5 comments about Years Gone By.

1. The legendary Albert King's first Stax release was the groundbreaking, earth shaking Born Under a Bad Sign, a collection of singles named for the song keyboardist Booker T. Jones and singer William Bell wrote with Big Albert in mind.
   
   Stax sent the new King of the Blues in the studio in 1969 to record this, his first official studio album. "Wrapped Up In Love Again" sets the album off. An even better, tighter version of the song was released as a single. This type of Soul/Blues with its rockin' tempo is something nobody has ever done better than Albert King. On the other side of the coin is the album's closer "The Sky Is Cryin'". Stevie Ray Vaughn's version of the Elmore James staple is pure Albert, but of course Vaughn never had Producer Al Jackson, Jr. as a drummer - Wow!

   Nobody's ever come close to Jackson's snare sound, right up front on the great "Heart Fixin' Business". Jackson and his fellow MGs display their unmatched interplay throughout, particularly on Howlin' Wolf's "Killing Floor" and on the delightful "Cockroach", a song that finds King's woman forcing him to sleep on the floor while a big ole cockroach is lookin' up at him. It features one of the most superb bass lines you'll ever here courtesy of King's fellow pipe smoker Donald "Duck" Dunn and brilliant work by Jackson. The great slow Blues of "Drowning On Dry Land" is yet another Albert King masterpiece. This is followed by an instrumental version that is just awesome. It's like a really hot MGs instrumental, complete with great rhythm guitar playing from Steve Cropper, with the added greatness of King's string bending leads. Al Jackson arranged this, and it is perfect. The Memphis Horns, Booker T. Jones's piano, King, Cropper, Dunn, and jaw dropping drumming by Jackson. Incredible!

   Try and get the U.K.'s Ace Records release of Years Gone By - Plus. This will give you such great finds as a never released version of Ray Charles's "I Believe to My Soul" and a beautifully done alternate version of "As the Years Go Passing By", where Jones's B-3 organ leads the way as opposed to the horns and Jones's piano on the original classic.

   This album should never be lost in the shuffle amongst more seminal King works such as, naturally, Born Under a Bad Sign. It is a great production from the greatest Blues guitarist and greatest band of all time.




2. This set was Albert King's first intentional LP. His most famous record, "Born Under A Bad Sign" had been a compilation of singles he'd recorded in sporadic sessions at Stax. This was meant to be a proper album. It is interesting that his very first LP, "The Big Blues", for King Records, was also a singles compilation. This record is important for a number of reasons; First of all he is in his prime. He is playing straight blues with some soul arrangments. His guitar has about the best sound he was ever able to achieve. Later albums, such as Lovejoy and I'll Play The Blues For You, he became more experimental and sophisticated. Which is alright, but this CD had him as raw as he every got. The tracks are excellent. "Wrapped Up in Love Again" is a self-penned song that also became a rare single. He borrowed his ideas for this tune from some earlier blues standards of the 1940s like he did with "Blues at Sunrise". "You Don't Love Me" is his famous instrumental version of the Willie Cobb tune, this is as raw has his sound ever got!!! Check out the bends in this! "Cockroach" and "If The Washing Don't Get You The Rinsing Will" are typical of the wily humour in the 1960's Stax writing team. I particularly love Cockroach! "Drowning On Dry Land Parts One And Two" are equally raw and are classed as one of his best efforts. It is interesting that Albert never gets the lyrics right and he does a mix up of the middle of the song and also exclaims: "my nose are in the sand!" He did this on the alternate take as well! To hear the proper lyrics listen to O.V. Wright's soulful version. However, Albert's is real, it's great-what the blues is all about! It is honest music!
   
   "Heart Fixing Business" and Little Milton's "Lonely Man" are included as tunes with different tempos and I would guess were done to augment this LP's dancablitiy. He does a cover of his own "You Threw You're Love On Me Too Strong" and the track is interesting as it is the only mono track and it is mixed poorly. I have always thought that is was included to make up the LP (they were always 11-12 sides in those days!). Finally there is the classic "The Sky is Crying" unlike Elmore James, Albert does not play slide and does some great and deceptively simple bending solos. Stevie Ray Vaughan thought this was the best ever. Now on the alternate take which you can hear on "Hard Bargain" I think his playing is even better. It is interesting that the Stax people probably thought that his other version was too long for one song (in those days) and put on "Too Strong" instead. Oh well, this is a great and historic CD. I would also buy his "Hard Bargain" CD as well for the extra singles and out takes from this period at Stax. "Years Gone By" is a great record and is topped off with a great cover photo from the Fillmore West.



