4 comments about Backwater Blues.

1. I would recommend this to any lover of the blues, great guitar, vocals and harmonica, totally cool!



2. A fine companion to the classic "Sonny & Brownie At Sugar Hill", this is a great buy for those who treasure Sonny Terry and Brownie McGhee's brand of no-nonsense porch-style get-down blues.
   
   The duo performs old warhorses like "One Bourbon, One Scotch, One Beer", "Key To The Highway", and "Careless Love", and they change "Sittin' On Top Of The World" to "Climbin' On Top Of The Hill, which doesn't make it anymore interesting, but even though the material is not always particularly original, the performances are sincere and spirited, and this CD includes great renditions of two of the duo's very best songs, "Walk On" and the classic "I'm A Stranger Here".
   
   The clarity of the recording and the singing is pure as the driven snow, with no distortion or compression, and while "Backwater Blues" doesn't quite match "Sonny Terry & Brownie McGhee At Sugar Hill" or the great, raw "Live At The Penelope Café" album for pure grit, it has more than enough highlights to make it worth your while. Fans of the duo should not pass this one by.



3. This Backwater Blues CD is excellent. Not a bad song on it. These two were truly masters of this style of Blues. My favorite song on this CD is Louise, but I feel this is truly one of the best examples of their work.



4. Friends, you cannot find old-school blues better than Backwater Blues. Sonny & Brownie's strained partnership has produced many excellent recordings, of which I believe this is the best. This album is the way the blues were meant to be played: just the simple, old-style tunes; just two men, two microphones, a guitar, and a harmonica. No fancy electronics, no prettyboy singers, just ol' Backwater Blues. If that's the way you like your blues, then get this album, sit back on a hot summer day, and play it all the way through!

5 comments about Leadbelly Sings For Children.

1. Not only was Huddie Ledbetter a geat Blues songwriter he was also the King Of The Twelve String Guitar which made him unique among his contemporaries. Anybody who has tried to play a 12 string guitar knws it takes a lot of strength and muscle . This album contains some fine and unforgettable tracks such as 'Good Morning Blues", "Irene Goodnight", "Rock Island Line" and "Midnight Special" which was inspired by his time in Prison. The story behind this song is that if a train's light shone on a Prisoner then he would soon be released. The greatness of this artist can be seen by the many cover versions of his songs which were released by many well known artists such as Johnny Cash and John Fogarty. It is interesting to note just where Huddie got the nickname "Leadbelly". I have heard it was given to him by a prostitute who admired his Sexual Prowess or another version where he was shot in the stomache but thankfully survived. Or perhaps it was just a misspelling of his surname. This guy was and is a Blues Legend.



2. In many ways, this album is an oddity. First, it is a blues album. The blues are supposed to be about sadness and hard times, yet this a remarkably upbeat album, Second, it is a children's album, except that it may be better appreciated by adults. I have not played this album to children, so I can't say what today's children will make of this album.

   There are some traditional children's songs here, including Skip to my Lou, Grey goose and Blue-tailed fly (Jimmy crack corn), but there are other songs which you are more likely to find on standard albums, including Swing low sweet chariot, Rock Island line, Cotton fields, John Henry and Midnight special.

   The songs here are sequenced such that all the genuine children's songs are at the front. After all of those come the blues and spirituals. Then come the work songs. Finally, you get some of Leadbelly's best-known songs. This last category confuses things slightly. After all, Cotton fields (included in the work songs) and Pick a bale of cotton (included in the famous songs) fit both categories. If anything, Cotton fields is the more famous of the two. Still, the order in which the songs appear is really not that important, although it was wise to put the real children's songs up front.

   I have several children's albums, all carefully selected. This one definitely appeals to adults and serves as a great introduction to Leadbelly's music.




3. I'm a bluesfan and have a daughter at age of 11,and since she was a baby the blues was ever a sound listened in my home.So,she likes the blues,and when i 've brought this Leadbelly album,she becomed so interested in that kind of music and it touched me inside.I've explained her all of the history of blues,specially in the person of Leadbelly,his own history too,the hard days at Angola prison,his lyrics asking for liberty,the poverty of that days,and specially the capacity of that suffered man to change all of his own life,when he decided to do what he really knows better,just to play and to sing.Then i could explain her that the man can changes the reality,just with some educative activities,and the music ,is one of that.
   So, i really recomends this album for all of the families,as a good way to start new relations between all of this families members! We must believe in the capacity to change our lives with good intentions and with actions to reach all we want.
   The cover art of this cd reveals the envolvement between an experienced bluesman,and that younger audience,linked by just the great music that echoes from Leadbelly guitar!
   This is a historical set of musics for adults and childrens everywhere.To the family!



