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"The Definitive Collection [Remaster]" (05/23/2006) Blues Waters, Muddy, Geffen Records (USA)Personnel: Muddy Waters (vocals, guitar); Johnny Winter, Buddy Guy (guitar); James Cotton (harmonica); Otis Spann (piano); Willie Dixon (upright bass). Liner Note Author: Mary Katherine Aldin. Outside of Robert Johnson, there are few blues musicians as iconic as Muddy Waters. Chess's superbly selected and compiled DEFINITIVE COLLECTION is as close to a perfect compilation as listeners are likely to find on one disc. Arranged chronologically, the 24 tracks start with 1948's slinky "I Can't Be Satisfied" and end with 1976's "Crosseyed Cat." In between are the immortal Waters classics "Rollin' & Tumblin'," "(I'm Your) Hoochie Coochie Man," "I Just Want To Make Love To You," among others that changed the sound of the blues and helped birth a genre called rock & roll.

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Songlines [2/7] *

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Songlines [2/7] *

"Songlines" (02/21/2006) Blues Trucks, Derek, Legacy RecordingsThe Derek Trucks Band: Kofi Burbridge (vocals, flute, keyboards); Todd Smallie (vocals, bass instrument); Yonrico Scott (vocals, drums, percussion); Mike Mattison (vocals); Derek Trucks (guitar, dobro); Jay Joyce (keyboards); Count Mbutu (congas, percussion). This is, perhaps, the one. Derek Trucks has been on an aesthetic quest for something since he began his own recording career in 1997 -- apart from his membership in the Allman Brothers Band. Each record has gone further into establishing Trucks not only as a slide guitar wizard (that happened when he was still in his teens), but also as a serious songwriter, fine arranger, and bandleader. The Derek Trucks Band, as evidenced by the release of 2003's Soul Serenade, is a unit -- a band -- whose core has been together for eight years. They create an atmosphere, a sound, a musical sense of place and community. On Live at the Georgia Theater (available only on the Internet), the DTB performed with new vocalist Mike Mattison, who gave them something they needed: a strong, utilitarian presence that could be as diverse and adventurous as the band was musically. This album's title, Songlines, was inspired by the late author Bruce Chatwin's description of aboriginal creation myths. According to these myths, the world was sung into existence by totemic elder beings who wandered the Australian continent along invisible pathways. These were later known as "songlines" because by singing out the names of everything -- trees, flowers, streams, animals, clouds, earth -- they breathed form, order, and beauty into a world that was being born. The DTB try to express something similar on their first real studio recording with assistance by producer Jay Joyce. This album was not recorded trying to capture a live performance in the confines of a studio. There are no tracks here that give way to loose jamming; these are songs. In fact, it was carefully crafted and executed. But the rawness, the energy, and the unpredictable musicality are everywhere present. They are there in the brief read of Rahsaan Roland Kirk's "Volunteered Slavery" and Nusrat Fateh Ali Khan's "Sahib Teri Bandi/Maki Madni," both of which are live staples, and the slippery read of Toots Hibbert's "Sailing On" -- but also in the raw, rangy American street blues of "Chevrolet," by Lonnie and Ed Young, and the low-down seductive vintage funky R&B in "All I Do." Kofi Burbridge's Hammond B-3 and keyboard work create a center for Trucks and the formidable rhythm section of drummer Yonrico Scott, percussionist Count Mbutu, and Todd Smallie on in-the-pocket bass. The originals on the set are leaner, meaner, and more down in the groove -- check out the group vocal chants on the refrain of "Revolution," as Trucks slips and slides over them. The skittering funky organ lines and Trucks' twinned slide riff and edgy fills give "All I Do" its slippery backbone-dropping groove. "Majoun" (a Moroccan word for pot) is the kind of drifting, Eastern-tinged jazz that the band is known for playing live. And the fascination with the East doesn't end there. In the soul and gospel-drenched declamatory prayer "I Wish I Knew (How It Would Feel to Be Free)," there is some fine Dobro work by Trucks and Burbridge's upright piano strides it out, before Trucks brings out the electric again and lets it slowly tear through the verse and chorus accompanied by handclaps. It's deeply moving. The set closes with "This Sky," a gently evolving open modal tune. Trucks' guitar is tuned to whole tones and he explores the mode thoroughly yet softly, mannered until he finds its bottom where bass, drums, the B-3, and percussion slip in to carry the tune. And as Mattison enters with the lyric (some of it by the Sufi poet Hafiz), the listener is already hooked in the image of the story, of suffering lovers who should be dancing in the ecstasy and beauty of the sky where they live. Songlines is the finest moment in the Derek Trucks Band's recording career. It's a fully mature, deeply reckoned studio album that bears repeated listening to reveal all its subtlety and the

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Greatest Christmas Hits by Charles Brown...

