5 comments about The Complete Library of Congress Sessions, 1941-1942.

1. This disc features the ferocious intensity and masterful singing, not to mention beautiful lyrics, of Son House. This material is different than both his original Paramount Recordings and his stuff from the 1960s. He is in great form on this record, and although the liner notes are skimpy and the cd looks like it could have been manufactured by a fourteen year old boy who downloads Country Blues all day (reminds me of me, just a decade or so ago!), the disc is not only well-worth owning, but is one of the greatest Country Blues cds that I can think of. Every song is excellent, and the driving intensity is relentless. This disc is strongly recommended.



2. These 1941-1942 recordings are the only ones ever made of Eddie "Son" House playing with a band, and this 19-track disc collects all 15 songs originally issued on Biograph's "Delta Blues" album and adds four more tracks, none of which are sung by House ("Fo' Clock Blues", "Camp Hollers", an incomplete "Special Rider Blues", and the instrumental "Key Of Minor").
   
   Folklorist Alan Lomax came to Mississippi in late August 1941, bringing with him a 300-pound "portable" disc-cutting machine, and cut five acetate masters - the first four tracks on this album plus "Delta Blues".
   Now, these cuts may not quite match the power of House's ferocious 1930 Paramount recordings, but barely anything does, and these are tremendous recordings in their own right.
   Perhaps the chatter of the other three musicians on the first three tracks, and the sound of Joe Martin picking his mandolin, dulls the raw intensity of Son House's music a little, but you can still hear why Muddy Waters was so much in awe of Son House, stating that "back where I came from, down in the Delta, Son House was the king!"
   
   The 1941 recordings were cut in the back room of Clack's country store in Robinsonville by Lake Cormorant in Mississippi, with guitarist Willie Brown (another former playing partner of Charley Patton), "Fiddlin'" Joe Martin - who actually played mandolin - and harpist Leroy Williams. At one point, you can actually hear a train passing by outside.
   
   The remaining numbers (which include a longer version of "The Jinx Blues") were cut the following summer, and on these tracks, House performs alone. This is where the power and intensity of House truly shines through, showcasing what an effective guitar player he really was. Son House may not have been Charlie Christian, but his loud, grinding, strongly rhytmic playing, filled with wailing slide riffs, was the perfect background for his huge voice and emotionally charged singing.
   
   Among the highlights of this collection are "Delta Blues", superbly performed with only Leroy Williams backing House up, "Low Down Dirty Dog Blues" and "Depot Blues", which features some of the most impressive guitar playing House ever comitted to tape, "Walking Blues" (especially the 1941 version), and "The Jinx Blues", set to an effective shuffle beat. Just listen to the way House snaps his bass string against the fretboard!
   This collection is one of the all-time great documents on early Delta blues. The sound is as good as can be expected, and this is a worthy testament to one of the most important figures in modern popular music.



3. Son House taught Robert Johnson the slide blues. Son House taught Muddy Waters. When Son House started performing at Blues festivals again in the mid 1960s, some of Muddy's younger band members would start to go off for a smoke or whatever when the old man came on stage. Muddy wouldn't let them. Muddy Waters would tell all his band members to be quiet and pay attention when the man played because even compared with Muddy, this was the real deal.

   Rediscovered in Rochester, New York, relearning to play the guitar, (how this country abuses the masters that come from its people, particularly its Black people), put back on the stage by the folk revival's blues section.

   People outside of the blues life focus on the guitar playing or the rhythm of the singing, but where the power comes from is the feeling and the words that are put together, the life and the meaning of the blues. Son House in his youth and his old age, on this and his other sides, always gave it.
   
   So Like Muddy Waters, I would like you to know that
   Son House is the real deal.
   Listen and learn




4. Son House is the most important and influential Delta Bluesman to ever live he was a major influence to Muddy Waters & Robert Johnson and every one else including me. Buy this C.D. it is very essential stuff this is hardcore Delta Blues there are some trks with Son House in a band setting with Willie Brown and others (perfect example of what a DeltaBlues jam session probally sounded like). These are field recordings and I mean they were actually recorded outside on trk.4 "Shetland Pony Blues" you actually hear a steam locomotive (train) go buy in the background. If your a aspiring blues guitar player get this if your a fan of the Blues your C.D. collection is seriously lacking if this is not part of it. also get "Masters of the Delta Blues, The Friends of Charlie Patton" all of Son Houses earliest recorings are on there (1930) with some other Delta Blues Legends



5. This collection is essential to any blues collection...you cannot truly appreciate the blues until you've heard these recordings.

   Son House is my favorite blues performer. No one--not even his proteges Robert Johnson or Muddy Waters--could match him when it came to the raw emotion. Sure, Robert inspired later blues-rock giants like the Rolling Stones, Eric Clapton, Led Zeppelin, Aerosmith, Stevie Ray Vaughn (to name a few...) and Muddy revolutionized the blues by 'inventing' electricity. But this collection, when coupled with the album "The Complete Recorded Works of Son House & the Great Delta Blues Singers" (ASIN: B000000J26--recorded in 1930; another essential disc), offers the listener a true glimpse into history.

