Joe Louis Walker - The Preaher and The President 1998 Verve

Review

by Becky Byrkit

San Francisco blues pilgrim Joe Louis Walker documents an eclectic career with a landmark album, assembling elements from his productive stabs at Delta and Chicago blues, slide acoustic and funk-rock, motor jazz and gospel. He even throws a taste of social commentary into the mix with the title cut of The Preacher and the President, which is mostly a tribute to (and graduation from) his preferred (and stricter) urban-pulpit forms of late. Sure to be criticized by some as lacking in depth, Walker makes up for it in range, with viable demonstrations of influence by Buddy Guy, B.B. King, and old roommate Mike Bloomfield. Those in the need of a smidge of convincing should cut directly to the way-down "Uhhh!" and the reassuringly lustful "Yveline," since "Repay My Love" wouldn't offend a fan of easy listening, and the oddly colorless "I Ain't Messin' Around" speaks accurately of itself: it ain't. Too bad -- Walker's restraint reminds many blues fans of the glossy filler of Robert Cray rather than the gritty business of Otis Rush or T-Bone Walker, all considered influences of Walker's. A sturdy example of the multiple flavors of the modern blues. Password and Link: mississipimoan http://rapidshare.com/files/282672830/JLWTPATP.rar

Luther Allison - Soul Fixin' Man 1994 Alligator

Review by Scott Yanow

Soul Fixin' Man was blues guitarist/vocalist Luther Allison's first American recording in nearly 20 years. However, his domestic inactivity was not because Allison had stopped playing music. Far from it, since he was based in Paris and worked constantly on the European continent. A powerful player whose intensity on this set sometimes borders on rock (although remaining quite grounded in blues), Luther Allison (who contributed eight of the dozen songs) displays the large amount of musical growth he had experienced since the mid-'70s. Joined by his quintet, the Memphis Horns, and (on "Freedom") a choir, Allison is heard throughout in top form.


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Luther Allison - Serious 1987 Blind Pig

Review	by Thom Owens
Serious marks the beginning of Luther Allison's late-'80s/early-'90s hot streak. The more streamlined, rock-oriented approach actually is a benefit, since it gives Allison a shot of energy that makes his guitar simply burn all the way through the record. Password and Link: mississippimoan http://rapidshare.com/files/282414941/LAS.rar

Muddy Waters - I'm Ready Blue Sky 1978

Review by Rev. Keith A. Gordon

For the middle album of his Johnny Winter-produced, late-'70s musical trilogy, blues giant Muddy Waters brought a new spirit to some familiar material. Starting with members of Waters' touring band -- pianist Pinetop Perkins, bassist Bob Margolin, and drummer Willie "Big Eyes" Smith -- Winter added underrated guitarist (and longtime Waters foil) Jimmy Rogers and extraordinary harp player Big Walter Horton to the mix. The songs recorded for I'm Ready offer a mix of new material and vintage hit singles like the title cut, the mid-'60s jewel "Screamin' and Cryin'," or the Willie Dixon-penned "I'm Your Hoochie Coochie Man." Waters and band provide these well-worn gems with a little new studio polish, but it is with the newer songs that the performers really shine. On the powerful "33 Years," Waters punctuates his tale of lost love with snaky slide guitar, assisted by Horton's wailing electric harp. "Who Do You Trust" features some of Waters' dirtiest vocals, the bluesman growling the lyrics while Winter layers his twangy slide above Horton's harp and Perkins' mournful ivories. "Rock Me" is old-school blues, Waters revisiting this classic cut for the umpteenth time as Rogers and Horton support his vocals with smoky guitar and guest player Jerry Portnoy adds some subtle but assertive electric harp to the affair. I'm Ready closes with the Sonny Boy Williamson chestnut "Good Morning Little Schoolgirl," the high-spirited Waters sounding in good form as Portnoy's harp flails away in the background. Although nearing the end of his career, Waters experienced a well-deserved artistic and commercial resurgence thanks to the three albums recorded with Winter for Blue Sky. Hard Again, I'm Ready, and King Bee all bring a harder edge to Waters' classic performances, with Winter's production heavy on the guitar and lighter on the brassy Chicago blues sound unfamiliar to the rock-oriented target audience. For new listeners trying to get a feel of what the blues is all about, I'm Ready and its bookends are the albums to start with. Once you experience a taste of Muddy Waters, you'll be ready for more.




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Muddy Waters - Blues from Big Bill's Copacabana Chess1967

Blogger's Review......There are very few Blues albums as good as this one.This one is quite shot but really intense, song after song what you have here is truly the most shining constellation of Buesmen ever gathered onstage. This very very rare album took ages to be found by me on the internet. Please enjoy it. As you can see I'm pretty proud of myself on this one! Review

by Cub Koda

Originally released as Folk Festival of the Blues on Chess's Argo subsidiary, the reissue gets the title right the second time around, a live document of a steamy night in a Chicago blues club. Chicago blues disc jockey Big Bill Hill intros the band and the assembled stars (one of whom, Little Walter, is nowhere to be found on this disc), then Buddy Guy's band rips into "Wee Wee Baby," and sung in three-part harmony by Buddy, Muddy Waters and Willie Dixon. Some of the tracks here are ringers; Sonny Boy Williamson's "Bring It On Home" and a stray Buddy Guy track are actually studio takes with fake applause dubbed on. But the two from Howlin' Wolf and everything here from Muddy are as real as it gets; funky, out of tune in spots, with the crowd literally sweating all over the tape. Muddy's versions (with Otis Spann sitting in with the band) of "Clouds In My Heart," and "She's 19 Years Old" are nothing short of brilliant and the only thing better than this aural document would be to have actually been there right down front. Simply raw and amazing. Password and link: mississippimoan http://rapidshare.com/files/282374955/MWBFBBC.rar

Muddy Waters - Woodstock Album Chess 1975

Review by Bruce Eder

Of all the post-Fathers & Sons attempts at updating Muddy's sound in collaboration with younger white musicians, this album worked best because they let Muddy be himself, producing music that compared favorably to his concerts of the period, which were wonderful. His final album for Chess (recorded at Levon Helm's Woodstock studio, not in Chicago), with Helm and fellow Band-member Garth Hudson teaming up with Muddy's touring band, it was a rocking (in the bluesy sense) soulful swansong to the label where he got his start. Muddy covers some songs he knew back when (including Louis Jordan's "Caldonia" and "Let The Good Times Roll"), plays some slide, and generally has a great time on this Grammy-winning album. This record got lost in the shuffle between the collapse of Chess Records and the revival of Muddy's career under the auspices of Johnny Winter, and was forgotten until 1995. The CD contains one previously unreleased number, "Fox Squirrel."

Link:
http://rapidshare.com/files/282351349/MWWA.rar

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Muddy Waters - Can't Get No Grindin' Chess 1973

Review

by Bruce Eder & Bill Dahl

Muddy's next-to-last Chess album, Can't Get No Grindin' marked a return to working with a band of his own after several experimental line-ups and recordings — Pinetop Perkins took over the piano spot from the late Otis Spann, with Chess veteran harpist James Cotton aboard, and PeeWee Madison, and Sammy Lawhorn handling the guitars (apart from Muddy's axe, natch). The music is raw, hard-edged, and sharp (the guitars slash and cut), more like a successor to Muddy's classic 1950's sides (he rethinks a bunch '50s numbers here) than to the London Sessions, Super Blues, brass blow-outs, and psychedelic albums that he'd been doing. It's also easy to hear Muddy's heart in this release — he fairly oozes soul out of every note he sings. The title track, "Sad Letter," and "Mother's Bad Luck Child" are all killer tracks, and most of the rest isn't far behind, though "Garbage Man" is the best known of the newer tracks, thanks to subsequent covers. Password and Link: mississippimoan http://rapidshare.com/files/282340178/MWCGNG.rar

Muddy Waters - Live at Mr. Kelly's Chess 1971

Review by Bruce Eder

Muddy Water Live (At Mr. Kelly's) shows precisely how fortuitous Muddy Waters' history with Chess Records was — with the notable exception of Bo Diddley's Beach Party, the company tended to record its top artists in concert very late or, more often, not at all; Howlin' Wolf got one concert album in so late in his career that he was merely a shadow of the legend he'd established for himself; and the label's resident blues harp virtuosi Little Walter and Sonny Boy Williamson II were never captured in concert. Muddy was luckier — this album, recorded during two June 1971 gigs at one of Chicago's top clubs, was the third full-length concert release of his career; and he had a decade of life and music still in front of him and remained very much the embodiment of his own legend. The core of the band that would work with him for the rest of the 1970s was already with him, and the man himself was in excellent form — in voice and on slide guitar — aided by Sammy Lawhorn and Pee Wee Madison. There might not be the same sense here of a career-second-wind-in-progress that there was with his later live album for Johnny Winter's Blue Sky label — the performance is powerful and confident, more than bold and celebratory — but on "Strange Woman," "Blow Wind Blow," and "Country Boy," for example, the effect of hearing a master of the blues virtuoso band in action is overpowering. His takes on Williamson's "Nine Below Zero," T-Bone Walker's "Stormy Monday Blues," John Lee Hooker's "Boom, Boom," and Jimmy Reed's "You Don't Have To Go," all reconfigured to Muddy's own style, are also worth hearing. There might have been more flash on the later Winter-produced sides, but this disc is not to be ignored, and not just by Chess completists — it's a hell of a lot more essential than Electric Mud, and heralds the superb Indian summer of Muddy's history at Chess, during which he recorded Can't Get No Grindin' and The Woodstock Album. [The 1992 CD reissue includes two bonus tracks, "She's Nineteen Years Old" and "Long Distance Call."]


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John Lee Hooker With The Ground Hogs - Hooker and The Hogs Indigo 1965

Review by Bruce Eder

McPhee and the Groundhogs' most important musical legacy, this 1996 reissue of Hooker & The Hogs has an unusual history. Tony McPhee and the Groundhogs first played with John Lee Hooker in June of 1964, when John Mayall & the Bluesbreakers were unable to fulfill a commitment to back Hooker on the final week of his British tour. The Groundhogs were deputized on the spot and played their first show with him at the Twisted Wheel in Manchester. At the end of the week, Hooker told McPhee how much he liked working with his band and agreed to use the Groundhogs as his backing band on his next visit to England. Hooker was back in May and June of 1965, and not only used them as his band but recorded this album with the Groundhogs. The band was Tony McPhee on guitar, Peter Cruickshank on bass, Dave Boorman on drums, and Tom Parker on keyboards -- some of the stuff here may have surfaced elsewhere, on the Interchord label (as Don't Want Nobody) with brass dubbed on, but this release consists of the undubbed recordings. The sound is raw, tight, and raunchy, some of the best band-backed recordings of Hooker's career. He's notoriously difficult to play support for because of the spontaneity of his work, but these guys keep up and then some, adding engaging flourishes and grace notes. Hooker is in excellent voice, and his material is as strong as any album in his output, rough, dark, and moody. The ominous, surging "Little Dreamer" is worth the price of admission all by itself. The 11 tracks with the Groundhogs are rounded out with four Hooker solo bonus tracks, which are even louder and more savage than the Groundhogs' stuff, though a little noisy (like that ever mattered with The Hook).


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John Lee Hooker - Burnin' Vee Jay 1962

Review

by Al Campbell

From the vaults of Vee Jay Records comes an abundance of classic John Lee Hooker reissues, featuring original art work, running orders, and budget prices from the Collectables label. With the amount of Hooker material available on the market, some of it is of dubious quality, but you can't go wrong with these reissues. Burnin' was released in 1962 and combines 12 tracks of electric material performed by Hooker backed by a band on "Crawlin' Kingsnake," "Boom Boom," "Blues Before Sunrise," "Drug Store Woman," and "What Do You Say." All of the Hooker Vee Jay reissues are recommended. Password and Link: mississippimoan http://rapidshare.com/files/281937456/jlhb.rar

John Lee Hooker - Plays and Sings The Blues (1961) Chess

Review

by Bill Dahl

A 1961 Chess album restored to digital print by MCA that's filled with 1951-1952 gems from the Hook's heyday. Chess originally bought "Mad Man Blues" and "Hey Boogie" from the Gone label; the rest first came out on Chess during Hooker's frenzied early days of recording, when his platters turned up on nearly every R&B indie label existant at the time. Password and Link: mississippimoan http://rapidshare.com/files/281920453/jlhpastb.rar

T-Bone Walker - Quadromania Goodbye Blues

If you're wondering where it all began for electric blues guitar, there's not much of a need to look beyond Aaron Thibeaux Walker. Born in Linden, TX, and better known as T-Bone, a corruption of his middle name, this was the man who took blues guitar to heights never previously imagined by plugging into an amplifier and letting his fingers do the talking. An early career as a hawker and dancer on the medicine show circuit, where with a body as nimble as a rubber band, he'd excite crowds with dazzling steps and splits, the framework was in place for one of blues' most creative and entertaining performers. A close friend of the Walker family in the 1920's was none other than the celebrated Blind Lemon Jefferson, a powerful and highly popular Texan who was startling his own crowds with deft finger skills on the guitar and making strong selling 78's for the Paramount label. Jefferson would play for Movelia, the youngster's mother, and others who gathered at their residence, and T-Bone was further influenced by being Jefferson's eyes when the blind entertainer would play on the streets of Dallas and surrounding areas for tips. This was an education that wasn't available in school, and even if it were, by being of African-American descent, Walker's chances would have been stripped to the bare minimum.

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http://www.easy-share.com/1904522269/TB1.rar

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http://www.easy-share.com/1904522778/TB3.rar

http://www.easy-share.com/1904522958/TB4.rar

Memphis Slim - Rockin' The Blues (Charly Collection) Vol.37

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http://www.easy-share.com/1904116198/MBMS.rar

The Super Super Blues Band - Long Distance Call (Charly Collection) Vol.36

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http://www.easy-share.com/1904116080/MBSSBB.rar

Etta James - Tell Mamma (Charly Collection) Vol.35

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http://www.easy-share.com/1904115818/MBEJ.rar

Blind Boy Fuller - Sweet Honey Hole (Charly Collection) Vol.34

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http://www.easy-share.com/1904115566/MBBBF.rar

Memphis Minnie - Good Biscuits (Charly Collection) Vol.33

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http://www.easy-share.com/1904115376/MBMM.rar

Albert Collins - Live (charly Collection) Vol.32

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http://www.easy-share.com/1904086029/MBAC.rar

Champion Jack Dupree - Home (Charly Collection) Vol.31

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http://www.easy-share.com/1904085778/MBCJD.rar

Bobby "Blue" Bland - Long Beach 1983 (Charly Collection) Vol.30

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http://www.easy-share.com/1904084344/MBBBB.rar

Magic Sam - West Side Soul (Charly Collection) Vol.29

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http://www.easy-share.com/1904085658/MBMS.rar

Ike and Tina Turner - Too Hot To Hold (Charly Collection) Vol.28

Review
by James Christopher Monger
The Charly label's Ike & Tina Turner compilation Too Hot to Hold will ultimately disappoint fans expecting radio hits like "Nutbush City Limits," "Proud Mary," "River Deep Mountain High," or "Fool in Love." That said, this collection of mid- to late-'60s pre-breakthrough R&B is riveting from start to finish, featuring Tina and the Ikettes in top form. Fans looking for more familiar territory should check out EMI's excellent Proud Mary — The Best of Ike & Tina Turner or the mammoth three-disc Ike & Tina Turner Story 1960-1975.

