Showing posts with label acoustic blues. Show all posts
Showing posts with label acoustic blues. Show all posts

The Complete Plantation Recordings Review

The Complete Plantation Recordings
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The Complete Plantation Recordings ReviewWhen Muddy Waters made the first recordings here, he was 26 or 27 and had not been playing regularly. He didnt own a guitar and had to borrow Alan Lomax's Martin. You see here your basic Delta and Mississippi blues in full blossom, by a man who was a great player if he could sound like this when he wasn't in practice. People look at Mississippi blues with a distorted mind thinking of it only through the stream of Robert Johnson, when the music and the tradition was much broader.

In the interviews on this recording you can see how lame and ignorant at times the folklorists were, both white and black, Lomax and Work. But you also see a testament to Son House who taught Robert Johnson, Muddy, and a whole layer of bluesmen and who was such a great artist even in his revival 1960s that Muddy would make his band members keep quiet and play close attention when House performed with them at Newport and elsewhere.
However, you also see his roots beyond this. We get to hear a good string band performance with Muddy Playing with fiddler Son Sims and a mandolin player in a blues fiddle band that was typical of what was going on at the time. Muddy explains his decision to start playing music was inspired by Sims and the string band with Sims and the mandolin player was the band he performed with when he got work. Neither Waters nor the liner notes let you know that Waters also played mandolin, and that when Muddy was a teenager in the 1930s, his favorite blues group was the fiddle band The Mississippi Sheiks. Years later, Muddy would explain he walked all day just to hear the Sheiks.
Despite all this history, this is some good blues music to listen to,. More relaxed,and less intense, and of course less masterful than the Chess masterpieces Muddy began putting out in Chicago in the 1940s, but this is still a CD I put on my player with it set to keep replaying it because I want to hear it.The Complete Plantation Recordings OverviewRecorded on Stovall Plantation in Clarksdale, MS by Alan Lomax in 1941 and 1942, these 18 tracks represent the first recordings of a sharecropper named McKinley Morganfield a.k.a. Muddy Waters. And, yeah, there's an unreleased track, and four interviews, but really, for something this historic the less said the better. Just listen.

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Son Of Skip James Review

Son Of Skip James
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Son Of Skip James ReviewFans of Dion's previous acoustic blues album Bronx In Blue will certainly want to check out his new CD: Son Of Skip James. Sticking to a similar formula as that aforementioned record, this time around we're treated to a broader palette of musical instruments to help flesh out the the sound of the tracks within. Here, harmonica, organ and piano--both electric and acoustic--spice up the guitar and percussion backing to great effect. Highlights include a fairly straight cover of Chuck Berry's "Nadine," one of the few tracks on the album that strays slightly from the traditional blues format; "My Babe"--written by Willie Dixon and made famous by Little Walter--with its infectious riff; a stripped-down take of Bob Dylan's "Baby, I'm In The Mood For You," which Dion himself first recorded for Columbia in 1965; and a searing, dueling-acoustics version of Robert Johnson's "If I Had Possession (Over Judgment Day)," probably my own personal fave on the CD!
Another surprise here is The Thunderer--a song based on a Phyllis McGinley verse that tells the story of Catholic Saint Jerome, the man who "translated the Bible." It has the same melodic feel as some of Dion's best work, primarily due to a tasteful--almost 70's style--electric piano backing. And, for those who might normally bristle somewhat at the thought of a record that contains an overt religious stamp or two (i.e. usually me!), fear not, it all works here, standing side-by-side with the broader themes of faith and redemption that permeate the framework of the blues in general. Furthermore, it's simply another side of the same artist who previously recorded a string of gospel albums during the 1980's.
Special mention needs to be made once again regarding Dion's (underrated IMO) acoustic guitar playing and timeless vocals. His finger-picking is front and center on songs such as Tommy McClennan's "I'm A Guitar King," while his overall range and effortless phrasing show him to be as vocally nimble as ever--bending, turning and soaring at every curve with the greatest of ease! At age 68, he's showing no signs of wear or tear.
Overall, an even stronger record than the Grammy® nominated Bronx In Blue, with richer colors and more variety. Highly recommended!Son Of Skip James Overview