3. I bought this album many years ago and rediscovered it when I got into Chris Cain and Stevie Ray Vaughn. You can tell both these guys took a lot from this record. In fact Stevie once said "Drowning On Dry Land" was one of his absolute favorites and you can hear a lick in "Texas Flood" that is taken verbatim. I absolutely love this album. To me, "Killing Floor" is the best solo Albert ever recorded. And "Wrapped Up In Love", and "The Sky Is Crying"? Wow! Every track is filled with soulful vocals and that stinging guitar that no one can do with the same intensity.



4. I first got this c.d in England where it came out as "Years Gone By ..PLUS!" "Plus" meaning that it had 11 extra tracks!
   (Quite a few of the extra tracks were taken from Alberts other c.d "Funky London") I wouldn't be able to hand pick a favourite track because they are ALL GOOD, and this is very rare when you are buying music."Drowning on dry land" is great as is " Don't throw your love on me too strong". Albert had a way of really digging deep and acheiving those two octave bends on his slow blues songs.
   This U.S version still features the best tracks, and if you are searching for the BEST Albert King...then here it is!
   His guitar can be heard nice and loud and can strip paint off walls easily.... his voice is absolutely in immaculate shape...and just look at that 'psychedelic' cover art work (originally from 1969). ---That picture was once available as a full size poster, and is the grooviest snap of Albert...One that even Austin Powers would be proud of.
   Just remember what Joe Walsh said about Albert....quote" Albert King could blow Eddie Van Halen clean off stage with his amp just on 'standby'!!"
   This c.d testifies to this statement accurately.



5. Ever had a shot of straight Jack Daniels? That is exactly how hard and raw Drowning on Dry Land is. I fell in love with this CD the first time I listened to it. This is Albert King at his rawest. The guitar licks on tracks 7&8 can burst an eardrum if you turn up the volume a little. I have several Albert King CD's and this has been an excellent addition to my collection. If you're an Albert King fan, this is a must-have!

5 comments about Buddy Guy & Junior Wells Play the Blues.

1. Im a big fan of buddy's and this is a good album. Wish I could have seen these guys live.



2. I bought "Buddy Guy & Junior Wells Play the Blues abum" when it first hit the rack.
   Then again about a month ago. It had the same effect as it did back then...I put it in the cd player, sat down and didn't get up until I'd heard every song on the cd.
   It is Buddy Guy and Junior at their very best.
   Rickey Noel Mitchell



3. This is a classic album - full of raw power, funk and foot tapping drive yet somehow doesn't seem to take itself too seriously. Not just for the blues zealots, this album may actually manage to bring the willfully ignorant into the light!



4. This is a spirited rendition of the work of Buddy Guy and Junior Wells, two of Chicago's leading lights in the blues world. Junior Wells' harmonica playing and Buddy Guy's guitar work set a sound foundation for this CD. This was a re cording spearheaded by Eric Clapton as his Derek and the Dominoes album was being finally mixed. And we are fortunate to be able to listen to the results.
   
   Backing instrumentals are played by the likes of Clapton, Dr. John (on piano), and J. Geils (guitar), among others.
   
   Some cuts illustrate their work. "A Man of Many Words" is a clean sounding, contemporary blues song. This does not look back toward the delta or the early Chicago sound. Clapton's guitar playing is interesting and spirited (although maybe a bit overdone). The vocals are smooth. Some nice wording:
   
   "I know I rap long and know I rap strong,
   Come on mama let me turn you on."
   
   "T-Bone Shuffle" is one of T-Bone Walker's songs. Here, Buddy Guy and Junior Wells do a nice job with their cover. The sound is simpler than with "A Man of Many Words." The ensemble playing is very good. Vocals, again, are nice, as they play with lines like:
   
   "Tell me what the reason
   You keep on teasin' me."
   
   "This Old Fool" is another fun cut. J. Geils joins with guitar here. Buddy Guy sings against a really insistent beat, with the rhythm section playing splendidly. Magic Dick's harmonica adds to the whole sound. There is a great blues sensibility to this song. The end of the song features some fiery guitar work.
   
   So, this is a nice view of the work of Buddy Guy and Junior Wells. The session that was recorded here is lively and has a spontaneous feel to it. Well worth listening to.



5. This album is a favorite of mine, I bought it from Amazon nearly two years ago and it's already pretty much worn out. Buddy Guy and Junior Wells make the blues fun and exciting with songs like "man of many words" and "T-bone Shuffle". If you want great blues that is more of the modern, faster paced style then try this album. The guitar parts are simply amazing, and in closing I just want to say that each song on this album is awesome. There are many blues artists out there that are famous, and none more so maybe than Buddy Guy. Junior Wells died in 1998 but his harmonica playing on here is sweet and contagious. I think this is a great album because it puts two truly great musicians together to tell the storybook music that is blues.

