't know them, this is one of the best examples of old-time, street-corner harmony you're apt to hear. Buy it. Enjoy it.



4. Good CD. Not all the songs are their best. Needs to feature Al Albert more. It still is a good collection of the Fabulous Fifties.



5. I remember hearing the Four Aces when I was a teenager. This album brings back sweet memories. It has all the songs I like. I recommend this album for anyone who wants to relive the 50s.

5 comments about I Am the Blues.

1. How can you give Willie Dixon less than five stars? The man has played on some of the greatest blues recordings in history and he has written some of the genre's most memorable songs. Recorded in Chicago during the summer of 1969, the album only features one third of the material recorded in that session. The band featured Johnny Shines on guitar, Walter "Shakey" Horton on harmonica, Clifton James on drums, either Sunnyland Slim or Lafayette Leake on piano, and of course Willie Dixon on bass and vocals. If you're looking for instrumental flash, this is not for you. However, Willie's deep growl is pleasant, it has a great beat, and every single song is a classic!



2. Willie Dixon really is the Blues, and the genius who wrote many of your classic rock favorites. Unless you already know more about this guy than I did when I bought this album, you'll find yourself saying...."I didn't know he wrote that song" over and over again. On this album we hear the man who lived the life that became classic rock and roll songs by The Doors, The Rolling Stones, and Eric Clapton. This album is a must have.



3. Probably more interesting for who he is, rather than the music itself. There isn't a song on this recording that isn't done better elsewhere - but Willie wrote 'em and adds his own style and emphasis to each one. The backing is by un-named session players who deliver stock riffs, for the most part. I agree with another reviewer that the harp playing is really good, though I disagree on the piano playing, which comes off as tinkly and pedestrian. Willie is best on "Back Door Man", on which he really rips and which fits his voice to a "T". It's worth the price for that tune alone. The best-balanced song might be "Seventh Son", with a really nice shuffle/swing to it. I was particularly disappointed in "Hoochie Coochie Man" and "Little Red Rooster", but given recordings of the original artists (the tunes given to them BY Willie), the bar was pretty high.



4. You don't have to look very far to have proof this is a good album. In fact, just look at the tracklist of just about any rock album from the '60's and '70's. Chances are, you'll see a Willie Dixon song off this album. Out of the nine tracks, a good seven have been covered by famous rock bands, be they Jeff Beck (You Shook Me, I Ain't Superstitious), Led Zeppelin (You Shook Me, I Can't Quit You Baby), Cream (Spoonfull), the Doors (Backdoor Man), the Allmans (Hoochie Coochie Man) or the Stones (Little Red Rooster).
   Okay, so a lot of people played his music. But is it any good? A stupid question, of course. The answer is a loud, resounding, "Yes". Nine cuts of pure blues, with Willie providing the bass, the vocals, and innuendo-laced lyrics. But hey, it's the blues. As for the best songs, I'd say the top three are Spoonful, Back Door Man and Little Red Rooster, though I love every song here (You Shook Me and I Ain't Superstitious, by the way, get honorable mention). Although it's a blues album and recommended to any blues fan, it'll do well in a rock fan's collection as well.



5. Willie Dixon is one of the few that could name an album "I Am The Blues" and not have it be a brash overstatement. Where would the blues be without the songs on this collection, every one of which he wrote himself. The proof is the number of artists that have covered his songs over the years: The Doors, Led Zeppelin, Cream, Muddy Waters, Howlin' Wolf, Chuck Berry, Bo Diddley, Magic Sam, Sonny Boy Williamson, and Sam Cooke, just to name a few. Willie Dixon was an integral part of the Chess records label and the Chicago blues scene, but also could deliver as a performer. Unlike the Amazon reviewer, I found this collection to be worth getting. While Dixon may not be the greatest blues singer ever in terms of technique, he delivers with heart and feeling, which is what the blues is all about. The backing musicians are talented too; my only complaint is that the personnel and the recording dates are not listed in the liner notes. Aside from that though, this disc is a chance to hear a blues legend play some of his best known material, and if you are a fan of the blues (as I am), you will enjoy this one.