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Greatest Christmas Hits by Charles Brown (CD - 10/03/2000)

"Greatest Christmas Hits" (10/03/2000) Blues Brown, Charles Trio, Fuel 2000 RecordsThe late pianist and vocalist Charles Brown lends his signature cool, laid-back jazz style to a variety of Christmas favorites, accompanied here by a slew of jazz and blues greats, including blues guitarist Lowell Fulson and blues singers Jimmy Reed and the legendary Big Joe Williams. Brown was a contemporary of Nat "King" Cole, with many stylistic similarities to his more commercially successful counterpart, as well as a strong influence on the young Ray Charles. His intimate delivery, coupled with the empathic interplay between the musicians in these mainly quartet recordings from throughout his long career, conjures the warmth and conviviality of the season.

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Hokum Blues (1924-1929) by Various Artis...

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Hokum Blues (1924-1929) by Various Artists/Hokum Blues (CD - 09/08/2000)

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The Definitive Collection by Howlin' Wol...

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The Definitive Collection by Howlin' Wolf (CD - 04/17/2007)

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Genuine Houserockin' Christmas by Variou...

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Genuine Houserockin' Christmas by Various Artists (CD - 08/26/2003)

"Genuine Houserockin' Christmas" (08/26/2003) Blues Various Artists, Alligator RecordsGenuine Houserockin' Christmas is a 16-track compilation of newly recorded holiday tunes sampling the roster of Alligator Records. These tunes capture several Chicago blues, modern soul, and zydeco artists including Koko Taylor, Lonnie Brooks, Lil' Ed & the Blues Imperials, Coco Montoya, C.J. Chenier & the Red Hot Louisiana Band, Saffire - The Uppity Blues Women, Little Charlie & the Nightcats, and Roomful of Blues. These are new Christmas tunes; you won't find "White Christmas," "The Christmas Song," or even "Merry Christmas Baby." This set is sure to become a staple for listeners seeking an alternative to traditional holiday fare. ~ Al Campbell

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20th Century Masters - The Millennium Co...

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20th Century Masters - The Millennium Collection: The Best of Roy Buchanan by Roy Buchanan (CD - 03/

"20th Century Masters - The Millennium Collection: The Best of Roy Buchanan" (03/26/2002) Blues Buchanan, Roy, Polydor (USA)Personnel includes: Roy Buchanan (vocals, guitar); Billy Price, Billy Sheffield (vocals); Neil Larson (arranger, keyboards); Teddy Irwin (guitar); Malcolm Lukens, Dick Heintz (keyboards); John Harrison (bass, background vocals); Kenny Tibbetts, Pete Van Allen, Don Payne (bass); Ned davis, Jerry Mercer, Robbie Magruder, Bill Stewart, Byrd Foster (drums). Producers: Peter Kieve Siegel, Jay Reich Jr., Ed Freeman. Compilation producer: Bill Levenson. Principally recorded at The Record Plant, New York, New York; The Record Plant, Sausalito, California; Amazing Grace Club, Evanston, Illinois between July 1972 and March 1975. Includes liner notes by Dave Thompson. All tracks have been digitally remastered. This is part of Universal's "20th Century Masters The Millenium Collection" series. Personnel: Roy Buchanan (vocals, guitar); Billy Price Keystone Rhythm Band (vocals, background vocals); Bill Sheffield (vocals); Dick Heintze, Malcolm Lukens, Neil Larsen (keyboards); Ned Davis, Bill Stewart , Byrd Foster, Robbie Magruder (drums); John Harrison (background vocals). Recording information: Amazing Grace Club, Evanston, IL (07/1972-03/1975); Record Plant, NY (07/1972-03/1975); Record Plant, Sausalito, CA (07/1972-03/1975). Photographer: David Gahr. Arrangers: Neil Larsen; Roy Buchanan. Roy Buchanan's five albums for Polydor, released between 1972 and 1975 and excerpted on this midline-priced best-of, were a worthy compromise between artistic expression and commercial considerations. In the late '60s and early '70s, record companies and music journalists beat the bushes looking for guitar heroes on the scale of Eric Clapton and Jimi Hendrix and came up with at least a couple, Johnny Winter in Texas and Buchanan in Washington, D.C. Polydor no doubt signed Buchanan hoping it had a Clapton/Hendrix-size star, but he lacked the temperament for the big time and merely fulfilled his contract, though he was then scooped up by Atlantic for another try. The tracks here, a good if brief summary of the Polydor years, illustrate both his strengths and weaknesses. The major, perhaps sole strength is the guitar work, which is utterly distinctive within a blues context and at times overwhelming. Buchanan can wring tremendously emotional runs from his axe and then, as in the version of "Hey Joe" here, let forth a sonic assault that rivals any Hendrix ever managed. To listen to this album is to hear a great blues guitarist inventing his art before you. On the tracks from the early albums (the compilation is sequenced chronologically), producer Peter Kieve Siegel was mostly content with that, but on the later albums, more of an attempt was made to turn Buchanan into a singer (his voice was limited and hesitant), or to add other elements, including horn sections and backup singers, to expand the music's appeal beyond blues aficionados. The results are less interesting, but that's what you expect at a major label. So, while not actually the best of Roy Buchanan, this compilation encapsulates his tenure at Polydor and provides a taste for the neophyte of what he sounded like. ~ William Ruhlmann