   The first few tracks include House singing and playing guitar with his band: Willie Brown (who has since attained legendary status as his name is mentioned in Robert Johnson's lyrics; he was also was the central character in the 1986 movie "Crossroads") on harmonica, and Fiddlin' Joe Martin on mandolin. These songs are amazing. The only word I can use to describe House's slide guitar technique is FEROCIOUS. His mixture of slams and slaps, when combined with the shouts, moans, and grunts of his vocals, is nothing short of frightening. "Walking Blues"--which, of course, was a hit for both Robert Johnson and Muddy Waters but was written by House--is one particular standout. It is nearly seven minutes long (House is famous for his "epic" performances...in concert, his songs were known to exceed twenty minutes), a relentless barrage of blues. "Levee Camp Moan" is another strong point. The rhythms and shouts are incomparable.

   Perhaps the best analogy is "a frontal assault on the soul".

   The remaining songs are House's solo efforts, although the striking force has not deminished at all. In fact, they may be even more powerful--it's hard to believe that only ONE guy is singing...!

   When House was rediscovered during the '60s blues revival, he recorded his first and only studio album in 1965 ("Father of the Delta Blues"--ASIN: B000002877) for the Columbia label. Most who have heard of Son House know him based on these recordings alone. There is no arguement that this is a magnificent album--the emotional quality has only increased with is age. But while the sound quality is definitely better than these early field recordings (mono recordings into a single microphone in the stockyard of a train depot--you can even hear railway sounds in the background!!), House's old age hindered the ferocity of his slide guitar playing, forcing his tempo to slow down. If you want to hear the true capabilities of the man who I think is the greatest bluesman who ever lived, you must listen to these Library of Congress recordings (and then check out "...and the Great Delta Blues Singers").

5 comments about Folk Singer.

1. This is one of my alltime favorite blues albums. It is an acoustic album and Muddy shines in this format. The only thing I didn't care for on this version were the five bonus tracks. They just don't fit the vibe of the original version. On the other hand, it's some additional Muddy Waters for no extra cost! Get this album and you won't be disappointed.



2. A top rate blues album. One of my favorites, it gets at least weekly listens if not daily.



3. I found this in my friends cd collection, threw it on, noticed it had willie dixon, one of my all time faves, on stand up bass. It blew my mind!what a discovery. never had heard this before somehow altho i love blues. and have seen specials on muddy. get this immediately. stop everything you are doing right now and buy this lp. it is simply one of the best blues lps of all time. beautifully restored remastered in the 99 pressing. gold pure gold.



4. What a great blues album! I just received it in the mail, and this is one of those CD's that exceeds all expectations. First, I was floored by the sound quality - hi-res with beaucoups of air and a realistic soundstage. As I continued through the disc, it became obvious that this CD belongs on a short list of the best blues albums ever made because the performances were also incredible! No folk songs here - it's all acoustic blues with Willie Dixon on bass and Buddy Guy on guitar accompanying Muddy. The bonus tracks are all keepers too. This is absolutely essential blues, and music for the ages.



5. This is a wonderful CD, it has several alternate takes of songs that we've all heard versions of, which I find very interesting. One of the most interesting qualities of blues music is that the performers rarely play the song the same way twice, that's what makes it exciting. Definitely a good CD for you collection!

5 comments about People Take Warning! Murder Ballads & Disaster Songs 1913-1938.

1. When I drive down the road in my 2006 Honda Accord and have this collection playing on my six changer cd player I feel like it's 1922 in Alabama and I'm in my Ford jalopy listening to some great radio station from the past. These songs not only tell stories of the past they make you feel for people you have never met. It's a great collection.



2. Received these cds just before a trip from VA to TX.
   Took me over 200 miles of happy interstate driving
   (with nary a disaster)!



3. On a recommendation from a friend, I picked this up even though I only own the Harry Smith Anthology and really no other reissue collections. I'm now sold! This is at least on the same level as the Harry Smith collection if not much better. This set is a thoughtfully constructed, almost visionary collection of pre-1938 recordings, with each one of the recordings demonstrating something lost in the current "musical vocabulary" that is being put out now. Besides sounding fantastic and looking great, the package also includes deeply revealing annotations and notes by Hank Sapoznik, Christopher King and Tom Waits. I've listened to the set for hours and read and re-read the notes and tried to take in all the compelling graphics. It is indeed a singular experience and a true artistic success.



4. An interesting peak into early 20th century culture.The packaging is top notch.As for the music,it sounds like 20 or 30 versions of the same song,especially given the primitive recording techinques.I might suggest to Tompkins Square they re-record these song using modern artists ie Steve Earle,Dwight Yokum etc.Sort of like the Phil Alvin "Lost Songs"lp from 1985.
   In short ,historically interesting,musically tedious.