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http://www.easy-share.com/1904087618/MBITTT.rar

Chuck Berry - Run Around (Charly Collection) Vol.27

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tp://www.easy-share.com/1904085177/MBCB.rar

Freddie King - Texas Sensation (Charly Collection) Vol.26

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http://www.easy-share.com/1904085012/MBFK.rar

Sonny Boy Williamson - Nine Below Zero (Charly Collection) Vol.25

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http://www.easy-share.com/1904084651/MBSBW.rar

Jimmy Rogers- Hard Working Man (Charly Collection) Vol.24

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http://www.easy-share.com/1904084474/MBJR.rar

Big Bill Broonzy - Southern Blues (Charly Collection) Vol.24

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http://www.easy-share.com/1904084344/MBBBB.rar

Buddy Guy - The Treasure Untold (Charly Collection) vol.23

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http://www.easy-share.com/1904062700/MBBG.rar

Lonnie Johnson - Me and My Crazy Self (Charly Collection) Vol.22

Lonnie Johnson was the first great modern blues guitarist. His harmonically advanced and fluid style influenced everyone from ROBERT JOHNSON and CHARLIE CHRISTIAN to T-BONE WALKER an B.B. KING. A prolific recording artist, Johnson's career extended from the mid-1920' to the late 1960s. He recorded hundreds of songs along the way as both featured artist and an accompanist. Many of his recordings transcended the blues idiom and incorporated everything from jazz to pop; such was Johnson's amazing versality. In terms of the blues, his most productive period was from 1925, the year he began his recording career, to approximately 1932. It was during this time that Johnson's influence as a guitar master was most felt and that the bulk of his best blues and blues-flavored recordings were released.To call Johnson a pure blues guitarist would not be entirely accurate. More than any other early guitarist, Johnson brought the blues to jazz, and jazz to blues. Johnson had neither the raw country blues background that such contemporaries as BLIND LEMON JEFFERSON and BIG BILL BROONZY had, nor the roughed-up, often renegade guitar style practiced by Delta bluesmen like SON HOUSE and CHARLEY PATTON. Johnson's guitar style was clean and manicured. He selected his notes with careful consideration, thanks to an understanding of his instrument that ram deeper that that of nearly every other blues guitarist of the day. In a way, his approach to the guitar was polished o the point of being polite. Nevertheless, Johnson's guitar style possessed feelind and delightful sense of swing and sophistication. Johnson lived all his life in the city, and his guitar articulation reflected this. He was one of the first guitarists to experiment with single-string solos, an innovation that would be adopted by countless jazz and blues musicians later on, and he developed professional relationships with some of the top recording artists of the '20s. --- Robert Santelli, The Big Book of Blues



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http://www.easy-share.com/1904062593/MBLJ.rar

Leadbelly - Easy Rider (Charly Collection) Vol.21

Here is another one I can't find anything about on the web.

Here is the Track List:

1- Good Morning Blues

2- Midnight Special

3- You Don't Know My MInd

4- The Bourgeois Blues

5- C.C Rider

6- Matchbox Blues

7- Leavin' Blues

8- My Baby Quit Me

9- Easy Rider

10- Alberta

11- Packin' Trunk

12- Death Letter

13- Roberta

14- The Gallows Pole

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http://www.easy-share.com/1904062479/MBL.rar

T-Bone Walker - T-Bone Shuffle (Charly Collection) Vol.20

Texas blues guitar legend Aaron Thibeault "T-Bone" Walker is the hero of this 14th volume in the Charly Blues Masterworks series. These 16 historic recordings made for the Capitol and Black White labels during the years 1942-1948 demonstrate exactly how and why T-Bone influenced generations of singers and electric guitarists. Given the fact that his discography is packed to the gills with serviceable retrospectives, Charly's T-Bone sampler is both sensibly selected and pleasantly affordable. Perfect music for chili preparation, barbecues, picnics, and for drinking beer out of long-neck bottles while the car is up on cinder blocks and the engine's all took apart. ~ arwulf arwulf, All Music Guide

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http://www.easy-share.com/1904062389/MBTW.rar

Koko Taylor - Love You Like a Woman (Charly Collection) Vol.19

Review
by Bruce Eder

14 songs by Koko Taylor, produced and mostly written by Willie Dixon between 1964 and 1969, with Lafayette Leake, Buddy Guy, Robert Nighthawk (on some of the earliest tracks), Johnny Shines, Clifton James, Walter Horton, and Dixon backing her up. The songs run the gamut from blues standards in the making ("Wang Dang Doodle") to topical subjects ("Separate or Integrate"), with Taylor in great voice throughout. Worth the price just for "I Love a Lover Like You." The notes are minimal, but it's difficult to argue about the sound quality or the content.

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http://www.easy-share.com/1904062272/MBKT.rar

Elmore James - The Sky Is Crying (Charly Collection) Vol.18

A decent-sized helping of late-'50s and early-'60s sides that Elmore James cut for Bobby Robinson's Fire label. Unfortunately, nothing from James' last two Fire sessions is included here (the big omissions being "Shake Your Money Maker," "Look on Yonder Wall," and the definitive version of "It Hurts Me Too"), but there's still plenty of slide guitar to go around, and... More with a lot more range than you might expect, from the raunchy riffs of "Done Somebody Wrong" to the mellower, acoustic dust-my-broom treatment on "I'm Worried." As a blues singer, James never really topped what he waxed for Fire, and The Sky Is Crying offers as good a sampling as anything else you can find on one CD. In addition to two killer slide instrumentals, "Bobby's Rock" and "She Done Moved Me," there's also a nice glimpse of James playing in standard tuning on "Strange Angel." If all this still doesn't satisfy you, then you'll have to seek out Capricorn's King of the Slide Guitar box set. ~ Ken Chang, All Music Guide

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http://www.easy-share.com/1904062170/MBEJ.rar

Clarence "Gatemouth" Brown - San Antonio Ballbuster (Charly Collection) Vol.17

Review
by Bill Dahl
It's 1965, and Gate's guitar sound is different — not so brash and trebly but smoother, with more of a jazz and occasional country kick. Most of these sides were never issued after being acquired by Chess. There are two takes of Little Jimmy Dickens's C&W novelty hit "May the Bird of Paradise," both of 'em swinging easy. Gate was in a Sonny Boy Williamson mood that day, reviving three of the harpist's oldies along with a few of his own and the ominous blues "Long Way Home," which threatens mayhem most charmingly.

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http://www.easy-share.com/1904062033/MBCG.rar

Robert Cray - The Score (Charly Collection) Vol.16

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http://www.easy-share.com/1904060609/MBRC.rar

Lightnin' Hopkins - Morning Blues (Charly Collection) Vol.15

Issued in 1993, Morning Blues is the eighth volume in the Charly Blues Masterworks series. It consists of material drawn from two Lightnin' Hopkins albums recorded for the Louisiana-based Jewel record label: Blue Lightnin' (1965) and The Great Electric Show and Dance (1968). Hopkins, an archetypal post-WWII Texas bluesman who often performed solo or with minimal accompaniment, had strong support from a sympathetic rhythm section (including pianist Elmore Nixon) on the earlier date. The Great Electric Show and Dance, on the other hand, is now regarded as an experiment whereby the stubbornly individualistic Hopkins performed with (and to some extent in spite of) a five-piece blues band consisting of electric guitarist Eddie Hinton, electric keyboardist Barry Beckett, electric bass guitarist David Hood, drummer Roger Hawkins, and an unidentified harmonica player (tracks nine through eighteen). Maybe this isn't the best choice for those who seek a sensible introduction to Hopkins. Maybe first it would be better to hear his earlier work from the mid- to late 1940s, and/or the warm, mature and intimate 1964 sessions first issued by the Fantasy label as Double Blues, an LP two-fer, in 1973. This Charly compilation should not be confused with Morning Blues, a survey of Hopkins' early Aladdin recordings from 1946-1948. That double-disc History retrospective, released in 2004, contains 13 vintage tracks that differ markedly from the mid- to late-'60s material presented on the similarly titled Charly release. ~ arwulf arwulf, All Music Guide

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http://www.easy-share.com/1904061554/MBLH.rar

Jimi Hendrix - Early Years (Charly Collection)

No pictures of this cover were found!!!
This is rare, you can listen Jimi's early R&B grooves....All these tunes are quite groovy. They sound a lot like Albert Collins's Imperial Recordings. It's really worth a try!!!

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http://www.easy-share.com/1904061046/MBJH.rar

Bessie Smith - Empress of the Blues (Charly Collection) Vol.13

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http://www.easy-share.com/1904060974/MBBS.rar

James Brown - At Studio 54 (Charly Collection) Vol.12

Titles that aptly describe James Brown - "Soul Brother Number One," "The Godfather of Soul," "The Hardest Working Man in Show Business," "Mr. Dynamite". No one can question that James Brown earned them more than any other performer, nor did ... Full Descriptionany other musician, pop or otherwise, put on a more exciting, exhilarating stage show. Brown's performances up until his death in 2006 were amazing examples of athletic stamina and split second timing. Includes such classics as "Sex Machine", "Papa's Got A Brand New Bag" and "Get Up Offa That Thing".

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http://www.easy-share.com/1904060887/MBJB.rar

Robert Johnson - The Legendary Blues Singer (Charly Collection) Vol.11

When this collection was first released, back in 1961, it soon became the bible of that decade's folk-blues revival, a set of songs which had scorched deep lines in the blues psyche, subsequently modified, electrified and boogie-fied. This reissue also includes a freshly exhumed alternative take of "Travelling Riverside Blues", as good an excuse as any to upgrade from old vinyl. The original album pulled together all of Johnson's classic songs, his ghost suddenly made corporeal for a generation that had only heard of the rare 78s via whispered rumour. "Cross Road Blues", "Terraplanemore… Blues", "Hell Hound On My Trail": they're all tortured cries for help, Johnson most likely at the end of his teens when he recorded his only two sessions, first in 1936, then 37. He was a complete individual: these songs may well be fodder for countless cover versions, but few modern artists can hope to reproduce the originator's stylistic mannerisms. Johnson favoured uneven lines, unpredictable emphasis, strumming and plucking around an implied central melody. For the experienced listener, it's probably wise to invest in Complete Recordings, but as an introduction to Johnson's unique art, this disc has certainly stood the test of time. --Martin Longley

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http://www.easy-share.com/1904062782/MBRJ.rar

Bo Diddley - Signfying Blues (Charly Collection) Vol.10

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http://www.easy-share.com/1904060734/MBBD.rar

Ray Cahrles - Hey Now (Charly Collection) Vol.9

Hey chaps this rewiew is in spannish , I'm brazilian, it's easy fir us to understand spannish!!! Tha't's all I found on the web.

Se trata de las primeras sesiones que Ray Charles realizaría en su frondosa y ecléctica carrera. Una de las joyas perdidas más buscadas por coleccionistas por más de tres décadas, que después de mucho rastreo y producción por parte de varios sellos discográficos Americanos, por fin vieron la luz. Mucho antes de ser la super estrella de la música popular Americana que todos conocemos, su contrato con Atlantic Records, e incluso antes de llamarse Ray Charles. Allá por 1948, el pianista formó parte de un trío hecho a la medida de uno de sus grandes ídolos de siempre, Nat "King" Cole. Nat en la primera mitad de la década de los 40’s era inmensamente famoso y respetado por su trabajo junto a Oscar Moore y Wesley Prince en el denominado, Nat King Cole Trio. Lo cierto es que Ray Charles, que solo tenía 18 años en ese 1948, era el pianista de Maxim Trio. Un grupo que exploraba la beta más blusera que Ray jamás grabaría. El más joven Ray que existe en registros grabados es este, donde el Jazz y el Gospel, pero sobretodo el Blues están a flor de piel como nunca. Esto constituiría los cimientos desde donde en la década de los 50’s forjaría junto a algunos artistas más una mixtura a la que llamaron Soul. Mientras sus manos acarician las teclas del piano, una voz profunda y angustiosa toma por asalto estas sesiones compiladas por el sello Ingles Charly Records, y nos presentan al más puro y sensible Ray Charles imaginable. Clásicos de Blues de principios del siglo pasado como “Blues Before Sunrise” y “How Long Blues” de Leroy Carr, o “See See Rider” de Ma Rainey más seis de las primeras composiciones propias son algunas de las maravillas que conforman un disco extraordinario desde lo testimonial, y absolutamente placentero desde lo musical. Una impagable perla de uno de los genios más grandes del siglo XX. Supremo!

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http://www.easy-share.com/1904060609/MBRC.rar

Albert King - Live (Charly Collection) Vol.8

Albert King was quite active and enjoyable in the mid-'70s up until his passing. This live in-concert recording represents him quite well in that time period. Of the ten tracks included, you get some of his more enduring numbers such as "That's What the Blues Is All About," "Stormy Monday," "Kansas City," "As the Years Go Passing By," and "I'll Play the Blues for... More You," all with the reserved cool and confidence that marked the legendary left-handed guitarist's persona through his golden years. In performance, King was the best, and this recording shows him very near the top of his game. ~ Michael G. Nastos, All Music Guide

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http://www.easy-share.com/1904060522/MBAK.rar

John Mayall - Life in The Jungle (Charly Collection) Vol.7

Rewiew By an Amazon Client!!!

This is possible the best John Mayall album ever and certainly the best live one that I have heard. It features some roaring guitar from both Walter Trout and Coco Montoya and some great organ and harmonica from Mayall. It features a great version of the Sonny Boy Williamson standard 'Help Me', a rework of 'All your love' and the spine tingling 'One life to give' and 'Life in the Jungle'. The only dud is 'I Ain't' got you' and 'Ridin' on the L&M' takes a while to warm up.