5 comments about Vietnam Blues: The Complete L&R Recording.

1. I've just bought this CD for the 4th time - along with Jack Dupree's "Blues From The Gutter", it's the one I give away when I really want to give, and turn someone on to the blues.
   
   It contains JBs last 2 albums before his untimely death in 1967, and represents the full flowering of his groundbreaking African Hunch style. JB was a popular Chicago electric blues musician who gradually evolved a new acoustic sound - syncretising a lot of what had come before, from gritty Delta guitar to barrelhouse-piano style syncopation, and more than a touch of gospel - but sounding fresh and modern; he was moving forwards not back. Sadly this style seems to have died with him; the world has not caught up yet.
   
   All tracks have JB on acoustic guitar and vocals (those words hardly doing justice to what he does with them); many with Freddie Below on drums (inventor of Rock & Roll no matter what anyone else says); and a few with Willie Dixon's atmospheric growling on backup vocal (Willie also produced).
   
   There's nothing else quite like this, though JB's 50's and early 60's Chicago recordings gave some hints of what was to come (a couple of his 50's hits are reworked here). The guitar work is simple yet complex, highly syncopated; the voice a flexible instrument, and the songs are just extraordinary - power and subtlety, tears and laughter, protest and acceptance, folk tales and modern living.
   
   I can't really explain it in words, just listen to some of the samples, bearing in mind the the whole experience is so much more so - at least hear "Alabama", "Mojo Boogie", "Move This Rope", "I Feel So Good", "Good Advice", "Vietnam", "Down In Mississippi", "Voodoo Music", and especially "Born Dead" and "Feelin' Good" ... heck, just get the album! What a trip it is - hearing this for the first time is like hearing Robert Johnson for the first time...



2. I knew Lenoir from Scorcesse's films "Blues History" . Hia social interests captivated me so much.



3. Most hardcore blues fans know of J.B.Lenoir, but if you're unfamiliar with him then this CD will be a revelation. He is a unique stylist, master guitar player, and profound lyricist. His singing is powerful, idiosyncratic and full of conviction.
   
   The cuts on this disc have been remastered beautifully, are full of depth and clarity. They represent the broad range of Lenoir's music, from biting social and political songs, through rocking dance numbers, to pieces in a more gospel or spiritual vein. Many of the songs foreground Lenoir's signature "African hunch" polyrhythm, a style as unique to J.B. as the "Bo Diddley beat" is to, well, Bo Diddley.
   
   If you can only get one Lenoir CD, get this one. You'll love it and it'll compel you to get everything available.



4. This CD is priceless. It is a ticket into another world. The amazing talent & raw heartfelt emotion of J.B. pours out of these songs and takes the listener on a journey. It is political, it's religious, it's sexual, it's unjust defeat, it's resurrection and it's definitely groovin. This is a glimpse into the heart and soul of a black man who lived and died during civil rights movement in the south. This CD gives the listener more than just great music, it serves up human feelings, the composition of life, and that's what the blues is all about.



5. I've only listened to the five excerpts from this CD, in addition to what portions I have heard on Scorsese's documentary, and I can tell you, this man's a genius. His sounds are pure and full of vitality after forty-plus years. He is unique and original; Lenoir's guitar work is rooted in Delta/acoustic guitar blues traditions, yet, in his riffs and songwriting, he displays the savvy hooks and songwriting skills of a contemporary pop tunesmith. Above all, J.B. is laid-back and downright cool--one can't help but sway, bump, and grind, to his swinging rhythms. I hope his relatives, if they are still with us, are getting a significant portion of these royalties. This man was, and is, an American Blues treasure!

   P.S. Mayall's song "The death of J.B. Lenoir" is also great; Lenoir seemed to "produce" great music even after his death! We are blessed for being able to hear, and to see (thanks to this new documentary) his incredible gifts after all these years!

5 comments about Better Days.

1. EVERYTHING about this is wonderful featuring one of the great harp players, multiple vocalists, styles and, even genres. If you like his sound this is IT.