5 comments about Little Milton - Greatest Hits (Chess 50th Anniversary Collection).

1. Little Milton Campbell was a popular blues/R&B singer of the 60's and early 70's. This collection shows that he was a talented singer and musician, and while he was more R&B than blues, his songs often had the bluesy feel that one would expect from someone performing on Chess Records.
   
   "We're Gonna Make In," "So Mean To Me," "Man Loves Two,"" Who's Cheating Who?" and "We've Got the Winning Hand" and many of the other cuts on this record are entertaining and harken back to an era when the lines between blues and R&B seemed indistinguishable. This is an excellent collection.



2. I bought the album for the song grits ain't groceries, however, the rest of the song are also great for the listeners who like 70's rock and blues music and should be added to collection. I like the album



3. Little Milton was a powerful, expressive singer with a silky baritone, and like Junior Parker and Bobby "Blue" Bland, he traffiked in bluesy r&b. He recorded for three legendary labels (Sun, Chess and Stax), enjoying his greatest success with Chess.
   
   He recorded well into the nineties, and if you like what you hear here, 1990's 'Too Much Pain' comes highly recommended. (Don't miss the recent 'Stax Profiles', either.)
   
   This collection is a generous cross-section of his sixties output for Chess, and it's good 'n greasy. Tracks like "We're Gonna Make It", "Blind Man", "More and More", "Let Me Down Easy", "Grits Ain't Groceries" and "Who's Cheating Who?" are meaty slabs of smoked-to-perfection, barbequed southern soul.
   
   Unfortunately, some poorly-chosen tracks from 1970's 'If Walls Could Talk' close out this disc. Their arrangements are Vegas-style cheese, and Colin Escott notes in his essay that Little Milton's arranger, Billy Davis, left Chess Records in 1968 to join an advertising agency. It shows.
   
   There are better tracks on 'Walls' than "Let's Get Together", "Poor Man's Song" and "Baby, I Love You" (his remake of Guitar Slim's "The Things I Used To Do" and Robert Parker's "Blues Get Off My Shoulder" are two), but no compilation is perfect, is it?
   
   If you can get past the weak ending, forget about the napkins when you place your order. This is so good you'll want to lick your fingers.
   
   
   
   
   
   
   
   
   



4. Little Milton Campbell arguably recorded his grittiest and bluesiest songs for Sun and Bobbin before signing with Chess Records in the early 60s; tough blues and R&B like "If You Love Me", "That Will Never Do", and "Lookin' For My Baby".
   
   But he cut several excellent sides for Chess as well, as is evident on this 16-song compilation, an expanded version of the 1972 LP "Greatest Hits". Campbell's rendition of "Just A Little Bit" is marred by some of the most hideous organ playing I've ever heard on a Chess waxing, and is much lesser than Magic Sam Maghett's recording of the same song, and the horn section really goes overboard on a couple of numbers, but most of what's here is good or even great.
   The swinging, melodic numbers "We're Gonna Make It" and "Who's Cheating Who", and the plaintive but gutsy "Let's Get Together" are among the best songs here; swaggering, three-minute, mid-tempo soul stompers performed with power and conviction.
   The lesser-known "We Got The Winning Hand" is another highlight, as is the mournful slowie "Let Me Down Easy", Milton's smooth reading of Chuck Willis' "I Feel So Bad (I Shake My Head And Walk Away)", and of course the classic "All Around the World (Grits Ain't Groceries)".
   
   Little Milton's Chess sides weren't really blues at all. There is some classy R&B here, but this is soul music first and foremost. Soul music with a bluesy edge which sets it apart from that of Chess Records' other soul singers, but soul music never the less.
   But that's okay. I would have liked a bit more grit, sure, and MCA could easily have fitted another ten songs onto this disc. But what is here is certainly good early Chicago soul, and the late James Milton Campbell was an excellent, expressive singer and a fine guitarist.



5. My favorite songs on this gutsy blues singer's CD are Blind Man, Let's Get Together, and Let Me Down Easy. Listening to Little Milton takes me back to the 60's when we use to have rent parties for a whole weekend, and listen to blues singers while we cooked, partied, and sold food. Also brings back memories of sitting on the back porch at night in the summer, while Little Milton, Bobby Bland, Sam Cooke or some other blues singer from that era played on the record player. Milton's gut-wrenching singing is what I call "soulful blues".

5 comments about Made in the Shade.