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http://www.easy-share.com/1904060380/MBJM.rar

Howlin' Wolf - The Wolf is at Your Door (Charly Collection) Vol.6

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http://www.easy-share.com/1904060280/MBHW6.rar

Johnny Winter - The Texas Tornado (Charly Collection) Vol.5

This is a decent Johnny Winter record of material from his early days, before he became a famous Blues-Rock guitar player. "Roadrunner" pales in comparison to the Bo Diddley version, but "Kind Hearted Woman" and "Low Down Gal Of Mine" are enjoyable. "Gangster Of Love" lacks the power of the Johnny "Guitar" Watson original. If you want to hear Johnny Winter at his best, his first four albums are probably what you're looking for.

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http://www.easy-share.com/1904060176/MB 05 - Johnny Winter.rar

Muddy Waters - They Call Me Muddy Waters (Charly Collection) Vol.4

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http://www.easy-share.com/1903991746/MB 04 - Muddy Waters.rar

John Lee Hooker - Blues For Big Town (Charly Collection) Vol.3

Another great cd of this great collection....Within a couple more of days you'll have they all avaiable here!!!

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http://www.easy-share.com/1903990747/MB 03 - John Lee Hooker.rar

The Yardbirds - Blues Eyed Blues (Charly Collection) Vol.2

by Cub Koda
A hodgepodge of tracks, mostly pulled from The Yardbirds' catalog. Over half the disc is devoted to Clapton, bringing together two songs of the band backing up Sonny Boy Williamson, "Five Long Years" and "I'm a Man" from the Five Live Yardbirds album, two studio tracks from their first album, and three tracks from the Howlin' Wolf London Sessions. Jeff Beck is represented with "New York City Blues," "Steeled Blues," "The Train Kept A Rollin'," and a band-track-only outtake of "The Nazz Are Blue," under its original working title of "Jeff's Blues." The final two tracks with Page are taken from a London studio session backing Sonny Boy Williamson. If you have a decent Yardbirds collection, you probably have most of these elsewhere. ~ Cub Koda, All Music Guide

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http://www.easy-share.com/1903988815/MB 02 - The Yardbirds.rar

BB King - Kansas City 1972 (Charly Collection) Vol.1

Product DescriptionUniversally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century. A contemporary blues guitar solo without at least a couple of recognizable King-inspired bent notes is all but unimaginable, and he remains a supremely confident singer capable of wringing every nuance from any lyric (and he's tried his hand at many an unlikely song, anybody recall his version of "Love Me Tender?"). This album features 9 tracks. Rajon. 2005. --This text refers to an out of print or unavailable edition of this title.

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GUITAR SLIM: Atco Sessions (2006) Collectables

Covering the later years of Guitar Slim's rather short career, this 15-track compilation consists of tracks recorded from 1955 until the bluesman's death in 1959. Though most fans agree that Guitar Slim's earlier sessions for Specialty Records are the high point of his career, THE ATCO SESSIONS cherrypicks the best tunes from his tenure at Atco, leaving aside the misguided attempts to put the idiosyncratic bluesman into a more standard rhythm and blues or rock and roll format. The opening track, "Down Through the Years" is a classic on the level of his earlier masterpiece, "The Things I Used To Do." "If I Should Lose You," "It Hurts To Love Someone," and the two instrumentals both titled "Guitar Slim Boogie" are also more than worth the price of admission. Sometimes a bit subdued compared to his bone-chilling output for Specialty, these 1956-1958 sides for Atco still possess considerable charm, especially the tough "It Hurts to Love Someone" and "If I Should Lose You," which conjure up the same hellfire-and-brimstone intensity as Guitar Slim's earlier work. Recorded between 1956 and 1958.

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http://www.easy-share.com/1903954125/GSTTIUTD.rar

Professor Longhair - Crawfish Fiesta (1980) Alligator

Review
by Bill Dahl
Probably the best of all the many albums Longhair waxed during his comeback. A tremendously tight combo featuring three horns and Dr. John on guitar delightfully back the Professor every step of the way as he recasts Solomon Burke's "Cry to Me" and Fats Domino's "Whole Lotta Loving" in his own indelible image and roars, yodels, and whistles out wonderful remakes of his own oldies "Big Chief" and "Bald Head."

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http://www.easy-share.com/1903950762/PLHCFF.part1.rar

http://www.easy-share.com/1903950781/PLHCFF.part2.rar

Fenton Robinson - Somebody Loan Me a Dime (1974) Alligator

Review
by Bill Dahl
One of the most subtly satisfying electric blues albums of the '70s. Fenton Robinson never did quite fit the "Genuine Houserocking Music" image of Alligator Records — his deep, rich baritone sounds more like a magic carpet than a piece of barbed wire, and he speaks in jazz-inflected tongues, full of complex surprises. The title track hits with amazing power, as do the chugging "The Getaway," a hard-swinging "You Say You're Leaving," and the minor-key "You Don't Know What Love Is." In every case, Robinson had recorded them before, but thanks to Bruce Iglauer's superb production, a terrific band, and Robinson's musicianship, these versions reign supreme.

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http://www.easy-share.com/1903950372/FRSLAD.rar

Eric Clapton - Me and Mr Johnson (1994)

Review
by Stephen Thomas Erlewine
Ten years after his first all-blues album, From the Cradle, Eric Clapton released Me and Mr. Johnson, an album-length tribute to his hero, the legendary bluesman Robert Johnson. Not that this is the first time Clapton has paid tribute to Johnson. Throughout his career, Clapton has not only drawn on Johnson for inspiration, but he has covered his songs at pivotal moments: "Ramblin' on My Mind" on his classic album with John Mayall, Bluesbreakers; "Four Until Late" on the first Cream album; and, most memorably, the rampaging cover of "Crossroads" on Wheels of Fire that became his anthem and arguably his defining moment. Considering this long history, perhaps a full-length tribute was inevitable, yet Me and Mr. Johnson still is welcome, in part because it's been a long time since this guitarist has sounded so comfortable and relaxed, as if he was having fun making music. With the possible exception of the spotty yet charming B.B. King duet album Riding With the King, this is simply the most enjoyable record he's made since From the Cradle, and in some respects it's a better blues album than that since it never sounds as doggedly serious as that guitar-heavy affair. Given the somber, sometimes chilling lyrics Johnson wrote — Clapton admits that "At first [his music] scared me in its intensity," an accurate summary of the haunting nature of those 29 sides the bluesman cut in the '30s — it's a little ironic that this tribute winds up being fun, not somber, but the light touch makes for a better album. That lightness comes from the deep love Clapton holds for this music, since the enthusiasm and enjoyment he and his band — all the old regulars like Andy Fairweather-Low plus Billy Preston on keyboards — give the performance results in the album's light, infectious feel. While that does result in versions of "If I Had Possession Over Judgement Day" and "Hell Hound on My Trail" that sound anything but haunted, they do sound nicely next to the up-tempo rave-ups of "They're Red Hot," "Last Fair Deal Gone Down," and "Stop Breaking Down Blues" since all of them sound like Clapton is having a hell of a good time. Some might take issue with this, and others may find the album too slickly produced — admittedly, blues albums should never boast a credit for Pro Tools, as this does — but this is a heartfelt tribute that's among Clapton's most purely enjoyable albums.

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http://www.easy-share.com/1903920682/ECMAMRJ.rar

Little Walter - (His Best / Chess 50th Anniversary Collection) 1997

Review
by Cub Koda
As MCA reconfigures their Chess catalog, this 20-track single-disc compilation now takes the place of their original 12-track Best of Little Walter collection, a landmark blues album which had remained in print for over three decades. His Best (Chess 50th Anniversary Collection) reprises ten of those seminal tracks (leaving off the echoey "Blue Light" and "You Better Watch Yourself," the latter being available on the two-disc anthology The Essential Little Walter) and brings ten others cherry-picked from the catalog to the mix. If you've never experienced the innovative instrumental genius of Little Walter, classics like "Juke," "Off the Wall," "Mean Old World," "Sad Hours," "Blues with a Feeling," "My Babe," "Boom Out Goes the Light," "Last Night," "Mellow Down Easy" and "Roller Coaster" (written by Bo Diddley, who also guests on guitar) will come as a major revelation. These are the recordings that changed the sound and style of blues harmonica forever, and everyone who came after him was as influenced by him as jazz saxophonists were by Charlie Parker. Everyone who fancies themselves a blues harmonica player should have this one in their collection as a textbook instructional tool, while the rest of us can just bask in the glow of his genius. "Essential first purchase" doesn't even begin to describe it.

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http://www.easy-share.com/1903918308/LWCC.rar

B.B. King - Quadromania (japanese amazing collection)

Great Japanese collection. The songs included here have been very well chosen , Pick this one!

Tracks cd 1:
01. Miss Martha King (2:42)02. When Your Baby Packs Up And Goes (2:28)03. Got The Blues (2:48)04. Take A Swing With Me (2:34)05. Mistreated Woman (2:51)06. B.B. Boogie (3:11)07. The Other Night Blues (3:40)08. Walkin' And Cryin' (3:28)09. My Baby's Gone (2:00)10. Don't You Want A Man Like Me (2:20)11. Questionnaire Blues (2:59)12. B.B. Blues (2:27)13. A New Way Of Driving (1:56)

cd 2:
01. She's A Mean Woman (2:34)02. Hard Workin' Woman (2:35)03. Pray For You (2:32)04. Three O'Clock Blues (3:01)05. That Ain't The Way To Do It (2:17)06. She Don't Move Me No More (3:11)07. Shake It Up And Go (2:36)08. My Own Fault (3:29)09. I Gotta Find My Baby (2:45)10. You Know I Love You (3:05)11. Woke Up This Morning (3:01)12. You Upset Me Baby (3:03)13. Please Love Me (2:50)14. Blind Love (2:56)15. Woke Up This Morning (2:53)


cd 3:
01. When My Heart Beats Like A Hammer (2:57)02. Whole Lotta Love (3:08)03. Everyday I Have The Blues (2:49)04. Sweet Little Angel (3:02)05. Early Every Morning (2:33)06. You Don't Know (2:27)07. Did You Ever Love A Woman (2:33)08. Bad Luck (2:53)09. Ten Long Years (2:48)10. Crying Won't Help You (2:58)11. On My Word Of Honour (2:57)12. Sweet Little Angel 2 (3:02)13. Everyday I Have The Blues 2 (4:5

cd 4:
01. BB's Theme (10:55)02. Why I Sing The Blues (4:34)03. Darling You Know I Love You (5:09)04. Caledonia (3:28)05. All Over Again (7:14)06. Everyday I Have The Blues (4:52)07. Sweet Little Angel (5:55)




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http://www.easy-share.com/1903904505/BBKQM1.rar


http://www.easy-share.com/1903904797/BBKQM2.rar


http://www.easy-share.com/1903905134/BBKQM3.rar


http://www.easy-share.com/1903905504/BBKQM4.rar

Byther Smith - Throw Away The Book (2004) Black and Tan Holand

This is a very good One , I don't know why Allmusic hasn't yet written a rewiew for it.

Track Listings
1. Running to New Orleans
2. All for Business - Byther Smith, Dawkins, J.
3. Things I Used to Do
4. The Man Wants Me Dead
5. Love Me Like I Love You
6. I Didn't Get None
7. Close to You Baby - Byther Smith, Dixon, W.
8. Never Stopped Loving You
9. Put Your Arms Around Me
10. Mean Old Daddy
11. I Can't Understand You Baby
12. I Don't Like to Travel

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http://www.easy-share.com/1903791057/BSTATB.rar

Delbert McClinton - Nothing Personal (2001) NewWest

Review
by Stephen Cook
McClinton's first outing for the independent Austin label New West, Nothing Personal features more of the Texan harp player's loose blend of rock, blues, and honky tonk. He penned all the cuts here, sometimes in tandem with producer Gary Nicholson and Benmont Tench of Tom Petty and the Heartbreakers fame (Tench also sits in on keyboards for a few cuts). The lyrical concerns take in the usual stories of love and its travails, which McClinton consistently phrases in his own rough-hewn yet sweet way. He also contributes some of his ace harmonica work to several of the tracks. The selections feature McClinton's standard variety, ranging from barroom rockers like "Squeeze Me" and the vintage country side "Birmingham Tonight" to the south-of-the-border ballad "When Rita Leaves." Another fine release from one of Texas' best.

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http://www.easy-share.com/1903790930/DCNP.rar

Alvin Youngblood Hart - Start With The Soul (2000) Rykodisk

Review
by Al Campbell
Guitarist Alvin Youngblood Hart dedicates his third release Start With the Soul to, among others, the late Thin Lizzy leader Phil Lynott. This isn't just lip service, as you can immediately hear when the opening roar of "Fightin' Hard" comes blaring through. Hart doesn't go out of his way to appeal only to blues followers. He has the natural ability to fuse twangy country, Hendrix, funk, and reggae into his Delta blues style without regard to genres. Start With the Soul is unlike other releases from artists who at the beginning of their career display an acoustic Delta approach only to end up incorporating a very commercial soul sound for the sake of reaching a wider audience or receiving minuscule radio airplay. The choice of cover versions is revealing; Chuck Berry's "Back to Memphis," Cornelius Brothers and Sister Rose's 1971 hit "Treat Her Like a Lady," and the Sonics' mid-'60s garage rocker "The Hustler" lose none of the vigor of the originals. Credit should be given to the legendary Memphis producer Jim Dickinson for capturing the gritty sound critical to this kind of undertaking. It will be interesting to see where Hart goes with future releases.

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http://www.easy-share.com/1903789168/AYHSWTS.rar

Alvin Youngblood Hart - Motivational Speaker (2004) Tone Cool

Review
by Thom Jurek
Bluesman Alvin Youngblood Hart's Motivational Speaker is his first outing since Down in the Alley, his stellar, acoustic collection of covers from 2002. Cut in Memphis with a very electric trio that includes Gary Rasmussen (former Rationals and Sonic's Rendezvous bassist) and drummer Ed Michaels, the album is a hard-edged, wooly, dirt-under-the-nails affair. Hart produced the set himself and brought in a number of guests including Jim and Luther Dickinson, Audley Freed, Richard Ford, Susan Marshall, Richard Rosenblatt, and Jim Spake. The album kicks off with a nasty redo of Hart's signature tune "Big Mama's Door," with slide guitars wrangling and popping before exploding into the title cut, another original that notches the volume level up two and pushes the raw, funky quotient through the roof. Hart's cover of "In My Time of Dying" is another traditional tune, reclaimed from Led Zeppelin (the first was "Gallow's Pole" on his debut). The sonics here are reminiscent of Neil Young & Crazy Horse until Hart begins to sing: his blues wail is emotionally taut, open, low and primal. Likewise, his own cover of Otis Redding's "Nobody's Fault but Mine" (Zep did it on Presence) features a raunchy horn section and scorches with its loose, almost unglued manner adding a whole new dimension. However, rather than merely being heard as a way to set the record straight, it is just as valid to listen to these tunes as a tribute to Led Zep. Despite his instinct for great covers — including Paul Rodgers' "The Worm" and "How Long Before I Change My Clothes," or the reverent honky tonk read of Johnny Paycheck's "The Meanest Jukebox in Town," it's Hart's originals and the over-the-red-line attack this band plays them with that are the album's true standouts — check the guitar freak-out on "Shoot Me a Grin" and the stomping, riff-heavy blues-rock of "Necessary Roughness." Motivational Speaker is a solid, rootsy raucous chapter in the unfolding saga of the era's most diverse bluesman.