4. I resolved to have them play Jimmy Crack Corn at my funeral--it might be the only way I can every get anyone to listen to this tune. It's sublime.
   Leadbelly is ineffable. If you have only heard his blues, I don't think you've really heard the whole man. You must buy this record!
   Singing and talking to kids brings out his incredible sweetness. No wonder he got those governers to spring him from prison!



5. The songs on this CD are delightful. Not being an educator nor a parent, I won't speculate on the efficacy of this CD for young people. I know that I like it, and it brings a smile to my face as I listen to Mr. Ledbetter. Even the song about a menacing bug, BOLLWEEVIL, is fun the way he plays it. The PIG LATIN SONG is so ridiculous and childlike, I just have to laugh. I enjoy the standards by Mr Ledbetter, also, GOOD MORNING BLUES, ROCK ISLAND LINE and COTTON FIELDS. Mr Jeff Place writes a comprehenseive set of notes which explains a great deal about this great man's life. "Through Alan Lomax, he met people like Pete Seeger, Woody Guthrie, Aunt Molly Jackson, Sonny Terry, Brownie McGhee, and Josh White, and all of the musicians he encountered were influenced by Lead Belly's music." As an introduction to the song WHEN A MAN'S A LONG WAY FROM HOME, Mr Place writes, "Lead Belly clearly thought that children could be introduced to the feeling of the blues," The Columnist Walter Winchel wrote, "How could anyone make a children's record with a convicted murderer?" Smithsonian Folkways did, and I am glad of that. If you are interested in the songs of Mr Huddie LedBetter (1888-1949) or if you are interested in delightful Folk Tunes from the US, this CD will be interesting to you.

5 comments about Woodstock Album.

1. After 27 years recording for Chess Records, this April 1975 album was Muddy's last for the label - and I think it's a bit of a forgotten gem.
   
   PAUL BUTTERFIELD provides fabulous bluesy Harmonica throughout, PINETOP PERKINS plays piano (guest vocals also on Kansas City & Caldonia) with both GARTH HUDSON and LEVON HELM of THE BAND throwing in Keyboards/Accordion and Drums/Bass respectively. While it's a straight-up blues album for the most part, Hudson's Accordion playing gives some of the tracks a slightly swing/Cajun feel - and is a genuine surprise and treat for it too. Special mention should also go to Paul Butterfield's harmonica playing, which is fantastic throughout - clearly enthused by the mere proximity of the great man! In fact in each guest musician, you can 'feel' their affection for him right across all of the recordings.
   
   Five of its eight tracks are Muddy Waters originals topped up with three cover versions. The three covers are Jerry Leiber & Mike Stoller's peach "Kansas City", made famous by Wilbert Harrison and done by hundreds of others since, while the other two are the Louis Jordan R'n'B classics, "Let The Good Times Roll" and "Caldonia". Other contributions come from HOWARD JOHNSON on Saxophone, FRED CARTER on Bass and Guitar with BOB MARGOLIN on Guitar also - HENRY GLOVER produced the record.
   
   This 1995 ERICK LABSON remaster has typically ace sound from one of Universal's primo engineers, while "Fox Squirrel" is a CD-only bonus track that is just that - a genuine discovery and bonus - astonishing that this McKinley Morganfield original was left off the record - nor ever used as a b-side?
   
   "The Muddy Waters Woodstock Album" divides fans, but I feel it's a forgotten gem that deserves a rethink. And like all of his 70's recordings - I love it to bits. Test out "Going Down To Main Street" on iTunes and you'll get the idea. Enjoy!



2. This is not Muddy at his best. Another attempt to change his sound. In spite of the efforts of a couple of members of The Band, it comes across as a weak effort. I can't believe it won a grammy. The upside is Johnny Winter and "hard again" were just around the corner! Avoid this. You won't play it much if you do own it.