5. I can not think of a better set to have received as a Christmas gift. From Waits' introduction through the transfer quality of the audio all the way down to the panoramic pictures in the book, this set is a must-have for any serious music collector or lover.

5 comments about Theme Time Radio Hour: With Your Host Bob Dylan.

1. Nice collection of tracks, but has none of Bob Dylan's commentary and patter from the radio show. That makes this disk a huge disappointment to me.



2. "Theme Time Radio Hour" would have faded away after the first 4 or 5 episodes, if it weren't for it being "BOB FRIGGIN' DYLAN" who is reading someone else's commentaries on someone else's record selections. And they're even managing to embarrass Dylan by what they write. Imagine--on the "Father" show alone (season 1, episode 7), there are FOUR factual errors that no one even bothered to check, much less correct (don't just take my word for it--download it from somewhere and listen yourself).
   
   Now, don't get me wrong--the music here is fine, if not the best that one could find. Hey, I'm a record collector with over 200,000 discs in my collection, so I'm a bit cloyed by a lot of stuff. But if you want a good overview of American music, this is NOT it. Or if you want anything that is "Dylanesque" in the least, this is ALSO not it. This is, "let's put Bob's name on a bunch of stuff we can license cheap, and see how much money we can make in the process."
   
   First, shame on you, Bob, for allowing your good name and persona to have been used by the creators of this melee. Second, shame on someone for trying to boil down 50 hours of scattershot music into something that someone would dare to call any type of introduction to music--much less an overview of 20th century culture--(both monickers which have been applied [elsewhere, thank goodness] to it), and then stamping Dylan's name on it to sell it.
   
   Bob, if you're listening, DON'T let yourself be screwed further by a THIRD (shudder) season of this show. I've bought everything you've ever released, and the show (as well as this set) has lowered my opinion of you almost irreparably. And you, music lover, if you're looking for a good overview of American roots music, check out practically ANYTHING on the Document label...or Yazoo, or Folkways, or...or just buy a few Dylan albums and go from there...but give this pale pastiche a pass.



3. In a world of immitators and regurgitated bland soundscapes, it's so refreshing to see brilliance in the music industry again. Call it a throwback if you will, I'll call it 'actual' entertainment. Either way you slice it there's no denying the musical knowledge stored inside Mr. Zimmerman's brain. I know the show is not entirely all his creation (so thanks go out to the producers, engineers, and everyone else who makes it possible.) but without him as the 'mouth-piece', the show wouldn't have the same style and class. Thank-you, thank-you, thank-you for taking the time to produce a show that has obvious thought behind it. Looking forward to season 3 and what 'themes' may be in store........



4. This is like a nightmare I can not get away from this CD. I ordered Bob Dylan's Theme Time Radio Hour and I was sent Stompin Good Time Twice. I NEVER ORDERED THIS ITEM. I thought I had this streightend out. I returned the 2 copies ( At a cost to me of around $8.00 for postage) At least my credit card was not charged for 2 copies of this rather dismal looking CD. I thank you for this.
   
   I re-ordered Bob Dylan's Theme Time Radio Hour and I am shuddering now that I see you are asking me about Stompin Good Time! Please I beg you do not send this again. Your faithful customer, Diane



5. So much about what I have come to love about music is falling away - "albums" are being replaced by singles downloaded from cyberspace, music magazines (so long No Depression) are shuttering their doors due to lack of ad revenue, and great record stores are closing by the dozen. Into these dangerous straits waded XM Radio and Bob Dylan with the Theme Time Radio Hour - a throwback to simpler times wherein Bob Dylan selects an hour's worth of choice cuts loosely centered around a "theme" like flowers, or marriage or coffee. The show has been a breath of fresh air - it's success due in equal measure to Dylan's pithy narrative style and his impeccable taste in popular music.
   
   What we have here is Ace Records' attempt to anthologize the radio show by choosing 50 cuts that have appeared on Theme Time. There is no "theme" and no Dylan. What we do get is 2 hours of music - most of it blues, R&B, and American roots music. Some of the choices are inspired, the Geraint Watkins cut, "Only a Rose" for example; others - two versions of "Pistol Packin Mama" - less so. The overall effect is akin to listening to a jukebox stocked by Dylan. One could do worse. The packaging is excellent, with track and artist information and a photograph to accompany every song. Sound is more than adequate as well.
   
   If you have access to XM radio by all means listen to Theme Time Radio Hour. If not, this makes a more than acceptable substitute.

5 comments about Ultra-Lounge, Vol. 5: Wild Cool & Swingin.

1. There are so many great songs on here. I was introduced to two great Sam Butera songs, enjoyed more of Lou Rawls silky smooth voice, and gained more appreciation for Dean Martin and Bobby Darin's great voices. Great CD - all the songs are great!