2. Every track on this CD is an absolute gem. I'm a completist by nature and have every Paul Butterfield release. This is by far my favorite.



3. I've had this recording before, but it was stolen. I had to buy it again. Paul Butterfield is a great harmonica player, and this CD shows his talent. The recording is smooth and the band is great on this one. A must have for blues or harmonica enthusiast. Trivia Note: Paul had the glossy picture for the harmonica on the CD cover attached to the inside of his harmonica case.



4. i love this cd i searched a long time to find this cd i am very pleased with it



5. Paul Butterfield has always done a great job; bought this new in LP in 70's, some cleaning scag stole it in 90's; worth spending twice for it

3 comments about Blood Brothers.

1. I heard "Stop Drinking" and thought this would be a sensational CD.
   
   There are some vey solid Texas blues things along with that killer cut, but much of the material should have been scrapped, or at least refined, to make this a classic album.
   
   All in all, "Bllod Brothers" has got a bunch of very good things, a couple of pedestrian tracks and one performance that alone is worth the cost.



2. It never ceases to amaze me how well Kubek and King work together - the chemistry and cohesiveness are definitely there. The record consists of mostly original material, with some REALLY fun tunes!
   
   Most songs sound upbeat (although lyrics are pure blues) and provides SUPER driving music. The songs are crafted to be pretty easy to understand and get into, with catchy rhythm patterns and smooth, no-drama vocals by Bnois King. The blues are 100% Texas.
   
   The rock aspect of this record is also strong, and Kubek delivers some smoking solos, living up to his name. Bnois King contributes a totally different tone, and it's fun to listen to the two approaches combined.
   
   The CD is polished, produced by Kubek and Iglauer. There are really not many things wrong with it. The only improvement I could cite would be for Bnois King to diversify his vocal delivery. His ever-present vibratos don't fit to every melody, and a gruffer, less polished method of singing is sometimes more appropriate. That's a fairly minor gripe for an otherwise very strong record.
   
   The CD definitely has enough energy, mastery, and feeling in it to exceed 4 stars, so it gets 5.



3. Another consistent and strong effort of straight up Texas blues from this dynamic duo. "Smokin'" Joe provides his usual sturdy riffs. Bnois King tasteful rhythm work and distinctive vocals on tracks like "My dog's still walkin'" sound especially energetic on their Alligator records debut. No frills, no nonsense HOT Texas blues.

4 comments about Live at Montreux 1992.

1. Transaction was good and if your a Albert Collins fan this is a must buy.You won't be sorry.



2. Not only is Albert Collins a good musician. He's a good performer. The way he engages the audience and the way he makes you keep an eye on him because he knows he is the show. This performance at Montreux is something else. But of course the gem is his earlier performance with A C Reed on sax. The live disc with A C Reed singing Jealous Man will always be my favorite.



3. Albert Collins ranks as one of the greatest and most influential Blues guitarists of all time. However, material on him is rather scarce. The previously released concerts, interestingly, are all shot outside the USA. He has two great sets in Baden-Baden Germany which are superb, the 1988 one being the best. And his Japanese concert, with a day and night set, is also fantastic. This concert features Albert at Montreux at both ends of his career. The bonus set is from 1979, just after the release of his most influential LP "Ice Pickin'" and this set from 1992, just before his death in 1993.
   
   The bonus set is THE highlight and a "must" for Albert Collins fans. It only contains four tracks, but WHAT four tracks they are! He starts with "Listen Here" a standard opening he used for over ten years and this version is cool. His sound is muddy and distorted, with controlled feedback. This is not like his later "clean" sound. His first solo in this tune is unlike anything he has ever done with some controlled descending runs. I really loved it!
   
   He also goes out in the audience and plays at the beginning of the set-which is also highly unusual. He sits in the crowd and plays. Next he does a funky tune "Snatching It Back" which again turns into some wild improvisation. He then does "Cold, Cold Feeling" from his "Ice Pickin'" album and it, interestingly, is in a major not the usual minor key--really interesting. In the middle of the tune a young German fan gets up on stage and plays harp--it doesn't even distract Collins!! He just keeps on playing. Albert is cool! Albert King would have stopped the show!!
   
