Blues Music

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"Jack O' Diamonds: 1949 Recordings [Remaster]" (05/18/2004) Blues Hooker, John Lee, Eagle Records (USA)Personnel: John Lee Hooker (vocals, guitar). Recording information: 1949. Navigating John Lee Hooker's mammoth, multi-label discography can be a formidable task, one made no less daunting by a slew of compilations and reissues of early material. Given the superior quality of these performances, however, with their dark, spare atmosphere driven by Hooker's hypnotic, primitive riffs and soulful, understated singing, JACK O' DIAMONDS: 1949 RECORDINGS is a buried treasure. Lost for more than 50 years, these sessions--engineered by cartoonist and blues fan Gene Deitch at his home in Detroit-- feature a young Hooker performing solo on acoustic guitar. The clarity and intimacy of the recording is astounding. While the bluesman's sound got leaner and meaner over the years, there is an intensity here that dazzles, all the more so for the minimalist setting. In addition, Hooker's repertoire at the time included spirituals and songs he learned growing up, many that he never recorded again. JACK O' DIAMONDS, then, amounts to a very unique document from this blues legend.

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"The Complete Recordings [Box]" (10/08/1996) Blues Johnson, Robert (Mississippi), Legacy RecordingsTHE COMPLETE RECORDINGS includes a 48-page booklet with biographical notes, rare photos and a complete discography. Solo performer: Robert Johnson (vocals, guitar). Producer: Don Law. Compilation producers: Stephen LaVere, Frank Driggs. Recorded in San Antonio, Texas on November 23 & 26-27, 1936 and Dallas, Texas on June 19-20, 1937. Includes liner notes by Stephen LaVere, Keith Richards and Eric Clapton. All tracks have been digitally remastered. Noted blues historian Robert Palmer has called him "the Mississippi Delta's first modern blues-man," and over the past 50 years Robert Johnson's influence has reached out from beyond the grave. Though his recording output numbers fewer than 30 different songs, Johnson's catalog has been a treasure trove picked clean by artists ranging from Bob Dylan and the Rolling Stones to Led Zeppelin and the Grateful Dead. The beauty of THE COMPLETE RECORDINGS lies in its utter simplicity. Johnson's reedy vocals, accompanied only by a steel-string guitar, evoke the very essence of the Deep South with its mystery and intrigue. It's easy to see where the myth of Johnson going down to the crossroads to make a Faustian pact with Lucifer was first sown; it can be heard within the confines of "Cross Road Blues" and "Hellhound On My Trail." While the sound of Johnson's recordings has a discernible hiss to it, the unadulterated emotion resonating in his voice goes straight to the marrow, making these sonic limitations seem like an afterthought.

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"The Essential Taj Mahal" (08/16/2005) Blues Mahal, Taj, Legacy RecordingsPersonnel: Taj Mahal (vocals, whistling, acoustic guitar, electric guitar, slide guitar, National guitar, dobro, mandolin, harmonica, piano, upright bass, finger cymbals, hand claps); Jesse Ed Davis (guitar, electric guitar, piano); Ry Cooder (guitar, mandolin); Eric Bazilian (lap steel guitar); Howard Johnson (baritone saxophone, flugelhorn, tuba); Bob Stewart (trumpet, flugelhorn, tuba); Joseph Daley (trombone, tuba); Earl McIntyre (bass trombone, tuba); John Simon (piano, electric piano); Al Kooper, Bill Payne (piano); Gary Gilmore (electric bass); Kester Smith (drums, percussion); Chuck Blackwell, Sandy Konikoff (drums); Babatunde Olatunji (congas, djembe, shekere, percussion); Larry McDonald, Kwasi "Rocky" Dzidzournou (congas, percussion); Robert Greenidge, Andy Narell (steel drum); Hall & Oates, Merry Clayton, Sheryl Crow, Claudia Lennear (background vocals); The Pointer Sisters. Liner Note Author: Tom Surowicz. Recording information: 1967 - 1999. An impressive two-disc compilation, THE ESSENTIAL TAJ MAHAL lives up to its name by charting the path of the acclaimed blues guitarist/vocalist's career from 1967 to 2004. Though always rooted in the blues, Mahal has incorporated other styles into his distinctive sound, including folk, R&B, and reggae. Proceeding in chronological order, this set begins in the late '60s, presenting tunes such as "The Celebrated Walkin' Blues," a spare song that features Mahal accompanied only by his former Rising Sons bandmate Ry Cooder on mandolin; and the gentle, lilting "Take a Giant Step." The second disc finds Mahal easing into a potent version of Bob Marley's "Slave Driver," while "The New Hula Blues" is a deft Hawaiian slack-key/blues hybrid, revealing the breadth of his stylistic range. As a relatively concise yet remarkably thorough overview of Mahal's decades-spanning catalogue, this 36-track compilation is absolutely indispensable.