3. In marked contrast to the hard, aggressive sound of his work with Johnny Winter the following year, this album shows another, far more relaxed side to Muddy Waters, as he revisits old songs and launches new ones in the laid-back company of his regular sidemen and some celebrity names. Producer and songwriter Henry Glover had gone into partnership with Levon Helm from the Band and converted a barn into a recording studio called Bearsville in Turtle Creek, Woodstock NY, and the Muddy Waters sessions, recorded 6-7 February 1975, were the first fruits.
   Although there is a light front-porch touch throughout the album, probably influenced by Levon Helm's subtle drumwork and Garth Hudson's distinctive organ and accordion accompaniment, there is nothing lacklustre about it, with fine contributions thoughout from local resident Paul Butterfield on harmonica and from Waters' regular piano player and vocalist Pinetop Perkins. The album kicks off with Why Are People Like That, written by Bobby Charles, another Woodstock resident. Muddy Waters switches to slide guitar for two of his own new songs, and performs Kansas City in honour of Henry Glover, who produced it for Little Willie Littlefield back in 1952 (as KC Lovin'). Louis Jordan and his Tympani Five are also remembered through versions of Caldonia and Let The Good Times Roll.
   The album concludes with a previously unreleased bonus track, Fox Squirrel, a Muddy Waters composition.



4. For a long time I had delayed buying this CD because of all the bad reviews of it I read. Finally I bought it and you know what, it's a good CD.

   This album finds Muddy branching out a bit and trying a different sound. Many tracks have more of a R&B feel than a Chicago blues feel. There is also some accordion, which gives some tracks a Cajun/Louisiana groove.

   The musicianship is great. Muddy voice and guitar are in top shape, but I found Paul Butterfield's harp to be a bit trebly.
   There is also cool organ on some tracks.

   While this may not be the place to start a Muddy collection, but if you have all the earlier Chess stuff, the CBS/Blue Sky stuff and still want more, it's definitely worth a shot.




5. i still think this is an superb cd unlike other reviewers i don't think it fair to compare this to fathers and sons this is different yes but you would'nt want him to keep doing the same things over & over the music & sound quality are great an easy 5 star cd a must have for a muddy fan unlike electric mud.it also has paul butterfield on it a big plus.

5 comments about Chickasaw County Child: The Artistry of Bobbie Gentry.

1. this amazing and brilliant album convincingly demonstrates the deep talent and stylistic and vocal range of a very underated artist. there is so much more to her than "Ode to Billy Jo". albeit that song is certainly a pop masterpiece.i listened to this record again and again and never grew tired of it.indeed it kept on feeding me with its nutrient rich visuals and poetic mysteries.not only that but it inspired me with alternative perspectives from the rural south so refreshing in this day of corporate farms and pre-packaged lifestyles.it is Faulkererian in its complexity and insight into human nature and its relatinship to the natural world.again i highly reccomend this brilliant album.



2. What I noticed about Ode to Billie Joe back in 1967, was how hauntingly rich and mature this song and writing was. What an amazing talent in such a young person. She was only about 25 at the time. Britany Spears should take note.
   
   Such social conscientiousness in her songs repeatedly mentioning the Indian tribes from down in Mississippi such as the Choctow and Chickasaw.
   And the characters of her songs were from so-called poor backgrounds but their lives were not poor. Bugs and even crawdads are given special attention in her writing. She noticed everything around her and wrote about all of it.
   
   We are all lucky to have been exposed to such a deep thinker and talent and she dropped out way too soon!!!



3. 
   
   after listening to amy winehouse cd was wanting to listen to more of
   
   the real error of this kind of music .



4. I was not too familiar with Bobbie, other than her major hits. But I thoroughly enjoy this album. It is really soulful and mellow - good background music during dinner or good for laying on the couch and just listening to every word.



5. You'll never be the same if you listen to "Ode to Billie Joe". Warning, it may change you into a very very fascinating human being.

2 comments about Last of the Great Mississippi Delta Bluesmen - Live in Dallas.

1. If you like traditional, old style blues, you will love "Live in Dallas." Put this in the CD player, shut your eyes and it will transport you back to the good old days when music was meant to be played loudly, in smokey bar rooms with old friends. Buy it. This one won't disappoint.