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http://www.easy-share.com/1903789004/AYHMS.rar

Alvin Youngblood Hart - (2001) Memphis International

Review
by Hal Horowitz
Hart does a 180 after the husky, power trio/space/R&B/rock of 2000's Start With the Soul by spinning out a dozen blues covers in a solo acoustic setting. On his fourth album (for his fourth label), the contemporary bluesman sounds inspired and refreshed as he accompanies himself on acoustic six-string guitar, banjo, and mandolin. The production is from Memphis cult hero Jim Dickinson, who doesn't have a chance to do much other than provide inspiration in this sparse setting. Hart runs down fairly obscure tunes from Son House, Charley Patton, Leadbelly, Skip James, and Sleepy John Estes, infusing them with a jolt of energy while staying true to their original versions and invigorating them with inspired interpretations. Hart's voice is magnificent throughout — yowling, moaning, doleful, yet proud as he pays tribute to the Delta and country blues masters. Even the well-worn traditional "Motherless Child" sounds fresh in this context. Eschewing the diverse — some claim overly diverse — approach of his previous few releases, Hart sticks to basics here. He keeps the tone spare, naked, and dry, which best fits the somber mood, especially on his high-lonesome banjo interpretation of Odetta's "Chilly Winds." Recorded in just three days, this return to the artist's country blues roots is at turns harrowing, haunting, and uplifting, just like the originals. Those who found the Thin Lizzy-edged rock attack of his last release too far removed from Hart's earlier rootsy approach will rejoice in this unvarnished, stripped-down, deep blues release.

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http://www.easy-share.com/1903788803/AYDITA.rar

Alvin Youngblood Hart - Big Mama's Door (1996) Okeh

Review
by Steve Hoffman
The debut recording of 33-year-old Hart is extraordinarily simple and simply extraordinary. Except for three cuts on which he's joined by Taj Mahal, Big Mama's Door is just Hart on acoustic guitar and vocals, and he's not doing anything fancy — just playing prewar-style blues, mostly in a percussive Delta manner, recorded live to two-track. Yet he succeeds so well in blending technique and feeling, structure and spontaneity, tradition and freshness that he produces a minor gem of a blues record, evocative of the blues masters of the 1920s and '30s. He covers Leadbelly, Blind Willie McTell, Charley Patton, and the Mississippi Sheiks and does originals that replicate older blues idioms, not just in the notes but in the nuances, and in the personal commitment he brings to the material.

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http://www.easy-share.com/1903788717/AYBBMD.rar

Kenny Neal - Hoodoo Moon (1994) Alligator

My favorite among Kenny's efforts.

Review
by Bill Dahl
Neal is one of the most impressive young blues artists on the scene today — a fact borne out by the contents of this collection. Ably backed by a band that includes his brother Noel on bass and keyboardist Lucky Peterson, Neal indulges in a couple of covers this time, but the majority of the disc is original and incendiary.

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http://www.easy-share.com/1903676320/KNHM.rar

Koko Taylor - Old School (2007) ALLIGATOR

Review
by Steve Leggett
Old School is Koko Taylor's first new album in seven years, and after a series of health issues that sidelined her for a while, it could be viewed as a comeback of sorts, but if so, there aren't any signs of rust here. She still belts out her trademark Chicago blues like she always has, sidestepping any 21st century recording tricks for a straightforward set that wouldn't sound out of place next to her classic Chess sides from the early '60s. It's also encouraging that she wrote nearly half the tunes here, while turning in solid covers of a pair of Willie Dixon songs ("Don't Go No Further" and "Young Fashioned Ways"), one by Magic Sam ("All Your Love") and a scorching performance of Lizzie Lawler's classic "Black Rat" that rivals Big Mama Thornton's version. A rendition of "Bad Rooster" is also top notch. Of the originals, the lead track, "Piece of Man," is the most impressive, setting the tone and feel for an album that clearly celebrates Taylor's unshakable Chicago blues roots. Old School isn't sleek, pretty, posed or polished, but is instead raw, ragged and as real as a biting winter wind off of Lake Michigan. Call it a comeback if you want, but this is the territory that Koko Taylor has lived in for nearly fifty years. She owns this stuff. Call it a continuance. This CD was nominated for a Grammy award in 2007 for Best Traditional Blues Album.

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http://www.easy-share.com/1903641827/KKTOS.rar

John Lee Hooker - Alone (1976) Tomato

Review
by Alex Henderson
Because he's so loose and improvisatory — and because he loves to twist the 12-bar format into so many different shapes and sizes — John Lee Hooker can present a major challenge to sidemen. More than a few times, Hooker has done without sidemen altogether and gone it alone with thrilling results. That's exactly what happens on Alone, an outstanding two-CD set containing live performances at New York's Hunter College from 1976. Not having to concern himself with the needs of a drummer or a bassist, the singer/guitarist is especially introspective and doesn't hesitate to let loose and improvise on such familiar tunes as "Boogie Chillen," "Boom Boom" and "One Bourbon, One Scotch, One Beer." Hooker enjoys improvisation as much as a jazz musician, and on these magnificent recordings, he is at his most uninhibited and takes one liberty after another.

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John Lee Hooker - Sittin' Here Thinkin' (1980) MUSE

Review
by Tom Schulte
John Lee Hooker is a master of the primal, hypnotic Delta blues. Accompanied by nothing other than a bare beat of the drums (if not only the stomp of his own feet), "The Healer" can mesmerize. The simple, but effective, tools of his trade are one-chord songs and a ton of downbeat emotion. This collection of Muse Records recordings dates back to the '50s. Hooker had a bad year in 1951. Or one would think from the opening track, "I Bought You a Brand New Home." He bought her a new home, "all dressed up inside," and a new car, too. As the sad tale is related, she pushes him out of her life and he sees another man driving that car. Supporting his indigo minimalism, the bassist and second guitar on these sessions is barely noticeable. One thing you cannot help but notice is the ache and pain that the absence of money and a woman's love will do to a man.

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http://www.easy-share.com/1903614487/JLHSHT.rar

John Lee Hooker - I'm John Lee Hooker (1960) Shout Factory

Review
by Lindsay Planer
Winding through the literally hundreds of titles in John Lee Hooker's catalog is a daunting task for even the most seasoned and learned blues connoisseur. This is especially true when considering Hooker recorded under more than a dozen aliases for as many labels during the late '40s, '50s, and early '60s. I'm John Lee Hooker was first issued in 1959 during his tenure with Vee Jay and is "the Hook" in his element as well as prime. Although many of these titles were initially cut for Los Angeles-based Modern Records in the early '50s, the recordings heard here are said to best reflect Hooker's often-emulated straight-ahead primitive Detroit and Chicago blues styles. The sessions comprising the original 12-track album — as well as the four bonus tracks on the 1998 Charly CD reissue — are taken from six sessions spread over the course of four years (1955-1959). Hooker works both solo — accompanied only by his own percussive guitar and the solid backbeat of his foot rhythmically pulsating against plywood — as well as in several different small-combo settings. Unlike the diluted, pop-oriented blues that first came to prominence in the wake of the British Invasion of the early to mid-'60s, the music on this album is infinitely more authentic in presentation. As the track list indicates, I'm John Lee Hooker includes many of his best-known and loved works. From right out of the gate comes the guttural ramble-tamble of "Dimples" in its best-known form. Indeed it can be directly traced to — and is likewise acknowledged by — notable purveyors of Brit rock such as Eric Burdon — who incorporated it into the earliest incarnation of the Animals, the Spencer Davis Group, as well as the decidedly more roots-influenced Duane Allman. Another of Hooker's widely covered signature tunes featured on this volume is "Boogie Chillun." This rendering is arguably the most recognizable in the plethora of versions that have seemingly appeared on every Hooker-related compilation available. Additionally, this version was prominently featured in The Blues Brothers movie as well as countless other films and adverts. Likewise, a seminal solo "Crawlin' King Snake" is included here. The tune became not only a staple of Hooker's, it was also prominently included on the Doors' L.A. Woman album and covered by notable bluesmen Albert King, B.B. King, and Big Joe Williams, whose version predates this one by several decades. I'm John Lee Hooker is one of the great blues collections of the post-World War II era. Time has, if anything, only reinforced the significance of the album. It belongs in every blues enthusiast's collection without reservation.

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Memphis Slim - Mother Earth (1969) One Way

Review
by Ron Wynn
Excellent singing and rousing, sparkling barrelhouse, boogie-woogie and straight blues piano playing from a certified legend. Memphis Slim wasn't shy about making records, and they were seldom not worth hearing. This one didn't break the string of quality efforts.

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http://www.easy-share.com/1903613903/MSME.rar

Memphis Slim - At The Gate Of The Horn (1959) Vee-Jay

So fuckin' brilliant!!! Get it now!!!

Review
by Ron Wynn
Only this disc's short length (34 minutes) qualifies as something worthy of complaint; otherwise, this is seminal blues piano, performed by a great player and singer, Memphis Slim. This 1959 session had everything: super piano solos, a strong lineup of horn players, clever, well-written and sung lyrics, and a seamless pace that kept things moving briskly from beginning to end. Other than Slim, instrumental honors go to guitarist Matt Murphy, a marvelous accompanist who was able to blend sophistication, technique, and earthiness into one dynamic package. Even at its bargain-basement length, At the Gate of Horn belongs in any blues fan's library.

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http://www.easy-share.com/1903613789/MSATGOH.rar

Slim Harpo - I'm A King Bee (2002) ACE

Review
by Steve Leggett
Slim Harpo brought a good bit of the Louisiana swamp vibe with him when he recorded these immortal sides for Jay Miller's Nashville-based Excello Records in the early '60s, and the rustic, laconic way these recordings unfold, aided and abetted by Miller's trademark echo-laden production, makes them singular even inside the Excello stable. This set sticks to Harpo's earliest Excello material, and therefore lacks some of his best-known tracks like "Baby Scratch My Back," the two-part "Tip on In," and "Te-Ni-Nee-Ni-Nu," but it does have his signature tune, "I'm a King Bee" (and its many variations, like "Buzzin'"), as well as the gorgeous "Rainin' in My Heart." Also included are a rare Harpo cover of John Lee Hooker's "Boogie Chillen'" and some wonderfully ragged gems like "Bobby Sox Baby."

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http://www.easy-share.com/1903573902/SHIAKB.rar

Slim Harpo - Best Of Slim Harpo (2002) ACE

Review
by Steve Leggett
By rolling country and swamp blues together up into a completely new place, then sprinkling in just a touch of Jimmy Reed, Slim Harpo created a body of work for Jay Miller's Nashville-based Excello Records in the early '60s that has been as impossible to re-create as it has been influential. The rustic, laconic way that these recordings unfolded, aided and abetted by Miller's trademark, echo-laden production, makes them singular even inside the Excello stable. This succinct set has the best known tracks that Harpo released, including the songs "I'm a King Bee" (and its many variations like "Buzzin'"), the gorgeous "Rainin' in My Heart" (and its maybe even more impressive sequel "Still Rainin' in My Heart"), "Baby Scratch My Back," and "Te-Ni-Nee-Ni-Nu," Truthfully, Harpo was a bit of a one trick pony, but that trick was so absolutely wonderful that one can never get enough of it.

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http://www.easy-share.com/1903574154/Slim Harpo - The Best of Slim Harpo.part1.rar

http://www.easy-share.com/1903574171/Slim Harpo - The Best of Slim Harpo.part2.rar

Kenny Neal - Bayou Blood (1992) ALLIGATOR

Very Good un!!!

Review
by Bill Dahl
You really can't go wrong with any of the guitarist's fine Alligator albums, but this one sparkles as brightly as any, with memorable outings like "Right Train, Wrong Track," "That Knife Don't Cut No More," and the steamy title track. Kenny Neal's albums are invariably dominated by well-chosen originals — no small feat these days.

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mississippimoan

http://www.easy-share.com/1903574286/KNBB.rar

Muddy Waters - Fathers and Sons (1969) MCA / CHESS

Review
by Lindsay Planer
The resurgence of Chicago-based blues in the mid- to late 1960s came with an entirely new breed of icons to bear the torch. Among them were the decidedly electric Paul Butterfield Blues Band. Joining Muddy Waters (guitar/vocals) and Otis Spann (piano) on the aptly titled Fathers and Sons are three Butterfield Blues Band alumni: Michael Bloomfield (guitar), Sam Lay (drums), and leader Paul Butterfield (guitar). Further augmenting the personnel is Booker T. and the MG's Donald "Duck" Dunn (bass) and Buddy Miles (drums) — who cameos during the live "Got My Mojo Workin'" finale. This all-star cast helps reclaim some of Waters' fire, which had been summarily doused on his previous outing Electric Mud — a tasteless pseudo-psychedelic disaster. The poorly executed scheme had been designed to introduce Waters' music to a younger and mostly white audience. In essence, Fathers and Sons is able to accomplish with musical integrity what Electric Mud couldn't through gimmickry. Additionally, the incorporation of the younger generation blues men solidified Waters stature as one of the pre-eminent forces in Chicago Blues to a decidedly fresh and underdeveloped audience. The disc is split between studio sides cut on April 21-23 and a half-hour live set. This performance, during the Super Cosmic Joy-Scout Jamboree, was documented on the evening following the final day of studio recording. The event was held at Auditorium Theater in (where else?) Chicago. Simplifying the process is Fathers and Sons set list, which consists of exclusively vintage Waters material. "Mean Disposition" and "Standin' Round Cryin'" drip with Bloomfield and Butterfield's nasty languid electric funk and feature Waters' determined and energized vocals. On the up-tempo blues/rockers "Walking Thru the Park" and "Sugar Sweet" the nimble and lyrical guitar passages meld the distance between Waters and the electric blues of Cream and Led Zeppelin. The 2001 remastered CD edition includes four additional studio sides issued here for the first time: "Country Boy," "I Love The Life I Live (I Live The Life I Love)," "Oh Yeah," and "I Feel So Good." Without question, the highlight of Fathers and Sons is the live performances which are incessantly fuelled by the explosive nature of the musicians on stage as well as the audience. "Long Distance Call" and the two-part "Got My Mojo Working" are the finest pieces on the album. They likewise rate among the most complimentary marriages of Chicago R&B with rock & roll. Of Muddy Waters' later recordings, it certainly got no better than the summit meeting heard on Fathers and Sons. Fans of Waters' true and natural showmanship, as well as enthusiasts of blues-based rock & roll will find plenty to revisit.