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"Blues Deluxe" (01/26/2009) Blues Bonamassa, Joe, J&R AdventuresPersonnel: Joe Bonamassa (vocals, guitar); Jon Paris (harmonica); Benny harrison (Hammond B-3 organ); Eric Czar (electric bass); Kenny Kramme (drums). Recorded at Unique Studios, New York, New York. Includes liner notes by Harris Cohen. As the electric guitar ace Joe Bonamassa was so strongly inspired by blues and blues-oriented six-stringers (i.e., Clapton, Johnny Winter), many of his fans would politely pester him about doing a disc of blues standards. Originally done as a lark, the results of such a session were deemed by Bonamassa good enough to be released--hence, BLUES DELUXE, on which he covers some lesser-known songs and includes three originals. Of course, his fierce, scorching guitar is center stage. If axe-men such as Peter Green, Rory Gallagher, and Buddy Guy are your cup of tea, this DELUXE item is a necessity.

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"Pure Blues" (04/17/2001) Blues Various Artists, UTVDigitally remastered by Doug Schwartz (Audio Mechanics). This across-the-board blues compilations attempts to be all things to all blues fans, and comes as close to succeeding as any single-disc collection possibly could. Part of the reason is a series of cross-licensing coups that bring together tracks from a disparate group of labels, but mostly it's good old-fashioned taste. For the rock fans there's the Eric Clapton/Duane Allman duet "Mean Old World" and Stevie Ray Vaughan's "Flood Down in Texas." Those hungry for new, young blues heroes are offered the likes of Kenny Wayne Shepherd and Susan Tedeschi. The meat of the compilation, though, is taken up by classic Chicago blues cuts, including Muddy Waters' gloriously salacious "(I'm Your) Hoochie Coochie Man," Jimmy Reed's proletarian shuffle "Big Boss Man," and Howlin' Wolf's vicious-but-wise take on the Willie Dixon-penned blues standard "Spoonful." As a broad introduction to the various strains of mainstream blues, PURE BLUES is an excellent primer.

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"The Definitive Collection (Hip-O)" (05/23/2006) Blues Hooker, John Lee, Hip-O RecordsLiner Note Author: Colin Escott. Recording information: 1948 - 1988.

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"Wicked Grin" (03/13/2001) Blues Hammond, John (Blues), Virgin Records (USA)Personnel: John Hammond (vocals, acoustic slide guitar, guitar, harmonica, handclaps); Tom Waits (vocals, guitar, plucked piano, handclaps); Charlie Musselwhite (harp); Augie Meyers (accordion, piano, electric piano, Wurlitzer, Hammond organ); Larry Taylor (bass); Stephen Hodges (drums, percussion, handclaps); Gene Cornelius, Oz Fritz, Ralph Patlan (handclaps). Recorded at Prairie Sun Recording Studios, Cotati, California and Alpha & Omega Studios, San Rafael, California. Includes liner notes by T-Bone Burnett. For WICKED GRIN, John Hammond takes a break from interpreting the likes of Sleepy John Estes and Blind Lemon Jefferson to have a go at the canon of good friend Tom Waits. Further authenticating this project is Waits's involvement as producer and musician. Rounding out the cast on this impressive project are Sir Douglas Quintet keyboardist Augie Meyers, harp legend Charlie Musselwhite, Canned Heat's Larry Taylor, and Fabulous Thunderbird Stephen Hodges on skins. Turning to albums like RAIN DOGS, SWORDFISHTROMBONES, and BONE MACHINE for source material, Hammond used his pliable baritone and tasty fretwork to inhabit the characters and seedy scenarios of these songs. Druggies and prostitutes come to life in the 12-bar blues dirge that is "Heart Attack and Vine," while the image of homesick sailor in a foreign port is teased out with an economically played Vox organ throughout "Shore Leave." Elsewhere, Hammond and company make like Los Super Seven on the norteno-flavored "Jockey Full Of Bourbon," with Meyers and his squeezebox making like Flaco Jimenez. The only non-Waits song included is "I Know I've Been Changed," an album-ending traditional gospel number turned into a field holler by Waits's shredded growl and Hammond's soulful howl.

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"Got a New Plan" (n/a) Blues Nick Moss & The Flip Tops, Blue BellaPersonnel: Nick Moss (vocals, guitar); Gareth Best (guitar); Bill Lupkin, Lynwood Slim (harmonica); Harunobu Tsushida (piano, Fender Rhodes); James DiGerolomo (upright bass, electric bass); Andy Lester (electric bass). Recorded at Engine Studios, Chicago, Illinois, between July 17th and 20th 2001.