2. This Grammy-nominated album is a pure performance emanating from the souls of 4 of the Last Great Mississippi Delta Bluesmen.
   
   All acquainted with Robert Johnson the Father of Blues, these 4 men, all 90+ years of age, gathered together in Dallas, Texas at the Majestic Theater and continued their storied history as blues music icons.
   
   Hear their searing magic and have a part of Blues History in your collection. I have bought this album and given it to friends who want to know more about the blues.

5 comments about Dinah Jams.

1. When you open up the CD and you see the picture of all of those legends playing together in this incredible 1954 session, as a jazz fan it's hard not to be overwhelmed. For let's see... you've not only got the fabulous Miss D, but add into the mix Brownie, Clark Terry & Maynard Ferguson as your trumpet trio, Herb Geller on alto sax with the very underated Harold Land on tenor, Richie Powell & Junior Mance on piano, George Morrow and Keeter Betts on bass, and of course Brownie's right hand man, Max Roach on drums. Now you tell me, as a fan of jazz, what more do you need to be motivated to make this purchase? This is one of the most memorable jam sessions ever in the history of jazz music.
   
   I've listened to this CD over and over and over again. It's one of my favorite jazz vocal recordings and one of the first jazz albums I ever purchased. What makes Dinah unique is the feeling and emotion she brings to each piece as if this is the last song she will ever sing and you need to remember every word that comes out of her soulful, bluesy, fervent voice. Just listen to her rendition of "Crazy He Calls Me" and tell me she isn't 100% absorbed in every syllable. However, the whole album is like that and the cats behind her are just as impassioned. Every solo is a standout, every jam spectacular and special.
   
   If there was a Hall-of-Fame for jazz recordings, this one easily is a first ballot inductee!



2. Yes, Dinah is a great mystery to jazz fans: such a talent who spent so little time singing jazz. Also: at times she sounds like a natural born jazz singer - listen to "I've got you under my skin" or deceivebly simple (and loud) rendition of "Come rain or come shine" - and at times she just crosses over to the sweet side, even when the musicians give the best in the dirrection of hot or (hot)modern jazz...
   
   This CD is, to put it simply, uneven; at times it is brilliant, with some great instrumental performances (Clark Terry is my favorite artist here), at times it is not swinging enough and the musicians (particularly Dinah and the saxes ramble away from the center of the performance....)---
   
   When she is good she is great, when not, well, she is not a jazz singer. All in all, there are still more than enough high points to deserve four stars, particularly because the low points are not all that low (particularly when compared to some of the contemporary "divas" who try to pass as, among other things, jazz singers...)



3. Did I mention I ADORE this album? The female Sinatra, that's Dinah. I can't understand why she doesn't get the airplay of her other jazz diva sisters. Where Ella is mellow and Billie is blue, Dinah is crystalline and insistent without sacrificing soul. If Ella is a sax, Dinah is a trumpet.
   
   Speaking of which, Clifford Brown's rendition of Summertime is the absolute best ever trumpet solo. Ever. EVER.
   
   Then there is the rocking fantastickness of everyone else. This whole album rolls and tumbles and scurries and and jives flows and lights you up inside. Listen to this and you will never want to commit suicide.



4. I bought this CD because I love Dinah Washington. Most of the CD is wonderful. But two of the cuts don't have Dinah singing at all. They are fine tunes, I suppose, but they are not what I thought I was purchasing. I wanted Dinah Washington, not some other musicians jamming. I feel I was mislead, and ripped off.



5. Dinah Washington is not one of the great jazz singers; but her voice is one of the great jazz instruments. And on "DINAH JAMS," Dinah Washington is surrounded by some unbelievable instruments: her regular trio (with pianist Junior Mance), the Max Roach Quintet (Clifford Brown and tenor Harold Land) plus sitters-in alto Herb Gellar, Clark Terry and Maynard. Yeah, that's right ... Brown Terry Ferguson. Stand the hell back. Put the trumpets down and step away from the vocalist. Damn. I cannot take this CD out of my player. This month I have added Monk, Mose, and MJQ to my collection, as well as some reasonably priced `tween-war music. All of these should be fighting for a place in the rotation, and it should be a fair fight. But it isn't. Dinah jams. That's all. If all I had was one track on a mix tape, I would probably rewind that one track and listen to it to the exclusion of all else. It makes me dizzy to think about that, but in a good way.
   