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Blue Yule: Christmas Blues and R&B C...

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Blue Yule: Christmas Blues and R&B Classics by Various Artists (CD - 10/01/1991)

"Blue Yule: Christmas Blues and R&B Classics" (10/01/1991) Blues Various Artists, Rhino Records (USA)A stellar 18-song compilation with most tracks not duplicated on other in-print collections. Treasures abound here: rare tracks from John Lee Hooker and Lightnin' Hopkins, Hop Wilson's original "Merry Christmas, Darling" (covered by The Fabulous Thunderbirds on An Austin Rhythm & Blues Christmas), Louis Jordan's last recording ("Santa Claus, Santa Claus," [1968]), and more. ~ Dennis MacDonald

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Classic Bluegrass by Dave Evans (Banjo) ...

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Classic Bluegrass by Dave Evans (Banjo) (CD - 05/02/2005)

"Classic Bluegrass" (05/02/2005) Blues Evans, Dave (Banjo), RebelRecorded between 1981 and 1985. Personnel: Dave Evans (vocals, tenor, guitar, banjo); Johnny Brown (vocals, guitar); Wendy Miller (vocals, mandolin); Mike Garris, Mike Farris (vocals); Landon Messer (baritone, guitar); Clancy Fields (guitar); Lester Williams (mandolin); Jon Glik (fiddle). Audio Mixer: Steve Hoffman. Liner Note Author: John Wright. Recording information: Chandler Audio, Ashland, KY (1981-1985); Riverside Sound Studios, Ashland, KY (1981-1985). Photographer: Lynwood Atkins.

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Live Crawfish

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Live Crawfish

"Live Crawfish" (09/01/2002) Blues Big Al & The Heavyweights, Bluziana Records

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Blues Deluxe by Joe Bonamassa (CD - 01/2...

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Blues Deluxe by Joe Bonamassa (CD - 01/26/2009)

"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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His Best (Chess 50th Anniversary Collect...

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His Best (Chess 50th Anniversary Collection) by Little Walter (CD - 05/07/2005)

"His Best (Chess 50th Anniversary Collection)" (05/07/2005) Blues Walter, Little, MCA/ChessThis is part of Chess Records' 50 Anniversary series. Personnel: Little Walter (vocals, harmonica); Muddy Waters (guitar, slide guitar); Dave Myers, Fred Robinson , Jimmie Lee Robinson, Jimmy Rogers , Leonard Caston, Louis Myers, Luther Tucker, Robert Lockwood, Jr. (guitar); Otis Spann (piano); Fred Below, Billy Stepney, George Hunter (drums). Liner Note Author: Billy Altman. Recording information: Chicago, IL (05/12/1952-12/??/1960). Photographers: Ray Flerlage; Mary Katherine Aldin. 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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Austin Rhythm and Blues Christmas by Var...