2. what's better than Dean Martin, "ain't that a kick in the head"....lots of great theme music, good spy party music.



3. Ultra Lounge, Volume 5: Wild Cool & Swingin gives us eighteen swinging tracks to delight your ears and make you dance all through the night! The collection of hits doesn't have a dud in the set; and the diversity of the artists couldn't be broader.
   
   The CD track set begins with Dean Martin's classic interpretation of "Ain't That A Kick In The Head." The Nelson Riddle arrangement relies on the horns and the piano is awesome! Dean's voice is in perfect form--energetic and full of masculine warmth as he sings of his new love. A previously unreleased track of "Dig That Crazy Chick" by Sam Butera & The Witnesses follows; Sam & The Witnesses swing hard. Sam's voice is clear and full of excitement as he describes his new girlfriend. The musicians never miss a beat, either!
   
   Bobby Darin performs "More" with sensitivity and panache; I love that piano arrangement by Richard Wess! Peggy Lee's classic rendition of "Fever" absolutely oozes the feminine desire for a man; the people snapping their fingers along with the beat really add to the number! Peggy's voice is rich and vibrant for "Fever." Excellent!
   
   "Danke Schöen" by Wayne Newton will surpass your expectations if you've never heard this ballad before; Wayne sings this with all his heart. Wayne's interpretation of "Danke Schoen" makes his rendition THE definitive interpretation of "Danke Schöen." Jimmie Haskell's orchestra performs beautifully with a firm emphasis on the horns, percussion and strings.
   
   If you want a more playful number, however, check out "French Poodle" by Sam Butera & The Witnesses. Sam sings this to perfection and the horns sound great on "French Poodle!" "Closer To The Bone" by Louis Prima continues in this vein; I believe that you will enjoy "Closer To The Bone" by Louis Prima.
   
   The CD provides us with still more traditional love ballads. Nat King Cole performs "L-O-V-E" without a superfluous note; love that horn solo in the middle of this number! Moreover, Dean Martin croons "Volare (Nel Blu Di Pinto Di Blu)" with a great musical arrangement; I really like how Dean Martin sings this number in both English and Italian. Great effect!
   
   Julie London delivers "You'd Be So Nice To Come Home To" with all the style of a consummate performer; and the CD track set ends well with Bobby Darin crooning a great "Hello, Dolly!" Darin sings "Hello, Dolly!" with great care and sensitivity. "Hello, Dolly" provides a strong ending to the CD track set.
   
   The liner notes include great artwork; and R. J. Smith contributes an essay about lounge singers and the nightlife of the late 1950s and early 1960s especially on the Vegas strip. The song credits and recording dates are there for you; and there are even two drink recipes! Bob Norberg at Capitol Recording Studios did a great job of remastering these tunes.
   
   The very special, golden age of The Vegas Strip with its superstars of the 1950s and 1960s may be behind us but this album does a great job of recreating those special times. I highly recommend this CD for fans of lounge music; and people who enjoy classic pop vocals will cherish this CD for years to come.
   
   Enjoy!



4. Love this kind of music - can't get enough - have most all of the CDs. Excellent New Jersey-based company with excellent foresight and retro-understanding for the best party and jazz combos. Excellent choice for any kind of day or evening, party or relaxation time.



5. The sound quality of the Ultra-Lounge series is excellent, even though the songs were recorded mostly in the 50's and 60's. Capitol Records packs each CD with carefully chosen tracks consistent with the theme of the particular volume in the series. Many of the selections that appear here aren't available elsewhere, either because the original album on which the song appeared is out of print, or because the song was issued as a single and never collected in an album. A few 'previously unreleased' tracks also appear here. This series is a wonderful introduction to the music of a by-gone era, and each album includes detailed notes on each track (artist, writers, date recorded, how released, etc.). I heartily recommend it to anyone who has an interest in this type of music.

5 comments about Martin Scorsese Presents The Blues - A Musical Journey.

