No comments about The Ultimate Blues Collection.

1 comments about Lightning Special, Vol. 2.

1. Simple...if you love Sam 'Lightnin' Hopkins' style of playing, singing, writing and performing, you'll love this. A very prolific performer and recording artist, this provides a good mix of his style. Notice the finger work: it's clean, strong, and complex. The lyrics are great, based on simple life experiences. He could write a song at the drop of a hat. Listen to the tracks and you'll be amazed. If you don't love this stuff, then you don't love the blues.

2 comments about The Complete Imperial Recordings.

1. This is Albert Collins from 1969 and 1970, in the studio because Bob Hite from Canned Heat told the folks at Imperial about his incredible talent. This was the break he needed. He began opening for groups such as the Allman Brothers and started to gain the national exposure he deserved. We don't get any information about the band backing him, in spite of the excellent notes by Pete Welding. What we hear is a tight horn section that probably got that way from playing with Collins on the many club dates he had in Houston, Texas. Disc One is mainly funky instrumentals with little of the blues he came back to when he joined Alligator Records in 1977. By the time we get to Disc Two Collins is singing and playing more of the blues that he does best. He seems to have become more confident in his singing ability. (This confidence grows to the point where he sings on most of his songs by the time he is signed to Alligator, when he really shines.) This 2-CD box is not his best work but a valuable collection for his fans. Digitally re-mastered for the Master of the Telecaster!



2. The late Albert Collins was one of the very best guitarists America ever produced. His idiosyncrasies probably hurt his recording career, because he didn't fit neatly into a marketable category. He incorporated elements of blues, R&B, rock & had a very funky sound. If you ever heard him play, you would recognize his style within 3 notes, a block away. He tuned his Telecaster to a D-minor open chord & always had a capo halfway up the neck. He used his thumbnail instead of a pick, and didn't really pick, strum or pluck -- he attacked the strings in an incredibly percussive way. His style was so unusual that you might overlook the fact that the guy could flat-out play.

   Unless you saw him live. Albert was a showman, and you couldn't take your eyes off him. He had crazy-looking eyes, a perpetually impish look about him, and he was really, really funny. It's a cliche to talk about a guitarist making it sing, scream or cry. Albert made his guitar swear during his nightly diatribes at his woman.

   Although there are great tracks on his live efforts, some of the cuts really worked a lot better where you could actually see him. For those who never saw him live, there are three studio CDs that give a good overview of his work.

   THe 2-CD Complete Imperial Recordings set is a revelation to those who are only familiar with Albert's work after his Alligator releases finally raised his profile in the late 70's. Not yet the pyrotechnic showman, this compilation of 3 60's albums shows a surprising kinship with the solid, fundamental funk of the Meters. At times, he sounds like he was from New Orleans, not Texas. Understated, soulful, classy and as always, cool. Most cuts are the Albert Collins equivalent of lean, powerful Booker T & the MGs instrumental workouts. The 36 songs are good enough to stand on their own, and he didn't try to overpower anyone with his technical prowess.

   Like a number of unjustly neglected blues acts, Albert got a boost from Alligator Records in the 70's. His breakthrough came with 1978's Ice Pickin.' It features two of the live-wire instrumentals he was famous for ("Ice Pick," "Avalanche") and a generous helping of his world-weary grievances with women, including the classic "Conversation With Collins" (more fun live, but still fun on disc) where his guitar not only spouts obscenities, it takes on the multiple roles of a complaining husband, and a wife both seductive & defiant. Some shuffles, a couple slow burners.

   In 1991, Albert served up Iceman, practically a straight-up funk revue. If you play it for people who aren't familiar with electric blues, they'll adamantly deny that it is blues at all. Well, it is & it isn't. Albert is backed by the fullest band sound he ever had, with a full 4-man horn section, bass, organ & keyboards (yes, 2 different guys), plenty of rhythm guitarists, a solid rock-steady drummer, and 2 female background singers cooing "Mr. Collins, Mr. Collins!" on the tracks that start & end the CD.

   All three come highly recommended.

5 comments about Country Blues.

1. I love all of his stuff, I have about five CD's worth. He's so raw, natural and pure. I just can't put into words how much I love his material, he just floors it and lets fly, always something new to catch in one of his songs. He's so inspiring to me as a guitarplayer!
   
   Get this CD



2. Had this on an old album......wanted it on cd...just what i was looking for.



3. This is a good example and sample of Lightnin' Hopkins. My guitar teacher uses it to teach me acoustic blues in the free form style that is not a strict 12 bar form. A strong shuffle pattern with free form blues runs predominate.
   
   You will hear some of this in Stevie Ray Vaughn's music.



4. First of all, Lightnin' is the man. Now that we've established that, lets go on to this particular album. ANY Lightnin' album is 5 stars compared to most other things, but this one is really cool. Lightnin' is just messing around here, playing for some folky geek who brought a tape recorder over to his house, but listen to what he plays! This is the blues itself concentrated and fermented and stripped down to its most essential, most direct, most powerful phrases. Sure, its Lightnin's blues, but this is pretty much what its ALL about, blues, rock and roll, jazz, R&B, this is the roots of it all, right here. So why build all that other stuff onto it? Why go digital, why add effects, why even use a studio for heaven's sake? This is 10 times better and 10 times simpler than all that...one man, one guitar, an ocean of inspiration!