1. discovered red stick ramblers, by chance, playing in Knoxville TN a couple of years back and became an instant fan. this latest album highlights the continuing maturation of a band with an original sound yet timeless quality. much recommended for those who appreciate some cowboy swing, cajun sounds and good party times



2. Their recordings are great but to see them live is the best treat of all. I have gone out of my way several times to see them live and every time these guys really shine. They are all fantastic musicians. If they come to your town don't miss them.



3. Louisiana's Red Stick Ramblers are the Pelican State's answer to the late, great Hot Club Of Cowtown - a lively, good-natured and remarkably diverse acoustic string band. Mixing Cajun music, Western swing, and good old-fashioned honky-tonk country, the Ramblers prove themselves as one of the most confident and musically accomplished bands on the Americana scene today. This is their fourth full-length album; hopefully there are plenty more to come! (DJ Joe Sixpack, Slipcue Country Guide)



4. The RSR freely admit they are not purely swing, Cajun, or anything else. Whatever they do, though, they do really well. Really talented bunch of musicians.



5. Wonderful Cajun swing music. As a non-Cajun, I find many Cajun singers to be lacking. Not this band!! Great fun. See them live for an even greater treat!

5 comments about Bad News Is Coming.

1. I can't say too much that listening to the samples above won't more eloquently say for themselves..stripped down, visceral, authoritative blues. If you like blues, this one's a keeper!



2. I don't want to review this cd as much as I want to implore you, the person reading this, to treat yourself and buy it. Out of the 100's of cd's I've owned and listened to, this is the most soulfully smooth music I've heard. This album is an unknown classic. Allison's voice rock's, his guitar work stings, the piano is perfect. Track after track this cd is either perfectly sexy, painful, funky, or rocking. Why this guy wasn't hugely popular is beyond me. Buy this cd and then buy it for your friends. They'll love it too--Peace



3. "Bad News Is Coming" was Luther Allison's debut album and from the first track, (his version of Willie Dixon's "Little Red Rooster"), he EXPLODES with an intensity that is refreshing every time I hear it. He belted out his vocals in a raspy, impassioned wail, and his guitar playing was just as searing. This should have been a smash, although the blues market was drying up by the time this was released in 1972 and it ultimately didn't sell in big numbers. Luther Allison himself is quoted in the liner notes as saying that he got lost in the shuffle when Motown moved from Detroit to L.A. Luther Allison was an amazing guitarist and unfortunately remains underrated. Songs like his own "Raggedy and Dirty" are perfect examples of how he could play the blues over a funky groove and just sound plain DIRTY. I don't know how else to describe it. He didn't hold anything back on this album. Also notable is the piano playing of Paul White, who has some great solos on this one. If you are a fan of the blues and haven't heard Luther Allison, this CD serves as a good introduction to this unsung performer.



4. An incendiary guitarist and all-around performer...I first came across Allison's "Serious" back in the mid-80's, and the power of his voice and that nasty slide guitar had me hooked from the start.
   
   I first dug up a dusty vinyl copy of this Motown release, and was struck by it's sound. Generally simple arrangements, but they conveyed a young Allison's determination. As far as I know, he was the only blues artist on Motown, at a time when the label was still in power on the production of soul/R&B hits for the Supremes, the Temptations and the like.
   
   Mostly standards, Allison tears through "Little Red Rooster," "Evil Is Going On" and "Dust My Broom" and makes them his own. The funky "Raggedy and Dirty" remains one of my favorite personal tracks, and I detect a little Jimi Hendrix in there somewhere.
   
   On this CD, the bonus tracks are a great addition, Allison's version of "Sweet Home Chicago" and songs like "Take My Love" really filling things out.
   
   A great document on the early Allison. His roots weren't just in the blues, as his career would bear out. I can't say enough about this one, it's special in more ways than one.



5. This album is simply a classic. A must have for ALL music fans across the world. I'll finish this review with this:

   Luther Allison is the finest entertainer to ever walk the face of the earth!

5 comments about Anthology Of American Folk Music Volume 4 (Edited By Harry Smith).

1. It's hard to imagine that anything could be better than the original Folkways box set (Volumes 1-3), but this album is. Everything I love about V1-3, there is even more of here. The eerie juxtaposition of darkness and jubilation pretty much sums up the whole 20th Century in an hour and a half. Yes, it's short and pricey, but better in my mind to preserve Smith's original vision - after all, he scuttled the original release of this album in order to stay true to that vision.