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http://www.easy-share.com/1903538330/MWFAS.rar

Jimmy Rogers - Chicago Bound (1976) MCA / CHESS

Here we have a good compilation!

Review
by Eugene Chadbourne
Starkly printed in black and white with washed-out, grainy photographs, this is one heavy slab of blues by a player who is not as well-known as he should be. Guitarist Jimmy Rogers was usually overshadowed by the leaders he worked for, Muddy Waters particularly. He was also sometimes confused with the hillbilly singer Jimmie Rodgers, and although they might have sounded good together, they don't have anything in common. This reissue collection grabs 14 tracks done at various times in the mostly early '50s which involve practically a who's who of performers associated with the most intense and driving Chicago blues. This includes the aforementioned Waters, leaving behind his role as leader for a few numbers to add some stinging guitar parts. There is also a pair of harmonica players, each of whom could melt vinyl siding with their playing. These are the Walters, big and little, as in Big Walter Horton and Little Walter. Pianist Otis Spann, bassist Willie Dixon, and drummer Fred Belew are also on hand, meaning the rhythm section action is first class. Blues listeners who have only skimmed the surface of the music may not have really discovered Rogers, as his reputation increased in the years after his death and he had nowhere near the following and status of Waters or even Little Walter. Some of the tracks here are numbers the musicians got together and played with Rogers at the end of what was probably an already grueling session by Waters. "Sloppy Drunk" is a killer track that joins the long list of great blues numbers concerning the inebriated, while "Walking by Myself" is a fine example of the kind of shuffling rhythm these players are so good at. The CD era was an opportunity to put together larger selections of Rogers' material, complete with outtakes and selections that are much rarer than the material here. If a listener's reaction to this album is as positive as it ought to be, they can be assured the pickings will be equally tasty if they decide to go for more extensive documentation of this artist.

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http://www.easy-share.com/1903537997/JRCB.rar

Peetie Wheatstraw - The Devil's Son In Law / The Blues Collection.

Superb!!!

Tracks here vary from St Louis Jazzy stuff to pre war acoustic Memphis style cuts.

5 stars given by MYSELF...YOU MUST HAVE THIS ONE!!!

01 - Pete Wheatstraw

02 - Peetie Wheatstraw Stomp

03 - Drinking Man Blues

04 - Crazy With The Blues

05 - Throw Me In The Alley

06 - Police Station Blues

07 - Telephone Blues

08 - All Night Long Blues

09 - Working On The Project

10 - Shake That Thing

11 - Cake Alley

12 - Devil's Son-In-Law

13 - Gangster's Blues

14 - Tight Time Blues

15 - Shack Bully Stomp

16 - Weeping Willow Blues

17 - Come Over And See Me

18 - Third Street's Going Down

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http://www.easy-share.com/1903513227/PWDSIL.rar

Scrapper Blackwell - Virtuoso Guitar (1925-1934) Yazoo

Very very very good Acoustic Blues...I mean everything is perfect here!

Review
by Bruce Eder
It's for recordings like this that a lot of blues guitar fans started listening to the music in the first place. The definitive Blackwell collection to date, featuring not only his best extant solo sides, but also his work in association with Leroy Carr, Black Bottom McPhail, and Tommy Bradley. The 14 songs here all have something to offer in the playing — and generally the singing as well — that will give the listener pause, a run, an arpeggio, a solo passage that makes you say, "Whoa, what was that?" The sound is surprisingly good, and one only wishes there were more than 14 songs here, although it's hard to imagine anything that could follow the last track, Leroy Carr's "Barrelhouse Woman No. 2."

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http://www.easy-share.com/1903512647/SBVG1925-1934.rar

Norton Buffalo and Roy Rogers - Roots Of Our Nature (2002) Blind Pig

This is one BEAUTIFUL album. Get It!

Review
by Robert L. Doerschuk
In an intimate acoustic setting, Norton Buffalo and Roy Rogers present a set of original tunes whose flavor suggests roots much further back in time. Aside from a few tasteful string parts, Roots is all about crisp finger-picked and slide guitar, Buffalo's earthy and expressive harmonica, and each artist's agreeably unpolished vocals. Their lyrics embrace traditional imagery, from saloon balladry to ramblin' songs. On "Trinity" the words sustain an especially rustic eloquence through multiple verses dedicated to visions of salvation. If retro affectation bothers you, it's best to imagine this session transpiring on some snowy night, within the glow of an iron stove at some crossroads general store. When heard on these terms, Roots can cast a spell to remember.

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mississippimoan

http://www.easy-share.com/1903512580/RRNBROON.rar

Roy Rogers - Slidewinder (1988) BLIND PIG

Review
by Thom Owens
Slidewinder is one of Roy Rogers's best albums, a collection of smoking hot contemporary blues, ranging from jacked-up rocking boogie numbers and dirty Chicago blues to stripped-down acoustic numbers. It all works equally well, especially the two stellar duets with pianist Allen Toussaint.

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http://www.easy-share.com/1903512230/RRSW.rar

Joe Louis Walker - New Direction (2004) Blues Bureau Int'l

Review
by Chris Nickson
Joe Louis Walker is quite the triple threat. Not only is he a superb blues guitarist, with remarkable fluency and imagination, he's also an excellent singer (as you might expect from someone who came up through gospel groups), and an excellent writer with a strong penchant for soul music. For the most part, his blues isn't the heart-wrenching type, but deals with mistrust and double-dealing ("Messed My Mind Up") and good times ("Custom Cars, Gibson Guitars"). Throughout he blurs the line between blues and soul, which effectively makes this one of the best soul albums in a long time, as he shows on "Do You Love Me" and "You Don't Love Me Girl." With "Soldier for Jesus" his blues mixes with gospel, and some wonderful guitar work. With a small band — bass, drums keys — that truly swings, he keeps center stage, which is what he needs. Whether keeping rhythm guitar gliding behind his vocals, or shining as he does on "Mr. G's Boogie," his fretwork is fresh, wonderfully clean, and played with the kind of style and imagination all too often missing these days. Indeed, about the only misstep on the record is "Tempting Me," which talks up how much he's loved by the women when he's on the stage. Maybe it's tongue in cheek, but it also comes across as filler next to the other songs. And the closer, "Lena," tails everything off with a lyrical joy. A superb record from someone who might just be the best contemporary bluesman.

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mississippimoan

http://www.easy-share.com/1903511419/JLWND.rar

BB King - The best Of The Early Years (2007) ACE

Great material can be found here, check this one out!

Review
by Richie Unterberger
There have been numerous compilations of the best of B.B. King's recordings for the Modern label in the 1950s and early '60s, and if you've already picked up one of them, there isn't an urgent reason to replace or upgrade it with this CD. If not, however, this certainly makes a good bid to be considered as the best single-disc anthology of this era. The 25 tracks include many of his biggest hits and most famous classics from the period, among them "3 O'Clock Blues," "Woke Up This Morning," "Every Day I Have the Blues," "Sweet Little Angel," "Sweet Sixteen," "How Blue Can You Get?," and "Rock Me Baby," and the lesser-known tunes are of equal or near-equal quality. It's true that if you have a bit more cash and time, you might be better off with the two-CD, 40-track Original Greatest Hits, which might be a little easier to find in the U.S. than this U.K. import as well. It's also true that if you want a whole lotta Modern sides by King, you could plumb for Ace's four-CD The Vintage Years box, as well as the same label's extensive series of individual B.B. King CDs of Modern material. If you're not a completist, however, it'll come as something of a revelation as to how much better early King sounds when that mammoth body of work is whittled down to his best and, for the most part, most accessible stuff. To those more used to his later recordings, too, it will come as a surprise to hear how raw and raucous some of these performances sound in comparison to his more urbane soul-blues of later years; a few of them are even a bit influenced by early rock & roll. Note that the one previously unreleased track, by the way, is a "previously unissued intercut version of takes 2, 3, 4" of "Why I Sing the Blues" that even many completists could probably live without.

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mississippimoan

http://www.easy-share.com/1903511242/BBKTBOEY.part1.rar

http://www.easy-share.com/1903511250/BBKTBOEY.part2.rar

Big Walter Horton - Fine Cuts (1977) BLIND PIG

Review
by Bill Dahl
Horton was tragically underrecorded as a bandleader; this album certainly attests to his talents in that regard, whether romping through a joyous "Everybody's Fishin'" or elegantly exmaining the tonal possibilities of the Duke Ellington chestnut "Don't Get Around Much Anymore." John Nicholas provides sympathetic backing on both guitar and piano, and Kaz Kazanoff is the stellar saxman

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http://www.easy-share.com/1903498015/BWHFC.rar

William Clarke- Blowin' Like Hell (1990) ALLIGATOR

Review
by Michael Erlewine
The title says it all. William Clarke cooks on Blowin' Like Hell, his first CD. And these are new sounds. Songs like "Lollipop Mama," "Gambling for My Bread," and "Lonesome Bedroom Blues" (all written by Clarke) are just great tunes. "Must Be Jelly" won Clarke a W.C. Handy Award for blues song of the year in 1991. You'll find yourself humming them. Clarke's timing and music are right on the money, with the great Alex Schultz on lead guitar. There is no doubt that Clarke is one of the few modern bluesmen who are exploring and extending the amplified blues harp tradition without violating any of its principles. No one plays chromatic blues harp with this kind of passion and sheer conviction. Hear for yourself.

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mississippimoan

http://www.easy-share.com/1903496317/WCBLH.rar

Son Seals - Live and Burning (1978) ALLIGATOR

Review
by Bill Dahl
Live and Burning lives up to its billing. Seals' smoking set, caught live at Chicago's long-gone (and definitely lamented) Wise Fools Pub, finds him attacking a sharp cross-section of material — Detroit Junior's deliberate "Call My Job," Elmore James' "I Can't Hold Out," his own "Help Me, Somebody" — with an outstanding band in tow, featuring saxophonist A.C. Reed, guitarist Lacy Gibson, pianist Alberto Gianquinto, bassist Snapper Mitchum, and drummer Tony Gooden.

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http://www.easy-share.com/1903496924/SSLAB.rar

Carey Bell - Deep Down (1995) ALLIGATOR

Review
by Bill Dahl
More than a quarter century after he cut his debut album, Bell recently made his finest disc to date. Boasting superior material and musicianship (guitarists Carl Weathersby and Lurrie Bell and pianist Lucky Peterson are all stellar) and a goosed-up energy level that frequently reaches incendiary heights, the disc captures Bell outdoing himself vocally on the ribald "Let Me Stir in Your Pot" and a suitably loose "When I Get Drunk" and instrumentally on the torrid "Jawbreaker." For a closer, Bell settled on the atmospheric Horton classic "Easy"; he does it full justice.

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http://www.easy-share.com/1903496658/CBDD.rar

Blind Willie McTell - Atlante Twelve String (1949) Atlantic

Review
by Bruce Eder
In 1949, a brief flurry of interest in old-timey country blues resulted in this 15-song session by Blind Willie McTell for the newly formed Atlantic Records. Only two songs, "Kill It Kid" and "Broke Down Engine Blues," were ever issued on a failed single, and the session was forgotten until almost 20 years later. McTell is mostly solo here, vividly captured on acoustic 12-string (his sometime partner Curley Weaver may have been present on some tracks), and in excellent form. The playing and the repertory are representative of McTell as he was at this point in his career, a blues veteran rolling through his paces without skipping a beat and quietly electrifying the listener. Songs include "Dying Crapshooter's Blues," "The Razor Ball," and "Ain't I Grand to Live a Christian."

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mississippimoan

http://www.easy-share.com/1903450266/BWMTATS.rar

Big John Wrencher - Maxwell Street Alley Blues (1969) BARRELHOUSE

I'll be really serious about this one: THIS IS PERFECT!!!! Perfect Chicago Blues in every way, you MUST to have this one....all mp3s ripped in 320 kbps quality , more Crumb artwork and REAL REAL Chicago Blues....The whole thing just makes me go fuckin' nuts.

GET IT NOW!!!

Review
by Cub Koda
While most blues albums bear romantic-sounding titles like the one used here, this is the real deal. Wrencher's one-armed amplified harp playing is perfectly supported by the lone guitar of Little Buddy Scott and the bar-bones basic drumming of Playboy Vinson. Listing titles is superfluous, since the feel and the ambience is the important thing. But blues albums seldom capture that elusive quality the way it is here, and that's the secret of its charm. Superlative in every regard, this is a great album by a very under-recorded artist.

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mississippimoan

http://www.easy-share.com/1903408731/BJWMSA.part1.rar

http://www.easy-share.com/1903408770/BJWMSA.part2.rar

Blind Boy Fuller - Truckin' My Blues Away (1978) YAZOO

I had never given you pre war blues before......Let's now have some of it!

Robert Crumb's artwork on the cover of this album is like always awesome!!!

The music Kicks ass!

A great set of tunes.
Review
by Thom Owens
For most listeners, Blind Boy Fuller's Truckin' My Blues Away (on Yazoo) may be a better bet than Columbia/Legacy's East Coast Piedmont Style, since it actually has a higher concentration of strong material, capturing the influential bluesman at his peak. All of the 14 tracks were recorded between 1935 and 1938, and there are a number of exceptional performances here, including "Homesick and Lonesome Blues," "Truckin' My Blues Away," "I Crave My Pig Meat," "Walking My Troubles Away" and "Sweet Honey Hole." It's a nice, concise introduction and, best of all, there's no duplication between this disc and East Coast Piedmont Style, making the two discs wonderful complementary collections that tell a comprehensive story when taken together.

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mississippimoan

http://www.easy-share.com/1903407714/BBFTMBA.rar

Buddy Guy - I Left My Blues In San Francisco (1967) CHESS

Review
by Cub Koda
Guy's last Chess album finds him shifting gears to keep up with the scene. His turns on "Keep It to Yourself," "Crazy Love," "When My Left Eye Jumps," "Leave My Girl Alone," and "I Suffer With the Blues" are some examples of this mercurial guitarist at his explosive best. The rest of the album is filled with groovy, soul-styled workouts; some of them succeed and some sound a bit dated, but overall this is one of Buddy's stronger efforts.