   Of course, there is a second part to this story -- or, more accurately, there is a second recording from this night. It was released as Clifford Brown's "Jam Session," and Verve has it in their Verve Vault where out-of-print recordings are available via downloads. You have to buy them, still, but that wouldn't be so bad -- if I were a member of the computer world. I'm sure that there is an intersection between people who buy downloads for their i-pods and people who can't sleep at night because there are Maynard high-notes dancing in their heads. Still, it seems likely to be a cruelly small cross-section. Small enough to exclude me, certainly. But enough of my fibber-flabbing. I have 2 1/2 minutes of Gershwin's Summertime played in a register that is mostly used by bats, so I'm not complaining. I mean, yes, I am, but mostly in an "I have difficulty seeing over my pelvis" way.

5 comments about A Child's Celebration of Folk Music.

1. I too am a "concerned mother who ACTUALLY read the lyrics" (sniff!) and I'm extremely concerned that people who are that offended by such a playful, mild phrase are raising children. Please. Lighten up, or indulge in Barney.
   
   Beautiful, layered work on this cd: a pleasure to listen to, dance to, sing along with. From age 2 to 38 in this house, we're enthralled.



2. This is wonderful stuff, though I share some of the concerns below about the lyrics. Take "there may be lobsters on some of you mobsters"--that's just not logical. And if you said that to a mobster, he'd ice you, so you shouldn't teach your kids to say things like that. Otherwise, though, this is great.



3. My 3 y.o. loved it. The music is upbeat and fun, and you'll crack your kid up when you sing your own version of Ridin' in My Car. And Their Ain't No Bugs on Me is a great song. I don't know about your kid, but mine can handle a lyric like "How in the hell can the old folks tell ..." especially when sung so cheerfully and, um, innocuously. Mostly, it's a cd that you yourself will enjoy listening to ... even (believe it or not) the supplied version of Skip to My Lou.



4. Loved it except for the "Ain't no bugs on me" song. It uses the phrase "how in the (hell) can the old folks tell" In my opinion, that is not appropriate for young children.



5. Most of the songs are enjoyable and of the caliber I expected after reading the reviews posted. However, on Garcia's version of "Ain't No Flies On Me", there is a mild obscenity, which is fine for an adult compilation, but unacceptable for a compilation directed to children. As the rules for this forum prohibit obscenities, I cannot be more explicit about the exact lyrics. I am extremely disappointed in the editors and will be returning my CD.

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

3 comments about Blues Masters: The Very Best of T-Bone Walker.

1. Nice introduction to the work of T-Bone Walker! He was one of the best of the bluesmen. The liner notes from the CD provide nice background to Walker's work. Many heard him live when he was well past his prime, not knowing the full skills of his art.
   
   Even two songs illustrate. . . .
   
   "Bobby Sox Blues" was an early popular song of Walker's. The backing group supports his singing well. He displays a smooth singing voice. The song itself spoofed the teenagers' giddiness over Sinatra and Eckstine.
   
   And then there is his iconic ""Stormy Monday. . . ." This is one of the great blues tunes. Walker's voice serves this song well. The backing instruments have a clean sound and back the singer very nicely. The liner notes say that "If T-Bone had done nothing more in his career than write and record this one tune, his esteemed place in the history of American music would be guaranteed." His singing emphasizes classic lines such as:
   
   "They call it Stormy Monday,
   But Tuesday is just as bad.
   Wednesday's worse,
   And Thursday's also sad."
   
   All in all, then, this is a fine introduction to the work of T-Bone Walker.



2. A lot of compilations have a title similar to this one, "the best of someone or other", yet still leave a lot to be desired.

   That's not the case with this excellent Rhino collection, however. It may not be the definitive word on Aaron Thibeaux Walker (you'll need the two Capitol/Black & White and Imperial box sets for that), but it is the best single-disc retrospective available, and if you are looking for a really good sampler of T-Bone Walker's music, this is it.
   Almost all of Walkers best-known songs are here, including his self-penned classics "They Call It Stormy Monday", "Mean Old World" and "I'm Still In Love With You", and "The Very Best Of T-Bone Walker" is an ideal starting place for the curious or the casual fan.