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Austin Rhythm and Blues Christmas by Various Artists (CD - 06/26/2001)

"Austin Rhythm and Blues Christmas" (06/26/2001) Blues Various Artists, Legacy RecordingsPersonnel includes: Denny Freedman (guitar, piano); Kaz Kazanoff, Joe Sublett (saxophone); Gary Vajgrt (trumpet); Steve Pentecost (piano); Nick Connolly (organ); Sarah Brown (bass, glockenspiel); Alex Napier, Jack Moore (bass); Gary "Mudcat" Smith, George Rains, Wes Starr (drums); Kim Wilson (glockenspiel, bells); Paul Ray, Frank Christina (bells). All tracks have been digitally remastered. Personnel: Charlie Sexton (vocals, guitar); Denny Freeman (guitar, piano); Gary Smith (guitar); Joe Sublett, Kaz Kazanoff, Mark "Kaz" Kazanoff (saxophone); Gary Vajgrt (trumpet); Steve Pentecost (piano); Nick Connolly (organ); Kim Wilson (glockenspiel, bells); Sarah Brown (glockenspiel); Wes Starr, George Rains (drums); Paul Ray (bells). Recording information: Austin's Riverside Sound. Illustrator: Jack Davis . Unknown Contributor Roles: Jimmie Vaughan; Keith Ferguson. Arranger: Kaz Kazanoff. Originally issued on the Austin label in 1983, this rockin' release was reissued with a new cover on Epic in 1986. Standouts include The Fabulous Thunderbirds' spirited instrumental "Rockin' Winter Wonderland" and vocalist Kim Wilson pouring his harp and soul into Hop Wilson's "Merry Christmas, Darling." Two of Austin's finest blues divas, Angela Strehli and Lou Ann Barton, turn in smokey and sultry covers of yule classics, but it is bassist/vocalist Sarah Brown who sizzles with her original "My Christmas Is Hung with Tears." ~ Dennis MacDonald

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Vu-Du Menz by Corey Harris (CD - 04/04/2...

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Vu-Du Menz by Corey Harris (CD - 04/04/2000)

"Vu-Du Menz" (04/04/2000) Blues Harris, Corey, Alligator RecordsPersonnel: Corey Harris (vocals, guitar); Henry Butler (vocals, piano). Producers: Bruce Iglauer, Corey Harris, Henry Butler. Recorded at Dockside Studio, Maurice, Louisiana and Side One Studio, Metairie, Louisana. Includes liner notes by Ben Sandmel. Personnel: Corey Harris (vocals, guitar); Henry Butler (vocals, piano). Audio Mixer: Michael Freeman. Recording information: Dockside Side Stuido; Maurice; One Side Studio; Metairie, LA. For their first full-length collaboration, bluesmen Corey Harris and Henry Butler made a quick trip into the studio during a four-day stretch in January 2000. However, rather than sounding rushed, VU-DU MENZ is a relaxed dream teaming of guitar whiz Harris and piano virtuoso Butler, who take a casual stroll through the vital and timeless music of New Orleans. Butler's impressive stride-style playing evokes the spirits of two Big Easy keyboard giants: James P. Johnson ("Sugar Daddy") and Professor Longhair ("L'esprit De James"). In addition, this Crescent City local also provides some soulful scatting on the jaunty funk of "Voodoo Man." Harris proves to be a well-matched partner as his nimble picking and raspy phrasing are a perfect foil for Butler on the ragtime of "If You Let a Man Kick You Once" and the jaunty "Shake What Your Mama Gave You." Elsewhere, both men excel on the straight-ahead blues of "Song of the Pipelayer" and "Let 'Em Roll." When they join forces for an acapella reading of the traditional hymnal "Why Don't You Live So God Can Use You?" both virtuosos succeed in achieving the zeitgeist of the Deep South.

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Sugar Ray & the Bluetones Featuring ...