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mississippimoan

http://www.easy-share.com/1903361545/BGILMBISF.rar

Buddy Guy - A Man And The Blues (1968) VANGUARD

Review
by Bill Dahl
The guitarist's first album away from Chess — and to be truthful, it sounds as though it could have been cut at 2120 S. Michigan, with Guy's deliciously understated guitar work and a tight combo anchored by three saxes and pianist Otis Spann laying down tough grooves on the vicious "Mary Had a Little Lamb," "I Can't Quit the Blues," and an exultant cover of Mercy Dee's "One Room Country Shack."

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mississippimoan

http://www.easy-share.com/1903361104/BGAMATB.rar

Junior Wells - Hoodoo Man Blues (1965) DELMARK

You all have to have this one!!!!

Review
by Bill Dahl
One of the truly classic blues albums of the 1960s, and one of the first to fully document the smoky ambience of a night at a West side nightspot in the superior acoustics of a recording studio. Wells just set up with his usual cohorts — guitarist Buddy Guy (billed as "Friendly Chap" on first vinyl pressings), bassist Jack Myers, and drummer Billy Warren — and proceeded to blow up a storm, bringing an immediacy to "Snatch It Back and Hold It," "You Don't Love Me," "Chitlin Con Carne," and the rest that is absolutely mesmerizing.

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mississippimoan

http://www.easy-share.com/1903360617/JWHMB.rar

Doyle Bramhall II - Welcome (2001) RCA

Review
by Rosalind Cummings-Yeates
Welcome, Doyle Bramhall's third effort, continues to blur the lines between rock and blues, but he doesn't always achieve success with this tactic. Although the album opens with "Green Light Girl," a frenetic tune with lots of rockin', driving guitar riffs, the majority of the songs veer toward blues, albeit unconvincingly. "Send Some Love," an aching ballad, calls for emotion-drenched crooning, but Bramhall's vocals are a tad too cool, and "Thin Dream" attempts at bluesy stylings but is really a rock power ballad. The last cut, "Cry," finally whips up some emotion from Bramhall, but it should have been spread throughout Welcome. Even contemporary blues needs a little grit.

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mississippimoan

http://www.easy-share.com/1903360836/DBSW.part1.rar

http://www.easy-share.com/1903360933/DBSW.part2.rar

Chris Duarte - Texas Sugar Strat Magik (1994) Silvertone.

Review
by Stephen Thomas Erlewine
Guitarist Chris Duarte's Texas Sugar Strat Magik is an impressive debut album, showcasing his fiery, Stevie Ray Vaughan-derived blues-rock. As a songwriter, Duarte is still developing — he fails to come up with any memorable songs, although he does contribute several competent, unexceptional genre pieces — but as an instrumentalist, he's first-rate, spitting out solos with a blistering intensity or laying back with gentle, lyrical phrases. And that's what makes Texas Sugar Strat Magik a successful record — it's simply a great guitar album, full of exceptional playing.

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mississippimoan

http://www.easy-share.com/1903360264/CDTSSM.rar

Coco Montoya - Can't Look Back (2002) Alligator

Review
by Stephen Thomas Erlewine
Coco Montoya's second album for Alligator records finds the guitarist moving away from the sound of his mentor, Albert Collins — although there certainly are licks throughout the album clearly inspired by "the Iceman," particularly when the tempo slows down — and toward big rock productions. This album sounds huge: The rhythm section provides a gigantic foundation, sprawling from speaker to speaker, then the keyboards and backing vocals are added, with guitars pushed to the forefront. On top of that, Montoya is demonstrating a greater inclination to soul and R&B than ever before, choosing to cover Holland-Dozier-Holland (a terrific take on "Something About You"), along with other tuneful soul tunes, and writing it that vein as well. This suits him well, since not only his full-throated vocals feel at ease with these melodies, he's turning out tasteful, melodic solos that punctuate and further the tune, instead of just being virtuosic showcases. The production may still be too big for some tastes, but look beyond that and hear what Montoya is doing with the music, and it becomes clear this is a nice step forward.

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mississippimoan

http://www.easy-share.com/1903360132/CMCLB.rar

Lonnie Brooks - Bayou Lightning (1979) Alligator

Review
by Bill Dahl
All the promise that Lonnie Brooks possessed was realized on this album, his finest and most consistent to date. The churning bayou groove of "Voodoo Daddy," and a soul-steeped "Watch What You Got," a bone-chilling remake of Junior Parker's "In the Dark," rollicking covers of Tommy Tucker's "Alimony" and Brooks' own "Figure Head," and the swaggering originals "You Know What My Body Needs" and "Watchdog" are among the set's many incendiary highlights.

Tracks: 1.Voodoo Daddy 2.Figure Head 3.Watchdog 4.Breakfast in Bed 5.In the Dark 6.Worked up Woman 7.Alimony 8.Watch What You Got 9.I Ain't Superstitious 10.You Know What My Body Needs

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mississippimoan

http://www.easy-share.com/1903355203/LBBL.rar

Eddie TAylor - Ready Foe Eddie (1972) Big Bear

Great great Blues album , I really wonder why music hasn't yet written a rewiew for this one.

Here it is for you!

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mississippimoan

http://www.easy-share.com/1903353601/ETRFE.rar

Albert Collins - Ice Pickin' (1978) Alligator

Review
by Thom Owens
Ice Pickin' is the album that brought Albert Collins directly back into the limelight, and for good reason, too. The record captures the wild, unrestrained side of his playing that had never quite been documented before. Though his singing doesn't quite have the fire or power of his playing, the album doesn't suffer at all because of that — he simply burns throughout the album. Ice Pickin' was his first release for Alligator Records and it set the pace for all the albums that followed. No matter how much he tried, Collins never completely regained the pure energy that made Ice Pickin' such a revelation.

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http://www.easy-share.com/1903353420/ACIP.rar

Son Seal - Midnight Son (1976) Alligator

Review
by Bill Dahl
A much more polished set than its predecessor, Midnight Son is a particularly effective effort with several numbers that remained in Son Seals on-stage repertoire for quite some time — "Telephone Angel," "On My Knees," the jumping "Four Full Seasons of Love." The addition of a brisk horn section enhanced his staccato guitar attack and uncompromising vocals, rendering this his best set to date.

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mississippimoan

http://www.easy-share.com/1903353334/SSMS.rar

Howlin' Wolf - The Rockin' Chair Album (1962) Chess

Review
by Stephen Cook
Howlin' Wolf's second album brings together some of the blues great's best singles from the late '50s and early '60s. Also available as a fine two-fer with his debut, Moanin' in the Moonlight, the so-called Rockin' Chair Album represents the cream of Wolf's Chicago blues work. Those tracks afforded classic status are many, including "Spoonful," "The Red Rooster," "Wang Dang Doodle," "Back Door Man," "Shake for Me," and "Who's Been Talking?" Also featuring the fine work of Chess house producer and bassist Willie Dixon and guitarist Hubert Sumlin, Rockin' Chair qualifies as one of pinnacles of early electric blues, and is an essential album for any quality blues collection.

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http://www.easy-share.com/1903337287/HWTRCA.rar

Buddy Guy - Can't Quit The Blues (2006)

Hi friends as promised I've just posted the 3 cds of this wonderful collection...Some friends of the site have just told me that the dvd I had uploaded 1 month ago has its last 9 links dead...They are right....I'll fix that up , I just wanted some feedback concerning the file size : do you still want it the original size or want it in a compressed smaller way?

As soon as I got any response I'll do whatever is needed to fix that up!

thanx!

Review
by Jeff Tamarkin
Legend status came late to Buddy Guy, so it shouldn't be surprising that this is the first box set devoted to the blues giant's work. Yet it is still a bit of a shock, because Guy, it seems, has always been a part of the modern blues scene, ubiquitous even in the late '60s at the era's high-profile rock and folk festivals, playing the hippie ballrooms alongside the major rockers of the day, and being name-dropped by the likes of Eric Clapton, the Rolling Stones, and Led Zeppelin. So this three-CD/one-DVD collection arrives years after it might have, its audio discs stacked with 47 prime samplings of Guy's sizzling guitar work and passionate wailing, covering nearly 50 years' worth of music. That said, those looking for an evenly balanced career overview may ultimately be disappointed: two of the three CDs are drawn from recordings made during Guy's comeback years of the 1990s to the present, after he signed to the Silvertone label (he hadn't recorded in nearly a decade prior to that point), leaving only the first disc devoted to Guy's influential recordings for such labels as Delmark, Vanguard, Artistic, Alligator, JSP, and, most importantly, Chess Records, where — although he felt stifled by the label's insistence that he soften his lethal attack — he cut some classic sides working alongside such blues titans as Willie Dixon, Otis Spann, and Junior Wells, the harmonica genius with whom Guy would share stages for many years. That first disc is crammed with classic blues moments — from the first track, 1957's "The Way You Been Treating Me," Guy is burning, and as he settles into his trademark stinging guitar style and belted-out, passionate vocalizing, leaving behind some of the more derivative aspects of his early playing and singing, it becomes quickly apparent that he was meant to become one of the genre's most influential artists. "I Can't Quit the Blues," from 1968, is a soul blaster par excellence, and by the early '70s, rock luminaries such as Clapton and Bill Wyman of the Stones were lining up to play on his records. Guy's Grammy-winning 1991 debut for Silvertone, Damn Right, I've Got the Blues, marks the onset of his rightful ascendance to blues royalty, and though excessive attention is arguably paid to this period of his career, there is no denying that some of his best music has been made during these years. In particular, tracks from the rootsy 2001 Sweet Tea are as good as anything he'd done before, and even the all-star affairs — among them "Crawlin' Kingsnake," cut in 2003 with Clapton, B.B. King, Jim Keltner, and others aboard, and 2005's "The Price You Gotta Pay," featuring Keb' Mo', Keith Richards, and others — find Guy still in tip-top shape. The DVD features a 90-minute documentary and rare live footage, including six full performances from the 1974 Montreux Jazz Festival. Ideally this collection (which includes six previously unreleased tracks) would have benefited from a fourth disc expanding upon the pre-Silvertone years, but it's hard to argue with something that's been so long overdue and, despite its lopsided emphasis on the recent output, delivers so much.

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mississippimoan

cd1

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cd2

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cd3

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B.B. King - How Blues Can You Get (1996)

Classic Live performances from 1964 to 1994....Great way to start on BB's collection.

Review
by Thom Owens
The double-disc collection How Blue Can You Get: Classic Live 1964-94 covers 30 years of B.B. King's remarkably popular and groundbreaking career, picking out choice live performances from a variety of sources. King has always been acknowledged as one of the most electrifing blues guitarists, as well as one of the best all-around entertainers that the genre has to offer, so it stands to reason that the compilation is filled with terrific music. And it certainly is — from his astonishing performance at the Regal to recent performances in Japan, B.B. shines throughout the set. Despite all of the fine music this has to offer, it doesn't capture the spark of one of his live shows, where he interacts brilliantly with the audience; you still have to pick up Live At the Regal to experience that. Even though How Blue Can You Get lacks the kinetic energy of a live concert, there's enough prime material to make it an essential addition to any B.B. King fan's library.

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mississippimoan

cd1

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cd2

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Albert King - The Big Blues (1962) King

Excelent , It's from his early days!

here is a quick rewiew from an Amazon Customer:

This was Albert King's first official album and, finally, the material therein - usually splattered across various slapdash bargain collections - is restored to context. The rhythm section isn't anything close to the precision of the Stax/Volt crew which graduated King from rumour to star in 1966 (well, name one rhythm section that is) - but if you can overcome both that and a couple of songwriting turkeys, you're in for a treat. Put this together with the King tracks on Chess's "Door to Door" and you've got a comprehensive gathering of just what made Albert King's reputation enough that Stax couldn't wait to sign him when they had the chance in the first place. Even at this comparatively early stage of his blues career, Albert King was playing like his life depended on it.

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http://w16.easy-share.com/1903198761.html

Sonny Boy Williamson - Down and Out Blues (1959)

Retaining photographer Don Bronstein's cover shot of a disheveled bum lying on the sidewalk (some former Chess artist, perhaps?) Sonny Boy Williamson's original 1959 album made it to digital reissue but has now been supplanted by MCA's exhaustive The Essential Sonny Boy Williamson. Still, for a budget price, there are a dozen unforgettable tracks: "Don't Start Me to Talkin'," and his Checker debut; "All My Love in Vain," "Wake Up Baby," "99," "Cross My Heart," "Let Me Explain," and "The Key (To Your Door)."

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http://w16.easy-share.com/1903198495.html

Little Charlie and The Nightcats - Straigh Up!!! (1995) ALLIGATOR

I quite like It!!!

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mississippimoan

http://w16.easy-share.com/1903197653.html

http://w16.easy-share.com/1903197755.html

Messin' With The Blues - MuddyWaters

I kind of thought It was a mistake to have Muddy on it's cover....Junior and Buddy play 5 songs before Muddy joins them on stage......I'm not sayg these tunes aren't awesome!!! Anyway fuck It!!!

Another great DVD , Muddy Rocks !!! Junior and Buddy are perfect.

GET IT!!!

Editorial Reviews
Product DescriptionA legendary concert featuring some of the most well known blues songs of all time. Recorded at The Montreaux Jazz Festival, in Switzerland, in 1974, this film captures on DVD some of the most influential and endearing musicians of the century including Chicago Blues legends Muddy Waters, Buddy Guy and Junior Wells. Music fans from all genres will love this live set filled with songs about bad luck, cheap booze, torrid love and centuries of oppression.

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mississippimoan

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Jimmy Burns Live at B.L.U.E.S (DVD Rip) DELMARK

Hey Folks here you'll find my xmas gift to you....This is a vibrant example of great Chicago Blues. It's a hard one to find on line too.
I ripped and used 80% of the original file, so the quality is pretty much the same of the original size.
So Please enjoy it!!!

Jimmy Burns Live!
Live at B.L.U.E.S. captures perfectly the indelible combination of ebullient good spirits, warm-hearted intimacy, and sharp-witted intelligence that characterizes Jimmy Burns, as both a musician and a man. With special guest vocalist Jesse Fortune. DVD contains 12 songs, two bonus tracks and an audio interview- commentary special feature.

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mississippimoan

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Joe Bonamassa - Blues Deluxe (2003) MEDALIST

Though Allmusic's rewiew says this ain't better than the originals I reckon it's a good solid Album.....And man Joe's playing kicks ass!