2. it's an excellent collection. I mean, for about the price of two of these you can almost buy the original 6-CD Anthology. Fortunately, the songs are beautiful, and like the original Anthology, way weird. The Carter Family cuts are scary in their dead-pan beauty; Bukka White's Parchman Farm Blues is one of the saddest blues ever and the Blue Sky Boys' On the Bank of the Ohio is sort of like Jim Thompson's The Killer Inside Me meets Bill Monroe. A great selection.

   Is it worth the hefty price though?




3. The price is too high and the discs too short. It really does lack the magic of the original mainly due to the lack of Harry Smith's original notes and overall design. What it does have is a brilliant biography of Smith who was an all around oddball and flake (he refused to release this originally because the label wanted to include a pro FDR song!). However he came about compiling this list from his enormous collection (shortly before he sold it the New York Public Library), the result is a brilliant mix of obscure and known tracks from the depression.

   So, if you liked the original, you know you are going to buy this someday (where else can one find such an appreication for jug band music?). If you are a fan of "Race and Hillbilly" like me you'll give blood to get this.




4. Volume 4 fits very well with the previous three. There are a lot of old-time music anthologies out there these days but there's something going on with Mr. Smith's work that seems to be lacking in the others. I find all of the tracks of Vol-4 to be memorable performances. The Leadbelly cut particularly sticks in my mind, but on another day I might single out any of the others as well.

   The accompanying notes are extensive & well-presented although it's black ink on dark brown paper in tiny font, so the reading can be tough. And you are paying for the presentation in the pricetag.

   I was half-expecting to be disappointed by this album because the earlier release was so important to me, but it turns out that this one makes for great listening as well i.e. it has the elusive 'HS-factor' going for it too. If you are the type of person who got changed by the 3-Volume Folkways Anthology, then you will dig Volume 4. Really, it's been a rumor for so long .. it's incredible that it is now generally available.




5. Thanks to John Fahey and The Harry Smith Archives 'The Anthology' has now been respectfully completed (sans Harry's original liner notes and design). Volume 4 is a well qualified supplement to 'Smithsonian Folkways' volumes 1 through 3, and is very close to what Harry originally intended. The Monroe Brothers, The Carter Family, The Memphis Jug Band, Leadbelly, Sleepy John Estes, Bukka White, Uncle Dave Macon, Robert Johnson---the forgotten folk masters who became American icons after Harry shared his record collection with us in 1952---are represented here with outstanding performances. Not to mention the several artists you possibly haven't heard---just revel in the acapella beauty of The Heavenly Gospel Singers 'Mean Old World'. Aside from wondrous historic music 'Volume 4' is another loving tribute to the eccentric genius of the irascible Harry Smith. Without this offering, you certainly don't have the entire 'Anthology', and although the packaging doesn't match the Smithsonian set, it is very nicely done---just don't try to put it in your plastic CD rack. If you're into your folk roots don't miss this one!

   Jim Otterstrom

5 comments about Deuces Wild.

1. I'm sure this was a fun cd for BB King (and friends)to make. If you have any "soul" you can't sit still to the Heavy D jam. I LOVE EVERY JAM! The Van Morrison cut is the BOMB, Dr. John, ALL of them bring something to the table. U can also "hear" the respect they all have for each other. I'm sure they enjoyed making this CD. I think they did a wonderful job and it's a really a well put together cd. THEY ALL GOT DOWN for BB!!! HAIL TO THE KING!!



2. First let me point out to my loyal "The King Of The World Blues Reviewer" fans: Obviously BB is an all-time icon, but he is not in my personal top 6 electric blues guitarists, nothing negative in that statement, he's just a little too sedate for me overall. Now, moving on to the review. Talk about the word "fun"! If you could use that anywhere, it is here! BB performs "duets" with everyone from Van Morrison, Tracy Chapman, Clapton, Bonnie Raitt, The Stones, Joe Cocker, Willie Nelson, and a few others. BUT! THE MOST FUN ONE OF ALL, THAT ME AND MY SON SHAQ JR. LOVED, WAS WITH THE RAPPER "HEAVY D"! They perform a rap/rock duet, where "Heavy D", talks about making a "move" on BB's sweetheart "Lucille"! I'm sure anyone reading this review knows who that fine lady is! This CD is a definite "buy" and can be enjoyed by all ages, and musical tastes!



3. While not the greatest blues album of all time or even the best from B.B. King, this is still a very good blues album that is a lot of fun to listen to. Album is worth the price of admission just for 'The Thrill is Gone' with Tracy Chapman. My favorite version of that song not to mention great cuts with Van Morrison, who in his own right is a great blues sing, Eric Clapton, and more. Just sample the first three cuts and you will be hooked. Sure there are a couple of sinkers on the album, like BB trying to do a Hip Hop song, which makes me a little sick to my stomach right before a I hit the forward button. The gems far our weigh the sinkers (which are few) and if you don't take the album so seriously you may end up really enjoying yourself. If you like BB King or just want to get more into the blues this is a great place to start. Also, BB's album with Eric Clapton - Riding with the King - is also very good.