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Sugar Ray & the Bluetones Featuring Monster Mike Welch by Sugar Ray & the Bluetones (CD - 03/25/2003

"Sugar Ray & the Bluetones Featuring Monster Mike Welch" (03/25/2003) Blues Sugar Ray (Rock), Severn RecordsSugar Ray & The Bluetones: Sugar Ray Norcia (vocals, harmonica); Monster Mike Welch (guitar); Michael Mudcat Ward (acoustic & electric bass); Neil Gouvin (drums). Additional personnel: Anthony Geraci (piano, Hammond B-3 organ. Recorded at My Generation, Somerville, Massachussetts. Sugar Ray Norcia has a burnished and warm quality to his voice that's ideally suited to the laid-back and rockin' blues featured on Sugar Ray & the Bluetones Featuring Monster Mike Welch. In fact, the whole band sounds steeped in Hennessy and tradition. This includes guest Welch, whose work on his mid-tempo original "Get Over Me" proves how close he is to matching the quality of B.B. King and Jimmie Vaughan. As a whole, the album is a tasty affair moving deftly from interesting standards such as the Norcia harmonica-driven "And the Angels Sing" to the torrid balladry of "Love and Trouble." This is easily one of Sugar Ray's best efforts. ~ Matt Collar

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Mr. Lucky by John Lee Hooker (CD - 09/10...

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Mr. Lucky by John Lee Hooker (CD - 09/10/1991)

"Mr. Lucky" (09/10/1991) Blues Hooker, John Lee, Point BlankPersonnel includes: John Lee Hooker, Van Morrison (vocals, guitar); Willie Green, Bobby King, Terry Evans (vocals); Keith Richards, Carlos Santana, Ry Cooder, Johnny Winter, Albert Collins (guitar); John Hammond (slide guitar, harmonica); Ken Baker (saxophone); Booker T. Jones, Deacon Jones (organ); Johnnie Johnson (piano); Chester Thompson (keyboards); Nick Lowe, Maurice Cirdlin, Jeffrey Ganz, Larry Taylor (bass); Jim Keltner, Bowen Brown, Tom Compton, Gaylord Birch (drums); Karl Perazzo (timbales); Raul Rekow (congas). The Robert Cray Band: Robert Cray (vocals, guitar); Tim Kaihatsu (guitar); Jimmy Pugh (keyboards); Richard Cousins (bass); Kevin Hayes (drums). Primarily recorded at Russian Hill Recording Studios, San Francisco, California. MR. LUCKY is dedicated to the memory of Stevie Ray Vaughan. Personnel: John Lee Hooker (vocals, guitar); Robert Cray, Van Morrison (vocals, guitar); William "Bill" Greene, Terry Evans, Bobby King (vocals); Johnny Winter, Keith Richards, Albert Collins, Michael Osborn, Ry Cooder, Tim Kaihatsu, Carlos Santana (guitar); John Hammond, Jr. (slide guitar, harmonica); Kenny Baker (saxophone); Johnnie Johnson (piano); Jimmy Pugh, Booker T. Jones, Deacon Jones (organ); Chester Thompson (keyboards); Jim Keltner, Kevin Hayes , Scott Mathews, Tom Compton, Gaylord Birch, Bowen Brown (drums); Raul Rekow (congas); Karl Perazzo (timbales). Audio Mixers: Samuel Lehmer; Arne Frager. Recording information: Ocean Way Recording Studios, Hollywood, CA; Ocean Way Studios, Hollywood, CA; Plant Recording Studios, Sausalito, CA; Russian Hill Recording, San Francisco, CA; The Record Plant, Sausalito, CA. Unknown Contributor Roles: John Hammond, Jr.; Johnnie Johnson; Johnny Winter; Keith Richards; Albert Collins; Robert Cray; Ry Cooder; Van Morrison; Booker T. Jones. Whenever an old pop, rock or blues artist is joined by an all-star cast of guest musicians, it's usually to safe assume that the artist in question is pretty much a spent force. Fortunately, that is not the case with this wonderful 1991 album by blues legend John Lee Hooker. Even though the guest list includes Albert Collins, Robert Cray, Van Morrison, Nick Lowe, Keith Richards and Carlos Santana, Hooker is the driving force on this album from start to finish. With his voice stronger and more assured than ever and his guitar playing right on the money, MR. LUCKY is arguably the best of Hooker's latter-day recordings. Even though Nick Lowe and Jim Keltner provide a serious groove on "This Is Hip" and Van Morrison and Hooker ooze bluesy soul on "I Cover The Waterfront," Hooker shows that he can deliver the goods without his all-star supporting cast on the down-and-dirty boogie of the opening track "I Want To Hug You" and the stark acoustic blues of "Highway 13."