5. Hopkins is usually referred to as the epitome of Texas blues, and without having listened to any of his contemporaries in this regard, I can still see why he is labeled as such. This album has tracks with dark, bold sounds and a delivery unlike Delta bluesmen that put you out on the desolate back country or in the hard work place. Coupled with the words, your mind is focused on the most basic and essential traits of life for a black man in the hard living conditions of Texas, and the raw emotion evoked by these circumstances. In an interesting contrast, some of his songs have a very lighthearted feel to them, but the lyrics mention nothing reminiscent of high life, thereby emphasizing the emptiness of Hopkins' "thesis of blues", for lack of a better phrase.

1 comments about Jole Blon & Other Cajun Honky Tonk Songs.

1. As an avid fan of American folk music, I have enjoyed Cajun music for years. The qualities that I enjoy most are the sounds of "primitive" instruments and vocals, and original lyrics. Both are at their best with Fontenot and His Country Cajuns. The enthusiasm of their performance brings back memories of the front porch gathering of friends and their instruments of Friday nights long past for me.
   My personal rating for this group and, I beleive, their only album, is that it is the equal of early Doug Kershaw and easily the better of the many artists of this genre today.

3 comments about Chess Blues-Rock Songbook: The Classic Originals.

1. Don't be a dummy. Any fool knows the brothers Chess, Leonard and what's his name virtually wrote the book when it comes to Chicago Blues. It's a no brainer. Now I ask you, where else do you find a more classic lineup of stars? From Muddy to Wolf, from Little Milton to Buddy Guy, John Lee to JB, (Lenoir that is) And let's not forget Willie Dixon and Bo Diddley and so many more.

   And what about the songs from Hi Heel Sneekers to Mona, to Suzie Q to I Just Want To Make Love To You.......to Sweet Little Sixteen to Trouble No More..........Well you know the rest. Afterall the title of the record is Blues-Rock Songbook......That says it all....So don't be a dummy...All right?




2. This is no mere publishing sampler. "The Classic Originals" gathers 36 of the very best blues and early rock n' roll singles cut at the legendary Chess studios in Chicago, and it provides the perfect introduction to men like Muddy Waters, Howlin' Wolf, and numerous other recording artists from the 50s and 60s.
   
   And these are not just the obvious choices that any compiler with an ounce of insight could have made. There are numerous lesser-known songs here which are just as magnificent as "Hoochie Coochie Man" or "Johnny B. Goode", like Elmore James' gritty, slide guitar driven "Madison Blues", Willie Mabon's swinging "The Seventh Son", or pianist Eddie Boyd's slow blues "24 Hours".
   
   Howlin' Wolf is represented by four of his best songs, including the thundering steam engine "Killing Floor", one of the very best blues singles ever issued, and other highlights include Memphis Slim's stately "Mother Earth", the classic "Walking By Myself" by Jimmy Rogers, and Chuck Berry's rollicking "Roll Over Beethoven".
   But this is all highlights, really, and while this well-annotated double-disc retrospective doesn't deliver the definitive word on any of the artists included, it provides the very best place for newcomers or "mid-level" fans to get better acquainted with the best and most succesful blues label of the post-war years.
   I really can't praise this compilation enough. Get it right away, and enrich your life!



3. Most fans of classic rock forget how very, very close it is and came from the blues and R & B. This is a great place to find that out if you don't really know. Chess records places songs from their collection on this 2 disk set that are used for the basis for rock tunes to come. It even lists which bands covered or used these songs in the booklet.

   Forgetting that, this is a great bunch of music with some TRUE classics on it. Great introduction to some classic blues as well.

1 comments about The Rough Guide to Zydeco.

1. Herman Fuselier has done a fine job in compiling a selection of the accordian-led dance music of the Louisianna Creoles. As a background album one can't help but shuffle and tap along, no matter what one is doing, and as for getting a group listening and dancing its a real success. The selection includes Great names such as Boozoo Chavis, Clifton Chenier and a slower paced Curley Taylor to mention a few. Thoroughly enjoyed this album and a pleasure to add it to my growing cajun/zydeco collection

1 comments about Cajun and Creole Music, Vol. 1: 1934/1937.

1. Probably the best source for learning the intricate and rhythmically challenging fiddle tunes in 12/8 time of Wayne Perry. This Cd is a beautiful time-capsule of Cajun Music from the 30's-40's and deserves a place on the top shelf of anyone's collection.
   Fox Watson

5 comments about Real As I Wanna Be.