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"A Space in Time" (07/10/1989) Blues Ten Years After, Chrysalis Records (USA)Ten Years After: Alvin Lee (vocals, guitar); Chick Churchill (keyboards); Leo Lyons (bass); Ric Lee (drums). Recorded at Olympic Studios, London, England. A SPACE IN TIME was Ten Years After's biggest commercial success. The reasons are pretty obvious; Alvin Lee's songwriting had improved markedly and there was far more stylistic variety than on their previous albums. The big hit here was "I'd Love to Change the World," with its catchy acoustic guitar hook and the immortal opening line, "Everywhere is freaks and hairies." Other highpoints include: "Baby Won't You Let Me Rock 'n' Roll You," the band's first stab at Stones-style raunch (complete with a riff from Led Zeppelin); the country-ish romp "Once There Was a Time"; and the gently folky and surprisingly self-deprecating "Over the Hill," which features strings, a move that would have been unthinkable for this band a year or two earlier.

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"Angola Prison Spirituals" (08/12/2003) Blues Various Artists, ArhoolieRecorded by Dr. Harry Oster at the Louisiana State Penitentiary at Angola, Louisiana in the late 1950's.

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"The Complete Studio Recordings" (10/31/2000) Blues Hurt, Mississippi John, Vanguard Records (USA)THE COMPLETE STUDIO RECORDINGS contains TODAY! (1966)/THE IMMORTAL MISSISSIPPI JOHN HURT (1967)/LAST SESSIONS (1966). Solo performer: Mississippi John Hurt (vocals, guitar). Producer: Patrick Sky. Reissue producer: Tom Vickers. Recorded at Manhattan Towers Hotel, New York, New York in February 1966. Includes liner notes by John Milward. All tracks have been digitally remastered.

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"Last Fair Deal" (09/23/2003) Blues Block, Rory, TelarcSolo performer: Rory Block (vocals, guitar). This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Solo performer: Rory Block (vocals, guitar).

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"Kulanjan" (08/03/1999) Blues Mahal, Taj, HannibalPersonnel: Taj "Dadi Kouyate" Mahal (vocals, guitar, piano); Kassemady Diabate, Ramatou Diakite (vocals); Banning (guitar); Ugouye Koulibaly (kamalengoni); Toumani Diabate, Ballake Sissoko (kora); Bassekou Kouyate (ngoni, bass); Lasana Diabate (Mande balafon). Recorded at John Keane Studios, Athens, Georgia. Includes liner notes by Lucy Duran.

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"Billie Jean Blues" (03/14/2006) Blues Guitar Shorty, Collectables Records

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"Essential Ten Years After" (07/23/1996) Blues Ten Years After, Chrysalis Records (USA)Producers: Chris Wright, Alvin Lee, Ten Years After. This isn't for Ten Years After completists, but as greatest hits packages go, it's hard to argue with it. It strikes a nice balance between the band's blues-rock roots stuff and its more psychedelic studio work. Of the former, there's a wonderful and exceptionally mush-mouthed live version (from where and when isn't specified) of their Woodstock showstopper "I'm Goin' Home," as well as a similarly definitive run through of "Good Morning Little School Girl." Representing the latter is their FM hit "I'd Love to Change the World," and the splendidly titled drug inspired anthem "50,000 Miles Beneath My Brain "(eat your hearts out, Amboy Dukes).

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"Blue Yule: Christmas Blues & R&B Classics" (10/01/1991) Blues Various Artists, Rhino Records (USA)

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"His Best" (05/07/2005) Blues Walter, Little, Chess (USA)This is part of Chess Records' 50 Anniversary series. Few would dispute that this collection is the Holy Grail of blues harmonica. Like the other entries in Chess Records' HIS BEST series, the Little Walter compilation is beautifully selected, sequenced, remastered, and packaged. At 20 tracks, HIS BEST gives a satisfying, economical summary of Walter's genius, and defends his title as the king of blues harp men. As a member of Muddy Waters's band, and on his own, Walter was one of the architects of the original Chicago sound. His propulsive chording, high-leaning notes, inventive use of amplification (he used a close-up hand-held microphone and effects like distortion and echo), and endless stream of ideas expanded the possibilities of the harmonica. With the help of such Chicago heavy-hitters as pianist Otis Spann, bassist Willie Dixon, and drummer Fred Below, Walter's own group displayed ferocious chemistry and instrumental prowess. Naturally, Walter's vocals and exceptional harp are at the fore here. Whether on signature tunes ("Juke"), slow burners ("Mean Old World"), or classic rockers ("Boom, Boom Out Goes the Light"), this is old-school electric blues at its absolute finest. In addition to its status as a textbook for harmonica players, HIS BEST is a ground-floor necessity for any blues library.