Allmusic Review
by Al Campbell
Joe Bonamassa's first solo release in 2000, A New Day Yesterday, paid homage to classic '70s blues/hard rock. Three years later, with the release of Blues Deluxe, the young guitarist is doing the same with the roots of the blues. Eight of the 12 tracks are covers: B.B. King's "You Upset Me Baby," John Lee Hooker's "Burning Hell," Buddy Guy's "Man of Many Words," Elmore James' "Wild About You Baby," T-Bone Walker's "Long Distance Blues," Freddie King's "Pack It Up," Albert Collins' "Left Overs," and Robert Johnson's "Walking Blues." The problem with about half of the disc is the difficulty of covering this type of material without being able to add much to it. At this relatively early stage in Bonamassa's discography, it may have been a better idea if he would have mixed 70-percent originals with a few covers instead of vice-versa. It's obvious Bonamassa has devoured this material, but his take on "Burning Hell," for instance, doesn't come close to matching the strength and realism of the original. The album's strong points are the three originals — "Woke Up Dreaming," "I Don't Live Anywhere," and "Mumbling Word" — and the Jeff Beck Group's "Blues Deluxe," which features smokin' guitar pyrotechnics. Still, thanks to musicians like Bonamassa, the more traditional blues artists covered on this disc continue to gain just as much exposure as younger artists as Eric Clapton, Stevie Ray Vaughan, or Jimi Hendrix.

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mississippimoan

http://w13.easy-share.com/1903045069.html

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Byther Smith - I'm a Mad Man (1993) Bulleye Blues

You should get this one!!!

Review
by Bill Dahl
Smitty is unequivocally not mellowing with age. This set finds him physically threatening some poor slob in "Get Outta My Way" and generally living up to the boast of the title track. As his profile finally rises, Smith is receiving a little high-profile assistance — Ron Levy produced the set and handles keyboards, while the Memphis Horns add their punchy interjections wherever appropriate.

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mississippimoan

http://w13.easy-share.com/1903044661.html

Charlie Musselwhite - Stand Back! Here Comes Charley Musselwhite's Southside Band (1967) VANGUARD

Very creative album!

Allmusic Review
by Dan Forte
Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: Here was a harpist every bit as authentic, as emotional, in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran Black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age — only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redentor" has become his signature song — associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out — notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.

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mississippimoan

http://w15.easy-share.com/1903044546.html

BB King - Blues On Top Of Blues (1968) BGO

Review

by Richie Unterberger

This isn't his most well-known stuff, but it's a very solid late '60s set. Featuring brassy arrangements by Johnny Pate (who also worked with many prominent Chicago soul acts during the '60s), it presents King's sound at its fullest without sacrificing any of his grit or sophisticated swing. No famous classics here, but the material is very strong throughout. No Password needed! Link: http://w19.easy-share.com/1903031260.html

BB King - The Blues (1960) CROWN

Review

by Mark Deming

Originally released in 1958 by the budget-priced Crown label, The Blues collected a dozen sides B.B. King cut for RPM and Kent between 1951 and 1958. (RPM and Kent were owned by the Bahari Brothers who also ran Crown, which explains how one of the true prestige artists of the blues ended up on such a notoriously cheap-o label.) As was often the case with Crown's product, The Blues used a single hit tune (in this case "When My Heart Beats Like a Hammer," a Top Ten R&B chart entry in 1954) to help sell a package of lesser-known material, but thankfully the label also picked some great tunes that hardly sound like filler, even if they didn't make the charts. The material on The Blues is dominated by muscular, horn-driven performances with King's interjections of single-note riffs and powerful string bends punctuating the arrangements, and King's songwriting was already stellar, with "I Want to Get Married," "Don't You Want a Man Like Me," and "Ruby Lee" demonstrating his way with a melody and a lyrical conceit. While King's recordings gained a greater depth and emotional force as he moved into the 1960s, his RPM takes were the work of a man who already had an enviable command of his instrument and a real gift as a vocalist and songwriter, and though he would get better with time, The Blues demonstrates he was already near the top of his class.

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Rufus Thomas - Walking The Dog (1964) Rhino

Review

by Alex Henderson

One of the artists who defined Memphis soul and put Stax Records on the map, Rufus Thomas is known for liking his R&B hard-edged, gritty and earthy. That approach served him impressively well on his debut album Walking the Dog. In contrast to the sleeker, more elaborate production style favored by the Northern soulsters of Motown, Thomas rejects pop elements altogether and thrives on rawness on his hits "Walking the Dog" and "The Dog," as well as inspired versions of "Land of 1000 Dances" (which became a major hit for Wilson Pickett), Lee Dorsey's "Ya Ya" and John Lee Hooker's "Boom Boom." Thomas was in his mid-40s when these fun, infectious recordings were made, and he definitely lives up to his title "The World's Oldest Teenager" (a title later given to Dick Clark as well). Reissued on CD in the early 1990s, Walking the Dog is an album Memphis soul aficionados shouldn't overlook.

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Ike Turner and His Kings of Rhythm The Sun Sessions (2001) Varese Sarabande

by Bruce Eder

The early recordings of Ike Turner & His Kings of Rhythm (also sometimes known as the Kings of Rhythm featuring Ike Turner) are scattered all over the map, mostly owing to the sheer number of labels for which they recorded from 1951 until 1958. Astonishingly, given their reputation, Turner's Sun Records sides have always been a lot tougher to get hold of than the stuff he did for the RPM and Federal labels, which are downright ubiquitous on CD. Varese has fixed that problem with this 19-song disc covering his work for Sam Phillips between 1951 and 1958, working in every idiom from mournful blues ballads such as "You Can't Be the One for Me" (featuring Tommy Hodge) and "When My Baby Left Me" (sung by Billy "The Kid" Emerson) to the bouncy jump blues of "Love Is a Gamble," featuring his then-girlfriend Bonnie Turner on vocals. A couple of instrumentals, "The Snuggle" and "Bourbon Street Jump," also make this worth hearing as a cross-section of the band's sound and output, and some of the sides also present Turner's guitar, up close and personal -- indeed, the best track on the album is arguably "Ugly Woman," one of the funniest songs in Turner's output and one that shows off the bandleader/guitarist/singer Johnny O'Neal working on all cylinders in overdrive. Tommy Hodge is the most consistent singer here, though the disc is also worth hearing for Bonnie Turner's work -- whatever their other attributes, Turner evidently did choose the women around him at least partly on the basis of their vocal skills. The sound is excellent and the annotation by Bill Dahl is thorough and very well detailed.

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The Best of the Black And White and Imperial Years - (2005) BLUE NOTE

Review
by Thom Jurek
This 19-track compilation from Blue Note's Metro Blue label is a curiosity piece and yes, that's a good thing. While it does contain the signature tune "Stormy Monday Blues," it also contains some tracks not seen often enough. Much of the material here was only issued on the six-CD set Complete Recordings of T-Bone Walker 1940-1954 on the Mosaic label in 1990. While the lion's share of the material here is from the Imperial label, there are also cuts from Capitol ("Prison Blues," "You're My Best Poker Hand" and others) Varsity "("T-Bone Blues""), and Comet ("I'm Still in Love With You"). For those looking for the standard repertoire it would be best to look elsewhere, but for those who have those bases covered and are looking a little deeper, this set will most likely satisfy.

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mississippimoan

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Johnny Winter - Johnny Winter (1969) COLUMBIA

Review
by Cub Koda
Winter's debut album for Columbia was also arguably his bluesiest and best. Straight out of Texas with a hot trio, Winter made blues-rock music for the angels, tearing up a cheap Fender guitar with total abandon on tracks like "I'm Yours and I'm Hers," "Leland Mississippi Blues," and perhaps the slow blues moment to die for on this set, B.B. King's "Be Careful with a Fool." Winter's playing and vocals have yet to become mannered or clichéd on this session, and if you've ever wondered what the fuss is all about, here's the best place to check out his true legacy.

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mississippimoan

http://w19.easy-share.com/1902981707.html

T-Bone Walker - Good Feelin' (1968) POLYDOR

Review
by arwulf arwulf
Recorded in Paris during November 1968, Good Feelin' was the album that rekindled public interest in the life and music of Aaron "T-Bone" Walker throughout Europe and even in some portions of the United States of America. The album begins and closes with informal narration spoken by Walker while accompanying himself on the piano. The band behind him on the other ten tracks includes guitarist Slim Pezin, pianist Michel Sardaby and Cameroonian saxophonist Manu Dibango blowing tenor alongside Pierre Holassian on alto, Francis Cournet on baritone, and a trumpeter whose identity remains a mystery. With T-Bone's electric guitar sizzling in its own juice and the horns signifying together over soulful organ grooves and freshly ground basslines, all of this music is rich and powerful. Each track is delicious; a funky instrumental strut entitled "Poontang" is the tastiest of all.

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mississippimoan

http://w16.easy-share.com/1902981659.html

Albert King - I Wanna Get Funky (1974) STAX

From Grove Press Guide to Blues on CDThis 1973 release has King using his upside-down Flying V to slash a blues path through the Memphis Horns, the Memphis Symphony Orchestra, and the dawn-of-disco funk rhythm players. He half-sings with one eye on B. B. King and Bobby Bland and the other fixed on hot-buttered soul crooner Isaac Hayes. "Crosscut Saw" best captures the album title, with the leader and astounding drummer, Al Jackson, charbroiling a song the two had soul basted back in the mid 1960s with Booker T. Jones. -- © Frank John Hadley 1993

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mississippimoan

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Duke Robillard - New Blues For Modern Man (1999) Shanachie

Review
by Heather Phares
Duke Robillard's 1999 album, New Blues for Modern Man, displays the singer/guitarist's skill at integrating all styles of blues, rock, and soul into his own unique sound. This set of originals ranges from Gulf Coast blues to New Orleans party rock to Chicago shuffles to soulful ballads. His debut for Shanachie Records, New Blues for Modern Man displays the goods that keep Robillard sounding fresh and vital.

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mississippimoan

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Eric Clapton and BB King - Riding With The King (2000) REPRISE

Review
by William Ruhlmann
The potential for a collaboration between B.B. King and Eric Clapton is enormous, of course, and the real questions concern how it is organized and executed. This first recorded pairing between the 74-year-old King and the 55-year-old Clapton was put together in the most obvious way: Clapton arranged the session using many of his regular musicians, picked the songs, and co-produced with his partner Simon Climie. That ought to mean that King would be a virtual guest star rather than earning a co-billing, but because of Clapton's respect for his elder, it nearly works the other way around. The set list includes lots of King specialties — "Ten Long Years," "Three O'Clock Blues," "Days of Old," "When My Heart Beats Like a Hammer" — as well as standards like "Hold on I'm Coming" and "Come Rain or Come Shine," with some specially written and appropriate recent material thrown in, so King has reason to be comfortable without being complacent. The real danger is that Clapton will defer too much; though he can be inspired by a competing guitarist such as Duane Allman, he has sometimes tended to lean too heavily on accompanists such as Albert Lee and Mark Knopfler when working with them in concert. That danger is partially realized; as its title indicates, Riding With the King is more about King than it is about Clapton. But the two players turn out to have sufficiently complementary, if distinct, styles so that Clapton's supportive role fills out and surrounds King's stinging single-string playing. (It's also worth noting that there are usually another two or three guitarists on each track.) The result is an effective, if never really stunning, work.

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mississippimoan

http://w16.easy-share.com/1902979567.html

Albert Collins - The Complete Imperial Recordings (1991) EMI

Review
by Larry Hoffman
Texan Albert Collins was in the very first rank of post-war blues guitarists. This two-CD set is a reissue of all 36 sides he cut for Imperial from 1968 to 1970 — representing this artist's second major recording stint. Instrumentals comprise roughly three-fourths of the material. They frame his distinctive guitar work with a tight ensemble of organ, bass, and drums, adding at times a piano and/or second guitar, punctuated by a horn section. About ten of these tunes are as great as anything Collins ever did. They are riddled with the biting, incisive, dramatic, and economical playing that made him a legend. There are also some outstanding vocals. Although this set is not without its clinkers, it is a solid package and a must for any Collins fan.

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mississippimoan

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Jimi Hendrix - Electric Ladyland (1968) MCA

Allmusic sys it all.

Review

by Cub Koda

Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to. But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer (who supervised the remastering of the original two-track stereo masters for this 1997 reissue on MCA) for taking Hendrix's visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here. What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound. As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: "Crosstown Traffic," his reinterpretation of Bob Dylan's "All Along the Watchtower," "Burning of the Midnight Lamp," the spacy "1983...(A Merman I Should Turn to Be)," and "Voodoo Chile (Slight Return)," a landmark in Hendrix's playing. With this double set (now on one compact disc), Hendrix once again pushed the concept album to new horizons. Password and Links: mississippimoan http://w16.easy-share.com/1702958912.html http://w18.easy-share.com/1702958770.html

Jimi Hendrix - Band Of Gypsys (1970) MCA

Review

by Sean Westergaard

Band of Gypsys was the only live recording authorized by Jimi Hendrix before his death. It was recorded and released in order to get Hendrix out from under a contractual obligation that had been hanging over his head for a couple years. Helping him out were longtime friends Billy Cox on bass and Buddy Miles on the drums because the Experience had broken up in June of 1969, following a show in Denver. This rhythm section was vastly different from the Experience. Buddy Miles was an earthy, funky drummer in direct contrast to the busy, jazzy leanings of Mitch Mitchell. Noel Redding was not really a bass player at all but a converted guitar player who was hired in large part because Hendrix liked his hair! These new surroundings pushed Hendrix to new creative heights. Along with this new rhythm section, Hendrix took these shows as an opportunity to showcase much of the new material he had been working on. The music was a seamless melding of rock, funk, and R&B, and tunes like "Message to Love" and "Power to Love" showed a new lyrical direction as well. Although he could be an erratic live performer, for these shows, Hendrix was on — perhaps his finest performances. His playing was focused and precise. In fact, for most of the set, Hendrix stood motionless, a far cry from the stage antics that helped establish his reputation as a performer. Equipment problems had plagued him in past live shows as well, but everything was perfect for the Fillmore shows. His absolute mastery of his guitar and effects is even more amazing considering that this was the first time he used the Fuzz Face, wah-wah pedal, Univibe, and Octavia pedals on-stage together. The guitar tones he gets on "Who Knows" and "Power to Love" are powerful and intense, but nowhere is his absolute control more evident than on "Machine Gun," where Hendrix conjures bombs, guns, and other sounds of war from his guitar, all within the context of a coherent musical statement. The solo on "Machine Gun" totally rewrote the book on what a man could do with an electric guitar and is arguably the most groundbreaking and devastating guitar solo ever. These live versions of "Message to Love" and "Power to Love" are far better than the jigsaw puzzle studio versions that were released posthumously. Two Buddy Miles compositions are also included, but the show belongs to Jimi all the way. Band of Gypsys is not only an important part of the Hendrix legacy, but one of the greatest live albums ever. Password and Link: mississippimon http://w16.easy-share.com/1702958547.html

Jimi Hendrix - Axis Bold As Love (1967) MCA

Review

by Cub Koda

Jimi Hendrix's second album followed up his groundbreaking debut effort with a solid collection of great tunes and great interactive playing between himself, Noel Redding, Mitch Mitchell, and the recording studio itself. Wisely choosing manager Chas Chandler to record the album, since he was in the midst of a creative hot streak, Hendrix stretched further musically than the first album, but even more so as a songwriter. He was still quite capable of coming up with spacy rockers like "You Got Me Floating," "Up from the Skies," and "Little Miss Lover," radio-ready to follow on the commercial heels of "Foxey Lady" and "Purple Haze." But the beautiful, wistful ballads "Little Wing," "Castles Made of Sand," "One Rainy Wish," and the title track set closer show remarkable growth and depth as a tunesmith, harnessing Curtis Mayfield soul guitar to Dylanesque lyrical imagery and Fuzz Face hyperactivity to produce yet another side to his grand psychedelic musical vision. These are tempered with Jimi's most avant-garde tracks yet, "EXP" and the proto-fusion jazz blowout of "If 6 Was 9."