1. Blues is a genre of music that is greatly under-appreciated by most Americans, despite being the fundamental roots and building blocks of all other forms of music, minus the Old-Timey music which was created by Western European immigrants in the Appalachians and down south, though even that music mingled with the Blues; the perfect example being "John Henry", which was hugely popular in both black Blues traditions and in Old-Timey music. Jazz, Rock 'N' Roll, Soul, Hard Rock and Heavy Metal all borrow heavily from the Blues. Though I am only 25 years of age, I have been a major Blues fan for over ten years. When I say "major", I mean that I am an obsessive collector, fan, singer and have just started to learn how to play the acoustic guitar. When I saw this documentary on television when it originally aired, I was disappointed. Upon renting the dvds from my local library three or four months ago, I was even more disappointed. It'd be much easier to tell one what's WRONG with this documentary than what's RIGHT about it.
   Firstly, Corey Harris is a wonderful musician, but his original compositions and the Country Blues classics which he covers have nothing to do with musicians in Mali. Although that (very long!) segment of the film was interesting, it didn't pertain to the subject matter at all. It's nice to hear that someone thinks John Lee Hooker's music is "African", but what exactly does that mean? His music is meditative, hypnotic and sexual, but when we look up "Africa" or "African music" in an encyclopedia, we don't see "meditative", "hypnotic", or "sexual", do we? I think this is just the romanticism of a bunch of middle-aged whites who worked on this dvd, and perhaps even some of the young black musicians. With that said, it's great that Harris is in the documentary, as he is one of the top three greatest living Bluesmen. Alvin Youngblood Hart is also present in a different episode of this documentary, but why is he never interviewed? He is the best, that is, he is #1, out of all the living Blues musicians. His guitar playing is fantastic, he is able to compose songs which sound like they are from Charley Patton in 1928 but which contain all original lyrics, and his voice has an accent and snap to it that sounds like a real Country Bluesman from the '20s or '30s. In addition to Hart and Harris being shown covering important songs from the past, Samuel James and John Hammond should have been included in this documentary. John Hammond has done more to spread the word about real Blues than any other person alive, for the last half-century, and his brilliant father did the same thing during his long life. It's deeply insulting that John wasn't included. Furthermore, the artists who WERE shown performing classic Blues songs are simply Godawful. Beck's reading of Skip James' "I'm So Glad" is the most horrendous, disgusting, laughable thing I've ever seen in my life. Keb' Mo is a lightweight and not a Bluesman; he sounds more like James Taylor than he does like Big Joe Williams. Also, Skip James did not re-record all of his 1931 classics, as this stupid documentary would have you believe. This is just poor research on the part of the people who produced this monstrosity. Bonnie Raitt turned in a considerably good performance. Los Lobos and Susan Tedeschi had no business being part of the project, just as Susan didn't belong on Buddy Guy's newest album. I have seen her live; she is very good at playing Blues licks on her guitar and she's a good singer, but she is not Blues. Chuck D. makes an absolute ass of himself, along with his rapper friends, and Marshall Chess shows that he has no taste in music, and can't distinguish good Blues from crap. The footage of Skip James and the discussion of James' life and career by Dick Waterman is the highlight of this entire project and is wonderfully done. The J.B. Lenior business was ridiculous, as the private tapes of him performing show his limited talents on the guitar. The episode about the young man going to live with his uncle is utterly ridiculous because few blacks in the south at that time knew who Robert Johnson was, though the uncle supposedly touts him as one of the greatest of all-time, and even fewer blacks or people in general had any understanding of the greatness of the Blues as a serious musical form, like we think of Classical music, or Jazz, these days. So, why would the uncle have a shrine dedicated to Blues and be a Blues historian?!?. "Sleepy" John Estes is mistakenly called "Sleepy" Joe Estes. If Ken Burns' "Jazz" documentary were to call Thelonious Monk, "Thelonious Blunk", can you imagine the outrage on the part of the Jazz community? Bobby Rush is a joke and isn't a Blues artist. He should stay on the chitlin circuit, doing his dirty dances and poor James Brown imitations. I have no idea why he was included in this documentary. Also, although we all love and respect B.B. King, perhaps we didn't need to see him sitting on his tour bus, talking about his love for the Blues for an extended period of time, but this is one of the minor things wrong with this atrocious documentary.
   The British episode of this abomination is ridiculous, due to Lulu and Tom Jones' presence. Honestly, Mayall and Baldry are of very little importance to Blues and we didn't need to hear about and from them, over and over again. If there needed to be a British "Blues"-themed episode to this disgrace of a documentary, why not focus on the lives of Clapton, the early Fleetwood Mac, Jeff Beck, and, more importantly, their influences, and why they (the British guitar players) love the Blues. Clint Eastwood's work is very well-done, but the problem is that very few of the musicians have anything to do with the Blues. Where was Roosevelt Sykes? He, in my opinion, was the greatest Blues pianist/singer in history. Dave Brubeck is a Jazz musician, and he doesn't even perform good Jazz; he does what Jelly Roll Morton or Joe Bussard would consider to be something other than Jazz, to put it nicely. The Johnny Shines footage in one of the earlier parts of this documentary was fantastic, but why wasn't the great Johnny Shines honored for what he truly was; a musician every bit as good as Robert Johnson, with a stronger and more versatile voice than Johnson, and the ability to perform both acoustic Country Blues standards and originals, and electric Chicago-style Blues standards and originals with equal force and beauty? When, oh, when, will Johnny Shines be recognized? He was the last of the great Bluesmen. He belongs up there with Blind Lemon Jefferson, Charley Patton, Robert Johnson, Blind Blake, Blind Willie McTell, Blind Willie Johnson, Skip James, and, perhaps, Alvin Youngblood Hart, who should have had a much more prominent role here. It would have been better to have a dry, historical reading of the story of the Blues, even if the directors and producers didn't know their stuff (which was obviously the case) than to have a mish-mash of different segments, done by different fools, with, and this is the really awful part, horrible performances by living, supposed "Blues" or Blues-influenced "artists". I am able to sing these old classic Blues songs better than any of these morons, minus the great Hart, Harris and Bonnie Raitt. I believe it was the Jon Spencer Blues Explosion that was the low-point of this entire documentary, though it's really hard to discern what the worst part of this walking disaster was. Lou Reed, Oscar Peterson, Dr. John; why are they a part of this documentary? There was plenty of great Son House footage here, but why wasn't Blind Willie McTell mentioned? What about the unique Henry "Ragtime Texas" Thomas, who sounds nothing like anyone in all of American music, and who was an important Songster who came before the Blues, along with the brilliant Luke Jordan and the heavenly Richard "Rabbit" Brown?
   I am not a huge fan of Eric Clapton, but the discussion of white teenagers' embracing the Blues during the 1960s and '70s is very important to the history of the Blues. With that being said, instead of having talentless artists who happen to be white covering Blues classics, it would have been better to sit down with Eric Clapton for one hour and just have him talk about the records he loved growing up, right off the top of his head. This would also help de-bunk the myth that "Clapton is God", and show young guitar-playing-Clapton-obsessed Blues-Rockers out there that Eric doesn't think he's the best; he feels he can never equal Muddy Waters' greatness, not to mention the beauty of Skip James or Robert Johnson. As Clapton has said in various interviews with various magazines, he is incapable of playing solo acoustic Country Blues because he is not a good enough player to play the complete guitar accompaniment to a song, which is what men like Blind Blake and Blind Lemon Jefferson did. This is why Clapton's album of Robert Johnson covers has other musicians on it. Finally, where the hell is the virtuoso of the Blues, Lonnie Johnson? This man was the inventor of Jazz guitar, performed marvelous guitar duets with Eddie Lang that still sound unbelievable almost 100 years laters, accompanied the brilliantly talented Texas Alexander by playing some of the most startling, dazzling, ominous guitar work in the history of mankind, pioneered Rhythm & Blues ten years later, and was able to play and croon Pop music standards with the best of them. I could probably go on and on about the inaccuracies and mistakes associated with this sad disappointment of a documentary, but I will have to stop here. Rent this thing from your local library. Do not buy it under any circumstances! If you want to know what Blues cds you should buy or which artists you should check out, just ask me, and I will tell you. I will save you a lot of money and aggravation, which is something that this documentary won't be able to do!