   The final tune is "Frosty" and it's a strong early version and we have the rare honour of seeing Albert jam with "Gatemouth" Brown as well. Brown also played with his fingers, had strong Jazz influences and used a capo on the guitar- so this is a very rare glimpse at Collins influences from a fellow Texan. These bonus tracks are very important to Blues DVD collectors as these are about seven years earlier than anything Collins has out. The band includes drummer Casey Jones and Sax player A.C. Reed who played with Albert through the years in the 1980s when he was finally getting the recognition he deserved.
   
   The main show is filmed in 1992 and shows us a tired and worn out Collins who features the band with him who played on his final tour (I saw him in Australia the final time in 1992 with this line-up). It includes the fabulous Johnny B. Gayden on Bass (one of the longest serving "Icebreakers" and the fantastic Peter Thoennes on second guitar. He also plays keyboards as well (on records), Collins could never say his name and always referred to him as "Pete". Jon Smith is also a great band member on sax. This band can also be seen on the "Ice Man At Mt. Fuji" DVD. Watch Thoennes meticulous guitar playing behind Collins on most tunes but in particular the slow blues.
   
   The main set in the Montreux DVD includes the standards that Collins ended his career with starting with "Iceman", not a great tune, but fun nonetheless. Collins makes a few mistakes and has his timing off but makes it all up by the end. Honey Hush begins as a disaster with the band falling in very late. Albert messes up the words too! This tune was the first one on his "Ice Pickin'" LP and was a great tune by Lowell Fulson. The third tune "Light Are On (But Nobody's Home)" is classic Collins and is also featured on most of his other DVDs. It is a strong version. "If You Love Me Like You Say" continues. It is a funky up-tempo tune full of Albert's distinctive guitar work. The next tune is the highlight; "Too Many Dirty Dishes", it features more of Albert's fantastic Slow Blues work. Great lines too, "Too many dirty dishes for just us two." "Who's been making dirty dishes with you"! So we get TWO slow ones on this set-very unusual.
   
   The set goes on with "Put the Shoe On The Other Foot" and Collins goes out into the crowd. Now he usually did this on "Frosty" so this is change as "Listen Here" is in the Bonus Material. He really gets the crowd going! There is a story that while playing in Antone's in Texas he went out the door and ordered a Pizza!!! Oh those long guitar leads!! Albert finishes up with "Frosty" again a strong version but much different than the one on the bonus tracks. Blues fans should be sure to get this disc. It gives us an insight into Albert's final days and while his game is off during a lot of this set, the tunes are good and you have to be in awe of Collins' mastery and originality on the Telecaster. No one can play like Albert Collins, his sound, minor key tuning, finger picking, use of a capo and attack are one of the most exciting styles ever in Blues music.



4. This is such a great live performance from the famous Montreux. I highly recommened this DVD or the CD. The DVD, however, has more songs than the CD.
   
   I was lucky to review it before the DVD is released on March 4th.

5 comments about Blues Blues Blues.

1. I just happened to stumble upon this recording and was blown away the moment I listened to it. Usually it takes me a few listens to warm up to a collaboration blues CD, but that wasn't the case here. Every track is outstanding and real blues at its best. I've recommended this recording to every blues fan I know.
   
   I love surprises like this!



2. I am very happy with the choice I made on this CD. I have many Blues CDs in my music collection but I listen to Jimmy Rogers All-Star most often. I never get tried of it!



3. I tend to stay away from collaborations and stick to the original blues recordings, but I read a few good reviews of this disc and when I saw the line-up of the artists on it, I thought I'd give it a try. Let me tell you, it doesn't disappoint at all. This CD has a good drive, a strong rhythm, excellent production values and will definitely pick you up. This CD has blues classics laid on a British rock foundation. It doesn't get too much into the rock territory, though. I thought a really nice balance was achieved between blues and rock, such that the strong drive is always there, but at the same time, this is unmistakably blues, with excellent piano and harp to add to solid guitar work. Even though there are a few prominent rock guitarrists assembled in this CD, there is no guitar shoot-out here. The guitars provide a solid, pleasant, easy-to-listen backing but never take over the songs as is often the case in pure blues. This is a great CD for driving - you will never get any highway hypnosis if you have this CD on. If you've stayed away from blues but like classic/British rock, give this a try. If you are blues purist and are suspicious of this all-star line-up, give this a try. If you are looking to ease smoothly into the blues scene, give this a try. If you like country rock, give this a try. I think you can't go wrong with this disc. This a good value for the money.