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Jimi Hendrix - Are You Experienced? (1967) MCA

Ok, It`s Christmas. Nothing is better than god himself coming over here.....So Down on your knees for the creator of it all

Review

by Richie Unterberger

One of the most stunning debuts in rock history, and one of the definitive albums of the psychedelic era. On Are You Experienced?, Jimi Hendrix synthesized various elements of the cutting edge of 1967 rock into music that sounded both futuristic and rooted in the best traditions of rock, blues, pop, and soul. It was his mind-boggling guitar work, of course, that got most of the ink, building upon the experiments of British innovators like Jeff Beck and Pete Townshend to chart new sonic territories in feedback, distortion, and sheer volume. It wouldn't have meant much, however, without his excellent material, whether psychedelic frenzy ("Foxey Lady," "Manic Depression," "Purple Haze"), instrumental freak-out jams ("Third Stone From the Sun"), blues ("Red House," "Hey Joe"), or tender, poetic compositions ("The Wind Cries Mary") that demonstrated the breadth of his songwriting talents. Not to be underestimated were the contributions of drummer Mitch Mitchell and bassist Noel Redding, who gave the music a rhythmic pulse that fused parts of rock and improvised jazz. Many of these songs are among Hendrix's very finest; it may be true that he would continue to develop at a rapid pace throughout the rest of his brief career, but he would never surpass his first LP in terms of consistently high quality. The British and American versions of the album differed substantially when they were initially released in 1967; MCA's 17-song CD reissue does everyone a favor by gathering all of the material from the two records in one place, adding a few B-sides from early singles as well. Password And Link: mississippimoan http://w17.easy-share.com/1702958522.html

Jimmy Reed - I'm Jimmy Reed (1959) Collectables

Review
by Bruce Eder
In deciding where to start listening to Jimmy Reed, the man and his record label made it easy — at the beginning. His debut LP release, I'm Jimmy Reed, was about as strong a first album as was heard in Chicago blues, but also no stronger (relatively speaking) than the first long-players issued of Muddy Waters, Howlin' Wolf and co. As was the case with most bluesmen of his generation, Reed's debut LP was really a collection of single sides than an actual album of new material (though some of it did hail from its year of release), consisting of tracks he'd recorded from June 1953 ("Roll & Rhumba") through March 1958 ("You Got Me Crying" etc.). So it's no surprise that it rivals The Best of Muddy Waters or any of the other 12" platters that were showing up from Reed's rivals at the end of the 1950s — most of the blues labels put together their LPs the same way at first. But that also turns I'm Jimmy Reed into a treasure-trove of prime material from his repertory, including the songs on which he'd built his reputation over the previous five years, key among them "Honest I Do," "Ain't That Lovin' You Baby," "You Got Me Dizzy," and "You Don't Have to Go," plus their highly relevant B-sides, which help give this album more depth and breadth than a formal hits collection would have had. And in addition to Reed's singing and harp work, the album is also a superb showcase for guitarists Eddie Taylor and John Brim (the latter on the earliest material here), and drummer Earl Palmer.

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Melvin Taylor and The Slack Band - (1995) Evidence

Review
by Don Snowden
The U.S. release of Melvin Taylor's two early-'80s LPs by Evidence a decade later was a shock introduction to a blues guitarist who seemingly blazed out of nowhere — outside of Rosa's Lounge in Chicago, that is. "Blazed" is the right word, too, because Taylor is a total maximalist who unleashes torrents of notes to fill up every space. But he's so convincing a player that the concept of "blues guitar hero" might get a good name again, even with fans dead-tired of excess who never thought they'd think things like, "Man, can Melvin Taylor play the ever-loving (add the expletive superlative of your choice) out of the guitar" again. Taylor's first real-time release, Melvin Taylor & the Slack Band, is a pretty straightforward affair — basic trio with minimal overdubs, servicable vocals in an Albert King mode, and a mix of originals and very classic covers. The opening "Texas Flood" lets him rip on a slow blues, constantly changing up his playing with wah-wah blitzes as the real ace in his sonic hole. The originals "Depression Blues" and "Groovin' in New Orleans" add some funk flair, while "Talking to Anna Mae" is a straight-up Chicago boogie instrumental that Taylor shines on. But he's even more in his element on the unadorned slow blues "Tin Pan Alley" and King's "Don't Throw Your Love on Me So Strong." It's partly the speed but even more the phrasing — the unexpected stops and starts, the spiky and blazing runs and flurries, the unusual note selections he tosses in — that sets his playing apart. The other covers have their sporadic moments — "T-Bone Shuffle" is inconsequential, but Otis Rush's "All Your Love" and "Voodoo Chile" are worth listening to, even if the latter doesn't add anything to the famous Hendrix wah-wah workout. Taylor actually doesn't sound that radical here, like he was playing to establish blues circuit credentials by putting his stamp on familiar songs more than indulging offbeat personal touches like the mellow lounge jazz take on the Champs' "Tequila." But his playing can be truly electrifying and Melvin Taylor & the Slack Band is recommended for anyone, especially Stevie Ray Vaughan fans, looking for a distinctive new blues guitar voice.

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Champion Jack Dupree - Blues From The Gutter (1958) Atco

Review

by Bill Dahl

The 1958 masterwork album of Champion Jack Dupree's long and prolific career. Cut in New York (in stereo!) with a blasting band that included saxist Pete Brown and guitarist Larry Dale, the Jerry Wexler-produced Atlantic collection provides eloquent testimony to Dupree's eternal place in the New Orleans blues and barrelhouse firmament. There's some decidedly down-in-the-alley subject matter -- "Can't Kick the Habit," "T.B. Blues," a revival of "Junker's Blues" -- along with the stomping "Nasty Boogie" and treatments of the ancient themes "Stack-O-Lee" and "Frankie & Johnny."

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Magic Sam - West Side Soul (1967) Delmark

Review
by Stephen Thomas Erlewine
To call West Side Soul one of the great blues albums, one of the key albums (if not the key album) of modern electric blues is all true, but it tends to diminish and academicize Magic Sam's debut album. This is the inevitable side effect of time, when an album that is decades old enters the history books, but this isn't an album that should be preserved in amber, seen only as an important record. Because this is a record that is exploding with life, a record with so much energy, it doesn't sound old. Of course, part of the reason it sounds so modern is because this is the template for most modern blues, whether it comes from Chicago or elsewhere. Magic Sam may not have been the first to blend uptown soul and urban blues, but he was the first to capture not just the passion of soul, but also its subtle elegance, while retaining the firepower of an after-hours blues joint. Listen to how the album begins, with "That's All I Need," a swinging tune that has as much in common with Curtis Mayfield as it does Muddy Waters, but it doesn't sound like either — it's a synthesis masterminded by Magic Sam, rolling along on the magnificent, delayed cadence of his guitar and powered by his impassioned vocals. West Side Soul would be remarkable if it only had this kind of soul-blues, but it also is filled with blistering, charged electric blues, fueled by wild playing by Magic Sam and Mighty Joe Young — not just on the solos, either, but in the rhythm (witness how "I Feel So Good [I Wanna Boogie]" feels unhinged as it barrels along). Similarly, Magic Sam's vocals are sensitive or forceful, depending on what the song calls for. Some of these elements might have been heard before, but never in a setting so bristling with energy and inventiveness; it doesn't sound like it was recorded in a studio, it sounds like the best night in a packed club. But it's more than that, because there's a diversity in the sound here, an originality so fearless, he not only makes "Sweet Home Chicago" his own (no version before or since is as definitive as this), he creates the soul-injected, high-voltage modern blues sound that everybody has emulated and nobody has topped in the years since. And, again, that makes it sound like a history lesson, but it's not. This music is alive, vibrant, and vital — nothing sounds as tortured as "I Need You So Bad," no boogie is as infectious as "Mama, Mama Talk to Your Daughter," no blues as haunting as "All of Your Love." No matter what year you listen to it, you'll never hear a better, more exciting record that year.

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Hubert Sumlin - About Them Shoes (2002) WEA

I Heard this one for the first time 18 months ago.....I still listen to it almost everyday.
Review
by Joe Viglione
Hubert Sumlin's About Them Shoes is a refreshingly pure blues recording which comes at a time when others are distorting the genre with various "contemporary" elements. The songs are from the repertoire of Muddy Waters — seven tunes written by Waters (McKinley Morganfield), four by Willie Dixon, one from Carl C. Wright, and a beauty by Sumlin to close things out. Dixon's "I'm Ready" starts things off with Eric Clapton on lead guitar and vocals, the drums of Levon Helm, and Paul Oscher's oozing harmonica filling in nicely with David Maxwell's piano. It's bouncy and shows a side of Clapton not often present on his own albums. Sumlin's lead is tasty, giving way to Oscher's equally gritty wail. Waters' own "Still a Fool" has Keith Richards on lead vocals and sharing the guitar chores with Sumlin. It's got that Rolling Stones-ish ragged edge that producer Rob Fraboni knows so well; Fraboni's guiding hand never gets in the way of the musical process that flows across the CD. James Cotton's harp comes in to spice up "She's Into Something," which features percussionist George Recile on lead vocals and Helm back on the skins. Helm plays drums on eight of the 13 tracks, Recile on four, with the final number, Hubert Sumlin's only original, "Little Girl, This Is the End," closing the set without percussion. "Little Girl" features a charming interplay between Keith Richards and Sumlin's guitars, while Paul Nowinski adds a full-bottom bass to round things out. It's Sumlin's onlyvocal contribution to the disc, and that voice swims in Fraboni's mix of upfront guitars. This particular song was premiered on Holly Harris' Blues on Sunday program on December 15, 2002, a few months before the album's release, and played next to the remastered "Love in Vain" from Let It Bleed, one could see why the distinctive Richards style is such an important component of the Rolling Stones' success. The two Keith Richards tracks as well as the two contributions from Clapton will get immediate attention, and they do not disappoint, but Blondie Chaplin's vocal on "Look What You've Done" as well as Paul Oscher's on "Come Home Baby" deserve to not get lost in the shuffle. Nathaniel Peterson and George Recile also get to take the mic (with David Johansen about to add some vocals at press time), but none of the changing voices disrupt the vibe or take away from the fun. These blues aren't sad, they are charging, energetic performances from musicians who catch the groove and drive it for all it's worth. Maxwell's piano on Waters' "Come Home Baby" adds frills behind the guitars of Sumlin and Bob Margolin, while Oscher's harmonica just screams. It's a stunning blend of tension and dynamite, and one of the disc's highlights. About Them Shoes could have taken the marquee talent and gone for a glitzy platform to bring Hubert Sumlin into the mainstream. Instead, they dive headfirst into what this music is all about, and in doing so have come up with a mini-masterpiece. It's one of those records that can run endlessly in the CD player and keep entertaining. Hopefully it will expand the audience of this deserving virtuoso.

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Albert Collins , Robert Cray , Johnny Copeland - Showdown (1985) Alligator

Great Vibe, Good Performances.....Grat,great tracks!

Review

by Bruce Eder & Bill Dahl

Most of the original "blues summit" and blues "supergroup" type gatherings, which were done at Chess Records, were musically pointless affairs, mostly because the artists involved really didn't like the idea behind the albums being recorded or the company they were forced to keep during the recording process. What makes Showdown! work is that the three featured players actually liked each other and enjoyed working together — even more important, they had something to say together musically, which just pours out of the contents of this jewel of a record, a summit meeting between Texas guitar veterans Albert Collins and Johnny Copeland and newcomer Robert Cray — the set is scorching all the way. Collins even treats us to some harmonica playing that's more than a match for his guitar work on "Bring Your Fine Self Home," and the only pity is there's no other contribution by him on the harp anywhere else here. It's all worth hearing, many times over, and if you can't get the Mobile Fidelity version, find the Alligator Records CD, but get this album.

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Otis Rush - Ain`t Enough Comin` In (1994) This Way Up

With sympathetic production from John Porter, a great lineup of players who follow him every bluesy turn of the way and a dozen well chosen pieces of material, Rush wipes the unispired album slate clean with this one. Everything that makes Otis a unique master of his form is here to savor, from his passionate vocals to the shimmering finger vibrato he applies to the liquid tones of his Fender Stratocaster. While Rush has tackled some of this material on other outings, never has it been served up so passionately as it is here. Even the re-cut of his famous Duke 45 "Homework" burns with a new intensity that makes you believe that this is one opportunity that Rush — at least this time — refused to let go by the boards.

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Otis Rush - Right Place Wrong Time (1976) Hightone

Review

by Eugene Chadbourne

This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing "wrong" about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will be surprised). As a performer he opens up the blues form with his chord progressions and use of horn sections, the latter instrumentation again added in a wonderfully spare manner, bringing to mind a master painter working certain parts of a canvas in order to bring in more light. Blues fans who get tired of the same old song structures, riff, and rhythms should be delighted with most of Rush's output, and this one is among his best. Sometimes all he does to make a song sound unlike any blues one has ever heard is just a small thing -- a chord moving up when one expects it go down, for example. The production is particularly skilled, and the fact that Capitol Records turned this session down after originally producing it can only be reasonably accepted when combined with other decisions this label has made, such as turning down the Doors because singer Jim Morrison had "no charisma." This record doesn't mess around at all. The first track takes off like the man they fire out of a cannon at the end of a circus, a perceived climax swaggeringly representing just the beginning, after all. Some of the finest tracks are the ones that go longer than five minutes, allowing the players room to stretch. And that means more of Rush's great guitar playing, of course. For the final track he leaves the blues behind completely for a moving cover version of "Rainy Night in Georgia" by Tony Joe White.

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Junior Wells - Blues Hit Big Town (1977) Delmark