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"The Very Best of Canned Heat" (05/24/2005) Blues Canned Heat, Capitol/EMI RecordsCanned Heat: Al Wilson (vocals, guitar, harmonica); Bob "The Bear" Hite (vocals, harmonica); Henry Vestine, Joel Scott Hill, James Shane (guitar); Ed Beyer (keyboards); Larry "The Mole" Taylor, Tony De La Barreda, Richard Hite (bass guitar); "Fito" De La Parra, Frank Cook (drums). Additional personnel: Little Richard (vocals, piano); John Lee Hooker (vocals); Harvey Mandel (guitar).

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"The Collection" (07/20/1993) Blues Savoy Brown, Polydor (USA)Savoy Brown includes: Kim Simmonds (guitar).

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"The Best of Canned Heat" (09/12/1989) Blues Canned Heat, EMI Records (USA)Canned Heat: Bob "Bear" Hite (vocals, harmonica); Alan "Blind Owl" Wilson (vocals, guitar, harmonica); Henry Vestine, Harvey Mandel (guitar); Larry Taylor (bass); Frank Cook, Adolpho "Fito" de la Parra (drums).

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"Taj Mahal [Remaster]" (09/05/2000) Blues Mahal, Taj, Legacy RecordingsPersonnel: Taj Mahal (vocals, slide guitar, harmonica); Ryland "Ry" P. Cooder (guitar, mandolin); Jesse Edwin Davis (guitar, piano); Gary Gilmore, James Thomas, Charles Blackwell (bass); Sanford Konikoff (drums). Producer: David Rubinson. Reissue producer: Bob Irwin. Recorded in August 1967. Originally released on Columbia (9579). Includes liner notes by Tom Nolan, Taj Mahal & Stanley Crouch. Though these 1968 sides were cut in LA at the apex of the burgeoning counterculture movement, the main influences at play here are those of the Mississippi Delta blues. Featuring early performances from Ry Cooder and Jesse Ed Davis, TAJ MAHAL is the joyfully confident debut that propelled the eponymous bluesman to national recognition. Comparable to similar experiments by Paul Butterfield, Mike Bloomfield and British blues maven John Mayall, Mahal's sound is both intensely traditional and aggressively pure. For an example of the former, check out the album's closer, "The Celebrated Walkin' Blues," the intro of which sounds as if it could have been recorded any time in the previous 30 years, while "Statesboro Blues," with Davis's thrillingly raw slide interjections featured heavily throughout, is an intensely focused performance still capable of producing chills decades after the fact. There's no tinkering with genre here, as was later to become the style with countless '60s and '70s blues rock bands--what's on offer on TAJ MAHAL is a direct electrified line to the heart and soul of a seminal American art form. This edition features alternate artwork to the original, chosen by Mahal himself, and contemporary liner notes by celebrated critic Stanley Crouch.

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"Electric Mud" (11/19/1996) Blues Waters, Muddy, Chess (USA)Personnel: Muddy Waters (vocals); Phil Upchurch, Roland Faulkner, Pete Cosey (guitar); Gene Barge (tenor sax); Charles Stepney (organ); Louis Satterfield (bass); Morris Jennings (drums). Producers: Marshall Chess, Charles Stepney, George Barge. Reissue producer: Andy McKaie. Recorded at Ter Mar Studios, Chicago, Illinois, May 1968. Originally released on Cadet Concept (314). Includes liner notes by Mark Humphrey and Marshall Chess. Digitally remastered by Erick Labson (MCA Music Media Studios, North Hollywood, California). Often derided by cynics who see it as an ill-conceived attempt to update Muddy's sound, ELECTRIC MUD actually makes an odd kind of sense. In retrospect, its mating of Muddy's Chicago blues with a Cream-like, semi-psychedelic blues-rock sound merely places the blues godfather in amidst the world he helped inspire, if not create. Heavy blues-rock bands of the late '60s like Cream and Led Zeppelin would never have existed had Muddy not harnessed the power of electricity as a vehicle for his big-sounding blues in the '50s. ELECTRIC MUD is dominated by a fuzz guitar so unabashedly over-the-top it's downright endearing. All the trappings of the period are thrown into the mix: funky/heavy grooves, fuzz bass, wah-wah pedal, etc. There's even a rush of backwards tapes at the beginning of a rocked-up take on "Mannish Boy." 30 years later, hardcore blues artists like R.L. Burnside would benefit from an analogous approach by working with samples and loops, so hindsight makes this album seem more canny than misguided (it did create a marked increase in Muddy's poor late-'60s record sales). Besides, it's worth the price of admission just to see the photos that show Muddy's trademark "conk" hairdo in various stages of preparation.