4. Anyone put off by the "all-star" supporting cast on this tribute to the late Chicago blues legend Jimmy Rogers, which is an understandable thing based on other such offerings out there, is missing the point. The point is this is a good, solid effort throughout the disc. If you're new to the blues, this is a good, accessible intro. If you're a longtime blues aficionado, this is still strong; this is not "blues for kids". He gets help from the best: Eric Clapton, Mick Jagger, Taj Mahal, Robert Plant, Keith Richards, Jimmy Page, Jimmy D Lane, Kim Wilson on harmonica, Johnny Johnson on piano, even Stephen Stills. I agree with some of the other reviewers that the last track, John Lee Hooker's "Gonna Shoot You Right Down (Boom Boom)" is good stuff. Rogers himself sings the vocals and plays guitar on the tracks and sounds great. He passed before the album was released, but musically, he went out strong with this one. Highly recommended for anyone interested in the blues.



5. I've always been a bit sceptical about these superstar collaborations...they don't always work too well, and sometimes the guest stars overshadow the supposed main artist. But Jimmy Rogers and his various all-star combos manage to pull it off really well.
   
   Sure, the arrangements are generally very similar all the way through, which does perhaps detract a little bit from an otherwise fine performance, but this is actually a very accessible and fun blues record. It doesn't just appeal to hard-core blues fans, more mainstream rock- and R&B lovers can certainly enjoy it as well, and Rogers and his guest musicians have hand-picked some real blues classics, and they generally do very well by them.
   
   The album opens with a faithful take on Muddy Waters' "Blow Wind Blow", with excellent harmonica by the Fabulous Thunderbirds' Kim Wilson, and lead guitar by white blues-rock guitarist Jeff Healy.
   Jimmy Rogers' own "Blues All Day Long" has Rogers sharing lead vocals with a certain Mr Eric Clapton, who also plays lead guitar. Carey Bell lends a hand on the harp.
   On a gritty reading of the classic "Trouble No More", Rogers shares the lead vocals with Mick Jagger, and Keith Richards plays lead guitar.
   "Bright Lights, Big City" is another Jimmy Rogers-original, with Taj Mahal behind the microphone (he is also featured on Rogers' "Ludella"), and Lowell Fulson appears along with harpist Carey Bell on Memphis Slim's "Everyday I Have The Blues".
   
   The all-stars also do the inevitable take on Robert Johnson's "Sweet Home Chicago", with Stephen Stills (!) contributing lead guitar and co-lead vocals, and Stills pops up again on Big Maceo Merriweather's "Worried Life Blues".
   Mick Jagger can't quite match Sonny Boy Williamson II on "Don't Start Me To Talkin'" (Keith Richards plays lead guitar again), but "Goin' Away Baby" is pretty well suited to his voice, and Eric Clapton and Jimmy Rogers do a fine rendition of Rogers' "That's All Right".
   
   The album closes with an alternative rendition of John Lee Hooker's "Boom Boom" (retitled "Gonna Shoot You Right Down"), with - get this - Eric Clapton and Jimmy Page on guitars, and Robert Plant sharing lead vocal duties with Jimmy Rogers!
   Rogers himself is in fine voice throughout, in spite of the fact that he was in his seventies at the time, and died before the album was released. The near-legendary blues- and R&B pianist Johnnie Johnson's dextrous playing belies his age. And finally, as a special treat for Hound Dog Taylor-nostalgics, the swivel chair is occupied by none other than the Houserockers' 66-year old drummer Ted Harvey.
   
   Definitely recommended.