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Martin Scorsese Presents the Blues: Feel...

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Martin Scorsese Presents the Blues: Feel Like Going Home by Original Soundtrack (CD - 09/09/2003)

"Martin Scorsese Presents the Blues: Feel Like Going Home" (09/09/2003) Blues Original Soundtrack, Columbia (USA)Compilation producers: Martin Scorsese, Peter Guralnick. Includes liner notes by Martin Scorsese and Peter Guralnick. Personnel: John Lee Hooker, Johnny Shines, Ali Farka Tour?, Muddy Waters, Robert Johnson, Salif Keita, Son House, Willie King, Charley Patton (vocals, guitar); Taj Mahal (vocals, slide guitar, harmonica); Othar Turner (vocals, fife, bass drum); Napoleon Strickland (vocals, fife); Fatoumata Traore (vocals); Corey Harris, Eddie Kirkland, Aaron Hodge, Percy Thomas (guitar); Fiddlin' Joe Martin, Louis Ford (mandolin); Leroy Williams (harmonica); Sunnyland Slim (piano); Frank Kirkland (drums); Aubrey Turner (bass drum); Otha Andre Evans, Rodney Evans (snare drum); Souleye Kane (djembe); Songhai (percussion). Audio Mixer: Martin Czembor. Liner Note Authors: Martin Scorsese; Peter Guralnick. Recording information: Bamako, Mali (10/??/1929-04/19/2002); Chicago, IL (10/??/1929-04/19/2002); Dallas, TX (10/??/1929-04/19/2002); Detroit, MI (10/??/1929-04/19/2002); Grafton, WI (10/??/1929-04/19/2002); Hollywood, CA (10/??/1929-04/19/2002); Klack's Store, Lake Cormorant, MS (10/??/1929-04/19/2002); London, England (10/??/1929-04/19/2002); New York, NY (10/??/1929-04/19/2002); Niafunke, Mali (10/??/1929-04/19/2002); Prairie Point, MS (10/??/1929-04/19/2002); Senatobia, MS (10/??/1929-04/19/2002); St. Ann's Warehouse, Brooklyn, NY (10/??/1929-04/19/2002); Stovall, MS (10/??/1929-04/19/2002). Photographers: David Gahr; Valerie Wilmer; Frank Driggs; John Work; James Fraher. Arranger: Taj Mahal. Drawn from the soundtrack to Martin Scorsese's seven-part television documentary on the blues, Feel Like Going Home documents the roots behind the roots, traveling from the American South to West Africa and back again, resulting in a remarkable collection that spotlights the past, present, and future of this historically important musical genre. From early 78s by seminal figures Charley Patton ("High Water Everywhere"), Son House (his early version of "Death Letter," here called "My Black Mama"), and Robert Johnson ("Hellhound on My Trail"), through field recordings collected by the venerable Alan Lomax (an early Muddy Waters tune called "Rosalie," which includes rough-hewn country fiddle from Henry "Son" Simms) and the restructured contemporary African blues of Ali Farka Toure and Salif Keita, this fine soundtrack knocks the dust off of the blues and exposes its vital and creative center. Highlights include the wild and eerie sound of Othar Turner and Napoleon Strickland's fife and drum ensembles and the up-to-the-minute trance-inducing blues of Willie King & the Liberators. On "Terrorized," King sings: "You talk about terror/I've been terrorized all my life. "That's the blues, circa 2003. Feel Like Going Home is a fine introduction to the long history and promising future of this impressive musical form. ~ Steve Leggett

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The Best of Canned Heat [EMI] by Canned ...