3. The electric guitar innovator gets the Rhino treatment with this 16-track collection of Imperial, Rumboogie, Capitol, Atlantic, Comet and Black & White sides. This is by no means the definitive collection of Walker's work, but it does serve as a nice retrospective of his 1945-1960 output.

   If you were born after 1960, a little refresher is in order. T-Bone Walker influenced at least two generations of blues guitarists. Albert Collins, Freddy King, Eric Clapton, Jimmie Vaughan and the late Stevie Ray Vaughan are but a few. For those who think of "Stormy Monday" as an Allman Brothers song, think again. And Eric Clapton didn't create "Mean Old World."

   This compilation serves as a nice primer. It includes the aforementioned classic "Call It Stormy Monday (But Tuesday's Just as Bad)" and "Mean Old World Blues." Also featured are "Papa Ain't Salty," "How Long Blues" and "The T-Bone Shuffle" and many more.

   As usual Rhino offers the listener extensive, well reseached liner notes (this time by Billy Vera). The booklet comes complete with rare pictures and individual track information (personnel, songwriting credits, chart position, etc.). Kudos to Rhino for doing an excellent job, This compilation rates a strong B+. However, T-Bone merits more than 16 songs. A two CD set featuring some well-chosen rarities and underappreciated gems would have made this an A+ offering.

5 comments about Sonny & Brownie.

1. This is a fantastic album, plain and simple. I won't get into the debate as to whether or not it is bluesy, or more commercial than the rest of their stuff (to which I have not had a chance to listen), because it is simply a fun album.
   Stand-out tracks on the album are "People Get Ready", the electrifying instrumental "Sonny's Thing", "The Battle is Over", and "Big Wind". However all of the tracks are great, and well paced. The album winds down perfectly with "On the Road Again", a bit of banter between Sonny & Brownie, interspersed with a recurring lyric.
   The album makes me want to go out and buy more of their material, and I can recommend this across all age groups. Definitely a must-have.



2. This is one of the very first blues records I found in my dad's record collection when I was about 14. Yes it's not straight delta blues and yes it has some white guys playing/singing on it. This was Sonny and Brownie's introduction to white american blues fans in the early 70's and it worked. This record is a classic and totally worth the price of admission for the very last track of them telling road stories. Also their version of People Get Ready and Sail Away are near perfect.
   
   When I Met Brownie McGhee shortly before he passed away, he told me this was his favorite record he ever made. He thought this was the one he would be remembered for - so do yourself a favor and buy this amazing album.



3. Sunny & Browne. To paraphrase, "This is it". Two old boys from `Bama.
   
   When Bob Dylan came to San Francisco in "72. He acknowledged Sonny & Browne as one of his inspirations. I'm not sure who the others were.
   
   They're older than dust. One of them is blind and the other one justifiably uses a cane.
   
   Buy this and you'll shake your head. Such sweet music, "Oh, the sun's gonna shine on my back-door one of these days."
   
   They don't get along but that's another story. How can two guys sing together for 35 years and not "get along"?



4. I bought this album on a discount cassette tape in the early seventies in Brisbane - unheard and thinking how cool I would be having such music. 35 years later and a lot wiser I have come to realise that somethings just outlast time - one of those being quality artists. This album represents, for me anyway, a time when things were less complicated and the music was for the music's sake. Depressing piece of reminiscing? No way - a celebration of how fortunate I was to stumble on these unheralded guys (In Australia at least) and now to trip over the cd while surfing the 'net in China. If you haven't heard this album buy it and rejoice!



5. Sonny and Brown are authentic legends and I share the amazement of a previous reviewer that they were not more highly regarded as such by the world at large. This was the first album of S&B that I heard when I was around 12 and I switched onto it immediately, it is warm, rich, and pure good vibe blues. As well as the pairs Guitar and harp, it features bass and drums. I love their version of 'sail away', it might seem a strange cover at first if you listen to Newmans version, but they just do it so well. 'People Get Ready' and 'Bring Out The Boogie In Me' are standouts.
   After I heard it as a kid I went out and found another Sonny and Brown album, the double 'California Blues' which I also loved, especially when they sang harmonies, man, that defined the blues for me, so raw and beautiful and real. These guys were the real thing and I think they need to be ranked as highly as John Lee Hooker and Robert Johnson. One day I believe they will be. Recommended with full conviction.