2. If you love music and love the Blues, this is a must have for your collection.



3. Save your money and instead borrow this set from your local public library. There is nothing about any of these DVDs that you'd want in your permanent collection. I guess I was hoping for more of a well organized documentary and less "filler". I mean, how many shots of BB King staring quietly out of his bus window do we need to see? This whole series is a collection of disconnected, rambling pieces that could have been better organized. All the parts are probably there, but it's like handing the viewer a pile of jigsaw puzzle pieces and saying "here's a nice oil painting".
   
   This mess has Scorsese's name on it for marketing reasons only. It's clear that, other than the single DVD that he directed, the only message the other directors got was "put something together about the blues".
   
   Out of the 900+ minutes of video here, I'd estimate that there are about 240 minutes worth of interesting material for the blues aficionado (I'm not talking just music here; for example the thread about Rosco Gordon was touching and worthwhile). The majority is senseless filler. Who cares about a rap musician's interpretation of a blues classic? Who cares about Clint Eastwood playing his piano?
   
   A much better approach to this would have been to start with the roots of this wonderful music, and then highlight notable musicians and performances in chronological order. Connections of "who influenced whom" and "who worked with whom" would help tie it together. Sometimes presenting something in a simple, organized manner is the answer, rather than lathering every trick in the director's book on top of the project.



4. I learned blues this DVD. This is my teacher about blues.
   I met several musicians in this DVD, I remembered lot's of person.
   Thank you Mr. Maetin Scorses.



5. I purchased this for my son for Christmas. He likes it very much.

5 comments about Hard Again.

1. Not much new I can say about a classic, but I will say that it's very rare anymore to listen to a band and say to yourself, "Hey, these guys sound like they're having a real good time". In a world dominated by plastic sounding music(Plastic People! Oh, baby now you're such a draaaaaag! Sorry about that, I couldn't resist), it's so refreshing to listen to a group that doesn't sound like it's playing music simply because it's their job. Now while this was an attempt for Muddy to make a comeback, these guys sound like they love what they're doing so much that they couldn't care less if they sold one copy of the album, or even gave a hoot if they were being recorded at all! Muddy had a fantastic musical career long before this album, but in teaming up with Johnny Winter and his crew, he showed the world that Waters hadn't lost his edge but aged like a fine wine. Purchase!! Purchase NOW!!!!!!!