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Ways Not to Lose Review

Ways Not to Lose
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Ways Not to Lose ReviewThis record in my opinion is truly as good as you could ever want it. Highly inventive songs that play on and willingly reveal their roots, while maintaining complete originality. Oliver Wood's voice with Chris singing harmonies accompanied by old school steel guitar and Chris' distinctive style of upright bass. Hard to choose which songs are the best as in my humble opinion they all are quite wonderful. Luckiest Man, The Truth is the Light, That's What Angels can Do and Chocolate are probably my absolute favorites - but I think One More Day can be a hymn for the February Funk. HIGHLY HIGHLY HIGHLY recommended. For me this is the most interesting singer/songwriter record to come out in a LONG TIME.Ways Not to Lose OverviewWay's Not To Lose a stunning debut album of original songs from Oliver and Chris Wood (Medeski Martin & Wood). Like the work of Leon Russell, early Tom Waits, or Dr. John, the songs of The Wood Brothers possess a timeless quality; their bedrock melodies and astutely observed stories sound instantly archetypal. The songs are arranged just as the brothers conceived them expressive yet economical, letting Oliver's coarse, impressionistic guitar work and Chris' nimble, note-bending bass playing speak volumes. Blue Note. 2006.

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Keep It Simple Review

Keep It Simple
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Keep It Simple ReviewKeb Mo has done 3 of my favorite albums (CD's...I am an old dog) of all time. Keb' Mo, Just Like You, and Slow Down are the three. The Door and Keep It Simple don't get me. He is still a great voice and guitar player but the music just doesn't move me. I think, as has been noted, that he is moving away from the blues and that is fine. I hate to see artists get pigeon holed into something they don't have their heart in. And in all fairness, none of the CD's are totally blues anyway. But I will say that if blues is your bag, then certainly start with one of the early works. If you like a littele more pop sound then buy Keep It Simple or The Door. By the way, I happen to enjoy Big Wide Grin, which is all covers, more than Keep It Simple or The Door. The selections are interesting and well performed. I stand Keb's version of America the Beautiful up with Ray Charles' version. And Everybody Be Yo'self is one of my favorite Keb' Mo recordings. I wait with interest to see where he goes next. I will continue to follow but will always gravitate to the first three works. One more thing, his Sessions at 54th make me want to see him live. He has a great stage persona.Keep It Simple Overview

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Keb Mo Review

Keb Mo
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Keb Mo ReviewThere's something about acoustic blues, the idea of playing on a street corner deep in the Delta, running a bottle over a National Steel. Keb' Mo' is one of the best acoustic blues players today. Sometimes it's just him and his guitar, other times he's backed by drums and keyboards. Moore's playing is full and you rarely notice that there is no one else playing but him. His solo guitar work brings visions of Robert Johnson, and he pays tribute to the Master with two of his cuts. The rest of the tracks are penned by Moore with some collaboration from others.
Every tune on this album is good. Moore's playing adjusts between strumming, fingerpicking and slide. He also adds in banjo and harmonica, but his great asset is his voice. Smooth and sweat, it lacks the gravel sound we've become accustomed to for the blues, but his voice is perfect for solo guitar, almost as if it matches the sound of the guitar. "Victims of Comfort" is my favorite off the album with his strumming and voice interaction. The song is just him and his guitar, almost slow and sad sounding. "Angelina" throws in drums to keep the beat and Moore's fingers pluck the strings with an upbeat tempo. "Come On In My Kitchen" is the first of the Johnson covers, and he plays with a slide, and belts out some on the harmonica, with a little help from an organ and drums. Another great cut. More of the straight blues shuffle is heard on "Love Blues" again a solo guitar bit.
Each track is good on this album, and proves that Keb' Mo' is a name to be recognized with his unique sound of yesterday. Anyone who likes the original blues players like Johnson, will love this album, as will many people who don't love the blues. Moore's voice is soothing, and his playing has a relaxed feel to it. A pure joy to listen to.Keb Mo Overview

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Blues Masters: The Very Best of Review