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The Best of Canned Heat [EMI] by Canned Heat (CD - 09/12/1989)

"The Best of Canned Heat [EMI]" (09/12/1989) Blues Canned Heat, EMI Music DistributionCanned 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). Unknown Contributor Role: Canned Heat. This ten-track set contains essential sides from the classic rock blues and boogie combo Canned Heat, culled from their first four long-players: Canned Heat (1967), Boogie With Canned Heat (1968), Living the Blues [Akarma] (1968), and Hallelujah (1969). Notably, this discounts Canned Heat Cookbook (1969), a hits package that cashed in on their association with the Woodstock Music and Arts Fair, and was the first LP to contain the single "Going up the Country." The core personnel during this seminal run includes Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), and Bob "The Bear" Hite (vocals). Frank Cook (drums) stayed long enough to play on their eponymous debut LP, and was replaced by Aldolfo "Fido" Dela Parra (drums) prior to Boogie With Canned Heat (1968). The Heat's interpretations of both blues standards, such as Muddy Waters' "Rollin' & Tumblin'," or the funky update of Wilbert Harrison's "Let's Work Together," were lauded for their uncanny authenticity. With an almost cerebral respect for their craft, few would have guessed Canned Heat did not hail from the R&B meccas of Chicago, Memphis, or St. Louis, but rather the Los Angeles-area artist colony of Topanga Canyon. Their light-hearted reworking of William Harris' "Bullfrog Blues" also became an enthusiastic favorite, staying in the Heat's concert repertoire for decades to follow. In addition to the slightly psychedelic and rambling original "On the Road Again," they were also responsible for the anti-speed anthem "Amphetamine Annie," and the extended musical memoir, "Fried Hockey Boogie." With Hite at the helm, each member is presented as they solo, building up to an open-throttle jam, concluding with the proclamation "...Don't forget to boogie!" When first issued, Best of Canned Heat [EMI] (1990) was one of the only comprehensive CD collections highlighting the band. In the wake of Best of Canned Heat [Disky] (1999), or the two-disc Uncanned! The Best of Canned Heat (1994), this title may come up short. However, those seeking a cursory compilation will probably find all they need here. ~ Lindsay Planer Disky's Best of Canned Heat collection combines all original material taken from their most popular late- '60s Liberty albums: Boogie With Canned Heat, Future Blues, and Canned Heat. The most obvious of their well-loved hippie blues tracks are here, including "On the Road Again," "Going Up the Country," "Fried Hockey Boogie," and "Let's Work Together." If your collection is lacking a decent budget-priced Canned Heat disc, pick this one up. ~ Al Campbell

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The Soul Truth by Shemekia Copeland (CD ...

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The Soul Truth by Shemekia Copeland (CD - 08/16/2005)

"The Soul Truth" (08/16/2005) Blues Copeland, Shemekia, Alligator RecordsPersonnel: Shemekia Copeland (background vocals); Shemekia Copeland (vocals); Regi Wooten, Reggie Wooten (guitar); Steve Patrick (trumpet); Muscle Shoals Horns (horns); Eddie Gore (piano); Felix Cavaliere (organ, keyboards); David Santo, Sam "Shake" Anderson, John Billings (bass guitar); Tom Hambridge (background vocals); Dobie Gray (vocals); Bob Britt (guitar, slide guitar); Steve Cropper (guitar, electric sitar, background vocals); Jim Horn (alto saxophone, tenor saxophone, baritone saxophone, bass saxophone); Harvey Thompson (tenor saxophone); Charles Rose (trombone); Carl Marsh (organ, synthesizer); Chuck Leavell (keyboards); Chester Thompson , Steve Potts (drums); Tom Roady (shaker, percussion); Lisa Cochran, Mark Williams (background vocals). Audio Mixer: Steve Cropper. Recording information: Insomnia Studios. Photographer: Larry Busacca. The daughter of legendary blues guitarist/singer Johnny Copeland, vocalist Shemekia Copeland forged her own sound on her first two Alligator releases, and raised her artistic profile even further with 2002's TALKING TO STRANGERS, which was produced by New Orleans icon Dr. John. That record's follow-up, THE SOUL TRUTH, sticks with the theme of top-notch producers by enlisting R&B session-man extraordinaire Steve Cropper. In addition to his duties behind the boards, Cropper contributes his spare-yet-fiery guitar lines to almost every track here. Copeland's bold, full-bodied vocals work wonderfully with Cropper's unmistakable playing, and, on most tunes, these key elements blend with tight rhythms and boisterous horns. Highlights of THE SOUL TRUTH include the funky "Better Not Touch," the rollicking "You Can't Have That," and the closing number, "Something Heavy," which features only Copeland's yearning voice and Cropper's acoustic guitar. This is 21st-century blues that hearkens back to 1960s and '70s soul, and the combination proves to be yet another impressive step in Copeland's own building legacy.

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