4. A few years ago, before I moved to Minneapolis, I was in town visiting a friend and was having a hard time finding my way back to his house at night. Because I was trying to find the correct street that lead to the freeway I was having problems concentrating on the radio, so I gave up and left it the radio on the next station to come up on seek. It happened to be the local blues station playing "The Thrill is Gone" by B.B. King and Tracy Chapman (from this album), and a few seconds later the blues had a new fan.

   With one or two exceptions, the entire album is great.

   Highly Recommended!




5. Okay folks . . . take it from me. Buy this album. But please promise me to buy another couple of albums if you like this one, okay?

   I don't care if you've new to the blues, have never before heard a BB King song before, or have never seen BB King in concert. This is perhaps the best introduction to the blues as you'll ever hear. From the Rolling Stones to Heavy D, there's something for everybody.

   Typically the phrase "something for everybody" means lukewarm acceptance across a wide range of genres. I tried so hard to hate this album, but I just can't help loving it. Every artist here really sounds like they're pouring their best into the recording.

   I defy you to tell me Bonnie's not leaning back and gritting her teeth when she plays slide guitar. Tell me that Heavy D wasn't breaking more than his usual room-temperature sweat when BB kicks the track back to him. My money's on Mick Jagger wishing he had some of Keith's alcohol-sodden blood running in his veins when the first few riffs of BB's guitar hits back harder than Mick expected.

   Now that you've listened to it, go buy Blues on the Bayou. Then buy a Susan Tedeschi album. Grab some Little Milton too. Oh, and it wouldn't hurt at all to round it out with some Albert King, Ronnie Earl, and maybe some Johnny Lang or Kenny Wayne Shepherd if you're feeling spunky. But overall, shame on you if you don't have any John Lee Hooker!

5 comments about The Best of John Lee Hooker 1965 - 1974.

1. This collection of John Lee Hooker's recording from 1965 to 1974 is intended to redeem an otherwise misguided period of his career. Like many other blues musicians, John Lee was rediscovered during the folk revival of the early 60s and hustled into the studio to cash in. Because John Lee was a post-war Delta bluesman, he wasn't solely an acoustic act. His boogie style was well served by an electric guitar and backing musicians.
   
   If you listen to the full releases from this period, there are a lot of missteps and ill-conceived experiments. But John Lee's genius is too brilliant to hide. Some great tracks appear among the gaffes.
   
   This collection was lovingly put together by someone who really knew John Lee's music, especially from this period. This CD cherry-picks the best tracks from this period. Serves You Right To Suffer, Backbiters and Syndicators, The Waterfront, and The Motor City is Burning are stunning instant Hooker classics. The eerie I'm Bad Like Jesse James is the closest you'll come to pure, unadulterated Hooker.
   
   The collection includes fine re-recordings of Hooker classics One Bourbon One Scotch One Beer, I'm In The Mood, and House Rent Boogie. While the new versions don't surpass the originals, they show a more mature, experienced Hooker at the helm.
   
   I disagree with other reviewers who say that this collection of songs is not "essential." While it is not the only Hooker CD you should own, nor is it an adequate introduction to his entire career since it focuses on only a 10 year period, it certainly belongs in your blues collection and is a joy to listen to.



2. Been a fan of John Lee since I first heard Boogie Chillin.' Was hangin' out in Roanoke, Va and found this on 8-track in '77. Used to ride around in my car and everybody riding with me got hooked on Doin' The Shout. Lost the 8-track somewhere. Played the grooves off the album. And was out of luck trying to find this piece because ABC-Bluesway went out of business. Then Bonnie Raitt rediscovered Hooker and got a grammy with In The Mood. Pissed me off. Hooker has recorded over 200 albums and In The Mood has got to be on at least 110 of them. HE NEVER GOT A GRAMMY! Felt a little better when everybody else started rediscovering The Man. Reissues started to appear and lo and behold, I was looking in a store one day and here was my favorite recording on cd. Twas a good day in the neighborhood. Now I can expose new friends to the wonderous works of John Lee Hooker. Come on, we're Doin' The Shout!