Blues Masters: The Very Best of
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Blues Masters: The Very Best of ReviewIt's encouraging to hear contemporary artists like Keb Mo', Robert Cray, and Kenny Wayne Shepherd carry on the blues tradition into the new millennium. However, I'm always drawn back to the originals like Muddy Waters, Elmore James, Howlin' Wolf and of course Lightnin' Hopkins.
This newly packaged collection of songs from Rhino is an excellent companion to Rhino's 1993 anthology Mojo Hand. The Very Best of duplicates seven tracks from that release and focuses on Hopkins' work from 1947 to 1961, but offers enough new material to make this a worthwhile purchase. And with Hopkins' lack of loyalty to any one record label, no fewer than seven different labels are represented on this 16-track collection.
On many of these songs Hopkins performs solo accompanying himself on guitar (and adding piano on "Mighty Crazy"). On a handful of tracks he is backed by a bass player and on "Shotgun Blues," a second guitarist. Only on "Conversation Blues" and "Last Night Blues" is there a full band of bass, drums and harmonica (provided by Sonny Terry) backing Hopkins.
This is an excellent introduction (or addition) for fans of acoustic Texas folk/blues performed by one of the genre's greatest practioners. HIGHLY RECOMMENDEDBlues Masters: The Very Best of OverviewA killer compilation of early (1947-1961) essentials by this Texas blues titan, drawn from 10 labels and featuring solo and band recordings. His Top 10 R&B hits Shotgun Blues; Coffee Blues , and Give Me Central 209 join Katie Mae; Baby Please Don't Go; I'm Beggin' You; Contrary Mary; Mojo Hand , and more.

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Art of Bottleneck Slide Guitar Review

Art of Bottleneck Slide Guitar
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Art of Bottleneck Slide Guitar ReviewSam Mitchell's playing is a throw back to the simpler musical life we enjoyed in the late sixties. His clean performance of the great slide tunes of the 20th Century make this CD a classic. If you play slide guitar at all, this is a must have for your collection. Stephan Grossman, the guitar educator, has devoted almost half his Slide Guitar book directly from the tunes on this CD (tab and notation both). A new Sam Mitchell album has justed been released (Oct'00) so keep you eye out for that one also.Art of Bottleneck Slide Guitar Overview