2. He's the man alright. Muddy Waters, lays it out from Mannish Boy to Little Girl. That's what the blues is all about.



3. 
   A long, long time ago, I listened to a flatmate's LP of this title and immediately liked two songs in particular: "Mannish Boy" and "I want to be loved". So, when I saw that a Muddy Waters compilation [Anthology] was listed in promotional list of 100 cds you must own, I bought it. Trouble was, the music in Anthology was NOT like I remembered it in Hard Again. For that reason, I'd only give Anthology about two or three stars out of five.
   
   So, I basically bought Hard Again on CD [the remastered version] to see if I had misrembered the sound of that cd. I hadn't. The sound is near flawless and has great presence. It is often bold and brassy. In "Anthology" the music is more sedate and not as present.
   
   In this album, the music is the offspring of Blues and Rock, and it really is the blues as I now like it. Comparing "Anthology" to "Hard again" is like comparing Bob Dylan to Midnight Oil. Both are socially and politically conscious, but you can dance to Midnight Oil, which is why I always will prefer the Oils to the Bob. The tragedy of The Bob is that other acts always do the definitive versions of his songs...poppier or rockier.
   
   "Hard Again" has spanking drums, a free-wheeling harmonica, electric guitar, bass, piano line-up, with perhaps a banjo and washer-board or some such on one song. It is also more up-tempo and energetic than the music in "Anthology".
   
   "Mannish Boy" is still my favourite Waters' song, and this new version of the song is the king of them all y'all. It's boldy, brassy, swinging and with a big beat. It's a raucous party song.
   
   Another song could be renamed "My ol' lady, she done run off with the bus driver blues". It includes an amusingly saucy line to the effect that his ol' lady would be 'riding' the bus driver tonight, or some such. The song features a very cool note picking guitar melody.
   
   "I want to be loved" swings more in this cd than in "Anthology" and has that classic 50's style bass sound, which pops up in other songs in this cd. The song doesn't match my memory of it the first time I heard it [i.e.it's not as catchy as I remembered it, but maybe my tastes have changed].
   
   "I can't be satisfied" is probably my second favourite song on this cd. It has a nice swing to it and some cool note picking on the guitar. Not sure if the "wa wa" effect on vocals is just Muddy or a glitch in the recording...not a major drawback if it's a glitch.
   
   "The blues had a baby and they named it rock'n'roll" is good with some amusing lyrics...for instance "Queen Victoria said it-'you know the blues got soul'. Well the blues had a baby and they named him rock'n'roll".
   
   "Deep down in Florida" marks a change of pace for Muddy-it's more sedate and has a heavy bass sound. Listening to "Anthology" you are struck by how nearly identical the music is in a few songs [the cliched Blues sound]. "Hard Again" doesn't fall into that trap...no recycled sounds.
   
   "Crosseyed cat" is a whimsical song...not sure if the title is a slang term or innuendo of some sort. It does have another Blues trait though...repeating lyrics. This to me is less of a minus than recycling the same music for different songs.
   
   "Walking through the park" is another track with the classic 50's style rock'n'roll bass sound. His woman in that song is not to be trifled with either..."My girl she may cut you. She may shoot you too". I'd feel safer with her in a walk through the park than with Muddy...at least I'd know she could handle herself if my big mouth got me into trouble with some unsavoury types.
   
   I wont put up a review of "Anthology" as I am not particularly positive about it. But listening to it I wondered if my pick as the greatest rock band of all time, AC/DC, were influence by Muddy's Blues.
   In tracks like "I'm ready", I think you can hear its echoes in AC/DC songs like "TNT", "Livewire" - I mean lyrical content wise. Muddy's song "You shook me" is perhaps more obviously echoed in AC/DC's classic [though by now flogged to death on Australian FM stations] song "You shook me all night long".
   
   Since I'm not reviewing "Anthology" on its own, I'll just jot some of my notes on that cd here: I think one of my notes says that 5 or 6 songs have the same intro as "Louisana Blues". "Still a fool" has a cool sound with a good riff and cool gurgling/howling vocals. Track 23 [didn't jot down its title in my notes" Muddy's vocals are distinctly different-phlegmy, in fact.
   
   Well, that's it for my review. I think Hard Again is the perfect marriage of Blues and Rock and would appeal to the rock crowd easily. Not sure how Blues "Purists" view this album, but to me it is Muddy Waters as I want him to sound.
   
   P.S. I've also reviewed at this site Billie Holiday, Frank Sinatra and Midnight Oil, amongst others [including punk cds and heavy metal cds].



4. Great album, great to listen to over and over whether in the background chillin with friends or on your own. Awesome for a comeback. Only wish it were longer...You may notice many now too-familar riffs from rock music today, that originated right here.
   The Blues Had a Baby, and They Named it Rock N Roll!