1. Cliff Richard still got it. Great Music with a new record label. Co-wrote on 2 of the songs. Different Music style on some of the songs.Enjoy this cd alot. With Olivia Newton John singing on had to be. Beautiful song. Cliff sings Wonderful on Butterfly Kisses.This cd is worth buying for a Cliff Richard Fan. A most have in a cliff collection



2. Real As I Wanna Be is easy-listening in a nutshell. Unfortunately Sir Cliff hit some trembly notes and they show that he isn't 30 anymore. Still, his voice is as warm as ever, so one shouldn't complain too much. However, there are some gems on this album, like the title song. Buy it if you're interested of his new, streamlined style.



3. I've been a fan of Cliff's for over 25 years and he just seems to get better every year! "Real as I Wanna Be" is the best release I've heard from Cliff since "Stronger". His version of Bob Carlisle's "Butterfly Kisses" brings tears to my eyes every time I hear it. Cliff shows his musical versatilty in his duet with opera tenor, Vincenzo LaScola and it was good to hear Cliff and Olivia Newton-John together again. Cliff never disappoints. If you're a die-hard Cliff Richard fan like I am, this is a must for your collection!



4. When will someone get smart and release this man's classic and best album, "I'm Nearly Famous?" Oh, well, until they do, any thing from this classic vocalist is welcomed. Good old Cliff; he's so good, that no record company would touch this project, so he did what any self-respecting singer would do. He created his own record label and released this gem on it! Way to go, Cliff. At any rate, impeaccably produced and impeccably sung. He even makes "Butterfly Kisses" sound good. His treatment of "Snowfall on the Sahara" rivals Natalie Cole's okay interpretation. A high point is "Climbing Mount Everest." Now, here's another point of a song deserving to be a hit single. If Cliff can't get it released, let's hope South Sixty Five can get their country version released. It's a great song! But Cliff's is the better version. A great album from one of the premiere singers of our generation---nobody's realized it yet, but he is!



5. I was thrilled to even be able to get this CD here in Ontario, especially since we are nowhere near a big city, and it has proved to be one of Cliff's best. I have enjoyed most of Cliff's albums - although Canada is not the place to keep track! REAL is exciting because there are so many different styles of music on one CD. The vocals are all superb, Cliff never better and the rhythms and backup musicians come only second to the Shadows' backing of Cliff. I don't think anyone can ever match them and I think even today, with all the high tech stuff, that clean, raw music would still sound great with Cliff. They were perfectly matched. Back to REAL - I love Vita Mia, She Makes Me Feel Like a Man as my favourites. The one is so strong and unusual for Cliff and I hope he does more like it, the second is SO Cliff. It brings his voice out as youthful and yet mature, strong, yet gentle - all the versatile qualities he has in that unique voice. Never have I mistaken Cliff for any other singer or vice versa. A close match and a favourite of mine in Canada is Roch Voisine. He sings the same kinds of songs, but still doesn't have those finer qualities to his voice. If REAL is representative of what is to come when Cliff returns from his well-earned year off, please make sure CDs are available in Canada. I know there is great demand for the Millennium Prayer.

1 comments about The Complete Blue Horizon Sessions.

1. This superb double set finally makes available for the first time on CD two extremely rare platters on the cult UK blues label Blue Horizon. And a typically superlative release it is too in this excellent on-going series.
   
   Here's how the discs are laid out:
   
   Disc 1 by FURRY LEWIS (56:42 minutes)
   Tracks 1 to 11 are the album "Presenting The Country Blues", 1968 on Blue Horizon 7-63228
   Tracks 12 and 13 are previously unreleased studio out-takes from the July 1968 album sessions
   
   Disc 2 by MISSISSIPPI JOE CALLICOTT (79:00 minutes):
   Tracks 1 to 8 are the album "Presenting The Country Blues", 1968 on Blue Horizon 7-63227
   Tracks 9 to 16 are previously unreleased studio out-takes from the July 1968 album sessions
   
   Both albums were recorded in one mammoth session at The Ardent Recording Studios on National Street in Memphis, Tennessee on Sunday, the 21st of July 1968.
   
   The original two-track analogue tapes have been transferred and remastered by Duncan Cowell at Sound Mastering in London and the sound quality is just gorgeous - lively, warm and clear. The 20-page booklet features both albums' artwork, photos of the artists, photos of the studio, John Fry the American producer, full session discography, knowledgeable liner notes and even has a classy card wrap on the outside.
   
   Both LPs are stripped down bare acoustic blues, Furry and his guitar, Joe and his - and that's it! After say seven or eight songs, this laid bare style makes for difficult listening at times, especially with so much of it on offer here. But once accustomed to it, the starkness is of course, part of its charm and power.
   
   Each bluesman had a world-weary gritty approach to their songs - both great storytellers - both miserable over some woman somewhere! Furry's `Indian woman done me wrong' tune "Big Chief Blues" also has good guitar picking. In contrast, Callicott was unbelievably forthright. How about his lyrics to "Dough Roller Blues" - "I love that woman in a dirty way..." or ""I'll cut your throat woman and drink your blood like wine..." Nice!
   
   The previously unreleased tracks are mostly fully formed - and offer more of the same. Excellent - one and all.
   
   So, another great release then from Blue Horizon - and top marks to all the good people involved.