3. This disc was my introduction to the music of John Lee Hooker and it proved to be worth every penny. This CD is full of classics and is also a good way to hear some of the best tracks off of the currently out of print albums "Urban Blues" and 'Never Get Out of These Blues Alive". The liner notes are in depth and explain how John Lee's music went through some changes during this period of his career in order to have more of a commercial edge with the fickle blues buying public of the time. I don't think John Lee sold out by any means, this is unmistakeably his sound on this CD. This disc captures all aspects of John Lee Hooker's music: the uptempo ("One Bourbon, One Scotch, One Beer", "Mr. Lucky"), slow blues ("Decoration Day", "The Waterfront"), celebrity duets ("Never Get Out of These Blues Alive" with Van Morrison), and live jams (I'm Bad Like Jessie James" where he is backed by Muddy Waters' band). This disc also contains my favorite verson of John Lee's "Bluebird", which includes some studio chatter from the man himself where he jokes to his band that the Albany Street he refers to in the song is where all the pimps hang out (!). If you are a fan of John Lee Hooker or the blues, this is a great collection to have.



4. I can't remember when I first heard Johnny Lee but I was a teen-age guitar-player-wanna-be. Must have been around 1969 or 1970. He's been my favorite blues man since then. This collection is my favorite and presents Johnny Lee in a wide range of moods - tender (Waterfront), intimidating (Bad Like Jesse James), joyful (Doin' the Shout), down and out (Back Rent),happy (Mr Lucky), hot-nasty (Shake it Baby) and so on.
   
   The track "Never Get Out of These Blues Alive" features a young Van Morrison as a guest vocalist.
   
   There's something really incredible about a guy who can hold your attention for 70 minutes while playing mostly one and two chord vamps, beating out a tempo while stomping his foot on the floor, and singing in that deep, deep blues voice of his. It never gets old.
   
   This is a fantastic introduction to one of the truly great artists of the 20th century.
   
   Boogie Chillin'



5. A nice sampling of Hooker's recordings for a variety of ABC labels that are sometimes overlooked. Calling these recordings essential is nonsense as it includes none of the stark, compelling solo or duet Detroit recordings nor as strong as the finest of the Vee-Jay recordings (The original Boom Boom or Dimples for example), but still these are better than many of Hooker's later recordings and no offense to the superstars who helped elevate Hooker's profile and made some of his last recordings so enjoyable, but I would as soon hear these recordings which include the late Eddie Taylor on second guitar and the late Louis Myers on harmonica on some tracks. Motor City is Burning, his reaction to the Detroit riots is perhaps the most compelling single track here. Unfortunately these recordings and the wonderful colloboration with Canned Heat, Hoioker and Heat were followed by over a decade of Endless Boogie before a bit of musical healing. This is a solid collection recommended to Hooker fans, but not one that is essential

5 comments about Texas Flood.

1. I just got this SACD and have a few comments about its sound quality, which is a bit disappointing. First of all, it's a STEREO SACD (as opposed to a multichannel one) and it does not play on a regular CD player as most other SACDs do (as the product info on Amazon rightly points out). And on my surround system the sound of this recording is poor (compared to any other SACD or DVD audio that I own; actually, even compared to most regular CDs I own!). The 2 stars are just for the sound quality, not the actual music!



2. Gotta admit, definitely better than the regular or remastered cd.
   I'm able to pick up a little better what his hand is doing as it crosses
   strings. His ability to use all of his hands (fingers, palms) to drive rhythm and timing was just exceptional. Never did get a chance to see this man play.
   
   Still looking for the other SACD version of "Couldn't stand the Weather". Not all stereo sacds provide enough there to improve on the regular cd.
   
   Best SACD stereo mix bought to date is the "Dances with Wolves" soundtrack.
   
   
   That said, peace SRV



3. I just love this cd, perfect blues played by a great guitar player and his band. If you want to be introduce to blues, this is the way to go.
   You'll love this album. We miss you Stevie Ray !



4. I strongly agree with Mr. Steinhauer's comments regarding the quality of this SACD release. If you enjoyed the LP (as I have for many years since it's original release), you will rediscover how good this recording is (and of course the music itself). For reference, I am playing the disc on a McCormack UDP-1. Both clarity and depth are outstanding. Man, this is good SRV. (Now I wish there was an SACD release of "The Sky is Crying!")



5. I respectfully disagree with A Music Fan from Ellensburg, WA USA - listening both on a friend's Marantz player, and my Esoteric transport / DAC combination, there are distinct differences between the CD release and the SACD on both systems. The SACD provides a delicious sense of depth and dynamics, and 'air' on the live tracks, that is lacking on the Redbook release. In addition, the shimmer of cymbals and the attack and release of SRVs guitar work (whether during ferocious or quiet work) is much more detailed and distinct on the SACD - the leading and trailing edges of notes are much easier to discern and follow.