5. There's not really anything about this album not to like.
   
   Muddy Waters? Forceful, energized, professional, singing with the same incomparable power and vigor he possessed in the 50s, and which he had struggled to recapture in the decade preceding this album. Moreover, he sounds like he's having the time of his life. The phrase "infectious enthusiasm" is very apropos here.
   
   Johnny Winter? All he does is handle the equally demanding jobs of lead guitarist and producer, and does both flawlessly.
   
   Bob Margolin, James Cotton, Willie Smith, Charles Calmese, Pinetop Perkins? All play in an inspired fashion, driving the songs like a freight train and pushing each other to new heights seemingly by the minute. Cotton's harp screams like no harp before or since, while Smith lays down the kind of pocket that guitarists and bass players dream about at night. Calmese's playing has just enough of a funky '70s edge to make the material sound contemporary and relevant while not detracting from its Chicago roots. Margolin plays with a tastefulness and restraint which belies his young age at the time, and Pinetop is...well, Pinetop.
   
   Old songs? This isn't a popular sort of thing to say, but the reworkings of Muddy's '50s classics presented here (particularly "Mannish Boy" and "Walkin' Through the Park") sound as good or better than their original Chess counterparts. That's not an insult to Jimmy Rogers or Little Walter, it's just the way it is.
   
   New songs? "Crosseyed Cat," "Jealous Hearted Man," and "The Blues Had a Baby" are as good as any blues music ever recorded. Ever.
   
   In summation, if you don't already own this album, stop wasting your time with this silly review and buy the damn thing. Right now.

5 comments about At Newport.

1. This album is so good it should be mandatory listening before any young punk even thinks about playing guitar.
   
   Great songs, great recording, even greater artist.
   
   Buy it, play it and share it with folks who think rock and roll started with Elvis...



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



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



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



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

5 comments about Train Home.

1. If I were to ask someone, in the year 2008, to name a male folk singer from the 1960's I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of '68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Chris Smithers is one such singer/songwriter.
   
   I do not know if Chris Smithers, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. He plays that signature blue guitar for all it is worth of such covers as Crocodile Man yet can turn it down several notches for a song like Never Needed You and then goes softer on reflective songs Kind Woman. Moreover he is as capable as a songwriter as any of writing of longing, lost love, thoughts of mortality and...being stupid in the world. Witness Let It Go on that last point. Then turn it up a notch with a bittersweet song like Lola (males-haven't we all had our Lolas-or wanted to). As then, as if to pay homage to the icon of the generation, a nod to Bob with a shortened version of the classic Desolation Row. Yes, Chris had the tool to go out and slay the dragons of the folk world. This is his five star work. That work may not be well known outside the precincts of the graying folk world, but it should be.



2. Chris Smither is the greatest singer-songwriter to have missed the '70s boom. A tasty, blues-oriented fingerpicker with a dark, smoky voice, he wasn't quite cute enough back then. This album, while not quite his best ( that might be "Drive You Home Again," though he's never made a bad one that I've heard) is up there. "Crocodile Man" is the high point, but you have to admire him for having the guts to cover "Desolation Row" (and the talent to pull it off). A wonderful, original voice who deserves to be heard a lot more.



3. We went to a folk music festival and I purchased cd's from each artist. Chris Smithers Train Home is the only one we are still listening to. It is great.



4. Be sure to check out Chris's cover of Crocodile Man!
   
   The whole CD is superb.



5. I bought this CD shortly after it was released, and I don't get tired of listening to it. It's pleasantly folksy, the lyrics and tunes are interesting, and his singing voice is just different enough to keep my attention. It's a very relaxing CD, even though the songs aren't particularly slow. It's a keeper.

5 comments about Classic Concerts.

1. Yes, this is the best Muddy Waters DVD available since the utmost care was taken in remastering these 3 classic performances. Muddy Waters was a true pioneer and this soulful music from one of the greatest blues performers who ever lived is a testimonial to his legacy. So, if you'd like to own a DVD with 3 heartfelt classic performances by one of the greatest blues artists who ever lived then this is the DVD to own.



2. Rare footage from the 1960 Newport RI jazz fest synced with a stereo soundtrack makes this the Muddy DVD to have. The sound is good to great, and the performances are astounding. Seeing him play with Otis Spann and James Cotton is a rare treat. Cotton says he was fired after the Newport gig for messing up the "Tiger in your Tank' number. Luckily Muddy rethank his ire and had James back in the band withing a few months. The European concerts are good, and give a feeling for how Muddy's performances matured over the years. It is a hoot to see the German and Norwegian crowd just sit and listen to such toe-tapping music. Buy it.



3. Great old footage of concerts you could probably not have attended sice you were still in mommy's womb. Great scenes - great music. Part of music history.



4. I'm glad I got this DVD. I never had a chance to see the man when He was alive, and these little glimpses into the performer and the teacher are good to see.



5. Best Muddy Waters on DVD--period. And I have them all. BUY IT NOW !!!