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Unplugged Review

Unplugged
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Unplugged ReviewThe debate whether, when learning to play the guitar, you should begin with an acoustic or an electric instrument, is probably as old as the history of the electric guitar itself; regardless which event you associate most strongly with its invention, and which of the enterprising souls who began experimenting with the amplification of the six-string sound way back in the 1930s you most credit therewith. Many find the sound of an electric guitar more impressive than that of an acoustic; and I'll freely admit that few pieces of music make my inner membranes resonate as instinctively as those featuring a really well-played e-guitar solo. Purists, however, argue passionately in favor of the acoustic guitar, and maintain that you're simply not going to learn to play "cleanly" if you don't start out that way. And there is definitely something to be said for that, because it is much easier to conceal a sloppily-played chord behind an electric guitar's amplified volume or a clever-sounding solo (or behind both) than in the unadulterated sound of an acoustic guitar. The discussion about the early 1990s' trend towards "unplugged" recordings centers around similar arguments. Some pieces of music are of course simply not meant to ever be played on an acoustic guitar. Others, however, live from their amplified soundeffects more than from their intrinsic musical values, and they simply fizzle when reduced to their core and performed acoustically.
And then there is that rare category of pieces which sound equally fantastic both ways, and that rare category of players who manage to dazzle you regardless what type of instrument they're playing. Eric Clapton is such a musician, and some of the songs on the playlist of his "Unplugged" album are such pieces of music. Most notable among those, of course, is "Layla," Clapton's intensely personal dedication to one-time wife Patty Boyd; written in 1970 and at a time when he saw no chance of ever winning her for himself. From the memorable opening riff of the song's original recording to its guitar solos, screaming with despair, it is extremely hard to imagine how this song could ever work in an acoustic version. Yet on a whim and at the last minute, Clapton decided to include it in the "Unplugged" playlist. And transposed by a full octave, reduced to a languid and almost upbeat, somewhat jazzy blues rhythm, it works out wonderfully; and Layla/Patty finds herself miraculously transformed from an object of desire to one of reflection instead. In fact, that track alone, which won the 1992 Grammy as Best Rock Song, turned out to be responsible for a good share of the enormous popularity of this album which (together with 1989's "Journeyman") reestablished Clapton as an artist to reckon with, after his career had threatened to slump over the course of much of the previous decade. And similarly responsible for the success of "Unplugged" was the inclusion of another and more recent piece performed from the bottom of Clapton's soul, the triple Grammy winning "Tears in Heaven;" dedicated to his son Conor who had tragically died after falling from the open window of a 53rd floor apartment in New York City the preceding year. (The studio version of the song is contained on the soundtrack of the movie "Rush," likewise released in 1992.)
But "Unplugged" is to large extents a classic blues album, from the twelve-bar rhythm of Bo Diddley's "Before You Accuse Me" (featuring only Eric Clapton himself and one of the most modest and supremely talented living guitarists, Clapton's trusted friend and touring partner Andy Fairweather Low) to Jimmy Cox's "Nobody Knows You When You're Down and Out" (the second cut besides "Layla" from the famous album recorded under the name Derek and the Dominos), Delta Blues king Robert Johnson's "Walkin' Blues" and "Malted Milk," Jesse Fuller's upbeat "San Francisco Bay Blues," and the traditionals "Alberta" and "Rollin' and Tumblin'" (the latter, here attributed to the great Chess blues man M[cKinley] Morganfield a/k/a Muddy Waters, who made it famous). Three more of Eric Clapton's own compositions stand out among the songs which round up the album's playlist: the introductory lighthearted "Signe," which reflects his love of Brazilian music, the melancholic "Lonely Stranger" and finally "Old Love," a cut from 1989's "Journeyman."
Few white artists understand as well as Eric Clapton that the blues thrives, first and foremost, on a live atmosphere - preferably in a smaller setting like the one used for this recording, which allows for plenty of spontaneous interaction between stage and audience. And few artists are as unafraid of the gaffes that are almost invariably associated with a live appearance, even in the case of Clapton and his outstanding backup band; and manage, time and again, to turn them into a light moment. The garbled beginning of "Alberta" is an excellent example here; you can almost hear Clapton grinning when he says "Hang on, hang on, hang on" and simply starts over. Similarly, "Layla" is merely introduced with the words "See if you can spot this one" - and instantly greeted with the enthusiastic cheers of an audience which doesn't even need to hear the famous five notes of the song's introductory riff to recognize it.
Asked whether he, too, would ever consider an "unplugged" appearance, e-guitar legend Jeff Beck, who with Eric Clapton and Led Zeppelin's Jimmy Page forms the trinity of "guitar gods" that emerged from Great Britain's famous Yardbirds, reportedly once responded that he couldn't imagine such a thing because it would make him feel "naked." And listening to Eric Clapton's "Unplugged" album, you can't shake the impression that Beck does have a point. These are pure, naked blues songs, supremely performed - and a pure joy to listen to.
Also recommended:
Layla and Other Assorted Love Songs
Eric Clapton's Rainbow Concert
Crossroads
One More Car: One More Rider (CD & DVD Set)
Riding with the KingUnplugged OverviewWinner of six 1993 Grammys! Acoustic, slowhand versions of Layla; Tears in Heaven ; and Running on Faith highlight this album/phenomenon.