   In any case, you can't go wrong with this disc. Highest recommendation!

5 comments about Showdown!.

1. I cut out and kept a magazine review of Showdown! for about 6 years before I finally picked it up. To (loosely) quote the reviewer, "Whoever got these three guys together in the same studio, at the same time, deserves a goddam medal."
   Right on.



2. A wonderful mix of two old Texas slingers and a youngin',sharing, stomping' and blastin' the blues like nobody else.
   This could have been an absolute disaster, what with this much talent in one room.
   Fortunately, the classy side of these giants prevails and we are left with a remarkable gift. The mutual respect just pours out of the speakers as you hear these guys compliment each other not attempting to out gun each other.
   This could arguably be called the best modern blues collaboration ever....
   B.B. & Bobby???
   Stevie Ray & Albert???
   Clapton & King???
   Albert & Moore???
   I'm open for suggestions 'cause there are none I know of.
   Wrap yer head around this Blues Summit and be prepared to witness some of the sweetest sounds ever wrung out of Fenders!



3. Showdown is one of the top two or three blues guitar collaborations of all time. Albert Collins, Johnny Copeland, and Robert Cray, all on one record? Unbelievable. But that's what happened, and the result was magic.
   
   All three get a chance to show their chops, and all three were on top of their blues guitar game recording this record. The energy, skill, and unbridled joy at performing with talented musicians always brings the best out from other talented musicians. Every cut is excellent.
   
   It's a shame that Showdown could have been repeated more often than twice. Both Collins and Copeland are gone, leaving Cray to find other blues greats to jam with, but we will always have Showdown to remember when.



4. Man this is one great blues guitar album. It may be listed under Albert Collins, but this is a true collaboration as one reviewer put it two estabilished stars on one up and coming star. Robert Cray really shines here and is much bluesier then you will find him on his own albums. All three share in the vocal duties and the guitar solos. No one plays over each other - it's a great collaboration that results in a great album. Just listen to the first cut and you will get a good taste of what is in store. Buy it and enjoy.



5. I just came across this disc recently, while I was doing searches on Johnny Copeland's records. When this record came up, I was surprised to see Albert Collins, Johnny Copeland, and Robert Cray play together, but now I know that both Copeland and Cray were Albert Collins' proteges when they were starting out.
   
   So in other words, it's kind of like a blues family reunion, and that is exactly how this CD feels. It's a meeting of the blues admiration society. You can hear it from the respect each musician pays to one another on record and how they talk and respond to each other.
   
   Collins, Copeland, and Cray work incredibly well together. The tunes they put out are nothing short of stellar - intense, soulful, masterful, emotional Chicago blues from guitar virtuosos.
   
   -"Hey Albert!"
   -"Hey, yea, what's happening Johnny?"
   -"You got your harmonica with you today, man?"
   -"Yea, I brought it with me today, man."
   -"I think we better get on down, you know, because I got the bluuuuues."
   -"You know I got 'em too."
   -"Here it is...."
   -"Here it is, man..."
   
   With those words, the bluesmen start playing "Bring your fine self home." Albert is playing harmonica in a way that's just so ornate and beautiful, it will send tingles down your spine. Johnny is growling on the vocals, while Albert keeps blowing that fine harmonica, and what a fine tune they make. Slow rolling blues that's is as soulful as it gets.
   
   "The Dream" is a beautiful song where Robert Cray gets to show everyone his beautiful vocals. I agree with other reviewers that Cray adds certain touch of sophistication to this record. His style is quite a bit different from the two other men, but when he sings and Albert plays his guitar in that icy hot trademark way of his, you just have to hold your breath and listen to every note.
   
   "Blackjack" is probably my personal favorite on this record. It's a slow-rolling blues tune with a strong beat, excellent vocals, and intense guitar solos by each of the three. It's mostly Johnny Copeland that's doing the singing on this record with his trademark growl, but on this track, Albert is doing the singing, which is pure delight. When Albert calls out on each man to solo, you can see just how different the sounds and styles are between the three guitar players. Albert's guitar is unmistakable - it cuts your ear real sharp. Johnny's sound is also stinging but in a different sense. His style, to me, is sort of a hybrid of Albert Collins and Albert King school of sound, squeezing the notes and yet keeping the icy electrical edge. Robert Cray's style was highly reminiscent of his guitar work on his disc "I Was Warned", a more aggressive rock-flavored battering that he played back in the day. What a unique track!
   
   I can't believe I didn't find out about this disc sooner. It's any electrical blues fan's dream.