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Complete Recordings Review

Complete Recordings
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Complete Recordings ReviewThe irony of Robert Johnson's superstar status is hard to miss. He was almost completely ignored by the music-buying public of his day, even in the market his records were aimed at. Yet in the present day, he's practically the only country blues artist most people know about. On one level, this is because of relentless championing by other blues artists, not least Eric Clapton. On another level, Johnson's fame rests on the fact that he was able to write, or more properly pull together from his various mentors and influences, his songs and make them complete unto themselves. His songs have made an impact, and have been covered time and again by countless artists. That counts for something.
Part of who Robert Johnson was as a singer and songwriter is obscured by his legend, which has been retold so often it borders on cliche. But even after the hype has been dismissed, this box set shows Johnson as a powerful, innovative, soulful blues man, a great performer and a great songwriter (in the context of blues songwriting) with his own unique sound.
Johnson was not without his influences, and if he had lived he would have told you that himself. However, the interesting thing was that he managed to transform his influences and personalize them into his own vision of the blues, a blues that was one of the first steps away from country blues toward city blues - a vision that would eventually become Chicago blues.
It has been fashionable in blues circles to put Robert Johnson down recently, and to gripe about how Johnson's influences should be as well known as he is. This is a valid point. However, Johnson became an influence himself, and as such, he still deserves a good deal of respect. This box set, which contains every recording he is known for, is a just tribute to a brilliant singer, songwriter and performer.
The remastering is surprisingly good, considering the sources. Johnson's voice and guitar playing come through vividly and illustrate his wealth of talent. The only possible drawback to this box set, for the casual listener, is the number of alternate takes included. They show that Johnson was an adept performer, because a lot of the alternates are similar to the "released" versions. This showed that he was no closet bluesman or flash-in-the-pan, but was adept at entertaining an audience. And to this day his guitar playing is astonishingly fluid and innovative. However, the repetitiveness of the alternate takes can become trying to people who are not students of the blues, and for the casual listener a single-disc set would probably be sufficient.
This box set, is, and remains, a worthy overview of a talent that received its due far too late. I would advise the listener not to be put off by people who would place Johnson's influences over him, but to listen to Johnson on his own merits. My guess is that he'll win you over, as he has generations of listeners.Complete Recordings OverviewUK pressing of this two CD collection from the Blues legend.This collection lives up to its title, containing every known recording by Johnson, including alternate takes. Though the 41 tracks in this double disc set were recorded in a span of only eight months (November 1936-June 1937), Johnson left behind a musical legacy that continues to influence and inspire. Features tracks like 'Sweet Home Chicago', 'Love In Vain' and 'Hellhound On My Trail', which are now considered Blues standards. Camden.--This text refers to an alternate Audio CD edition.

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Kick In The Asphalt Review

Kick In The Asphalt
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Kick In The Asphalt ReviewThis is a very good CD....got it free way back when...but every time I hear it I am just amazed that I got it for free!!!!Kick In The Asphalt Overview

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The Slide Guitar: Bottles, Knives & Steel Review

The Slide Guitar: Bottles, Knives and Steel
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The Slide Guitar: Bottles, Knives & Steel ReviewEternal thanks to Thomas Edison for inventing recording when he did because, had it been delayed for many more years, much of what you hear in this magnificent 1990 release from Sony/Columbia, which presents artists ranging from legends to the virtually unknown, may well have been just a dim memory.
Those that fall into the legend category are immediately recognizable, led by the master of the 12-string guitar (he could also play the accordion and concertina, violin, piano, mandolin, and harp or harmonica) Huddie William Ledbetter, better known as Lead Belly (or Leadbelly as he is sometimes listed). Born in January 1888, he left behind an extensive catalogue of Folk standards when he died on December 6, 1949, including this previously-lost version of Packin' Trunk Blues. Another in that vein is Robert Leroy Johnson, born May 8, 1911, a Delta Blues master whose singing, guitar, and song-writing skills influenced so many later arrivals (among them Muddy Waters, Bob Dylan, Jimi Hendrix, Led Zeppelin, The Rolling Stones, Jeff Beck, Jack White, and Eric Clapton) that, in its first year of existence in 1986, the Rock & Roll Hall Of Fame inducted him in the Early Influence Category (Lead Belly was also so honoured in 1988). Indeed, often called the Grandfather Of Rock `N' Roll, Clapton flat-out called him "the most important blues musician who ever lived" (and he didn't live long, passing away at age 27 on August 16, 1938). One listen to Traveling Riverside Blues and you'll hear why he so highly-regarded.
Also in the legend grouping are Tampa Red (You Can't Get That Stuff No More), Bukka White (Bukka's Jitterbug Swing and Special Stream Line), and Son House (Pearline). Hudson Woodbridge, born on January 8, 1904 in Smithville, Georgia, but known from his earliest days as Hudson Whittaker, developed a signature single-string bottleneck approach which, combined with his composing under the name Tampa Red, also had a profound effect on the great Muddy Waters as well as Elmo(re) James, Big Bill Broonzy and Mose Allison. His career lasted much longer as he passed away at age 77 on March 19, 1981. Another who lived to a ripe old age was Eddie James "Son" House, Jr. (born on March 21, 1902 and died October 19, 1988) whose strong, repetitive rhythms also influenced many big names that followed, while Bukka White (born Booker T. Washington White on November 12, 1909) passed away at the relatively young age of 68 on February 26, 1977. A Delta Blues guitarist and singer (and cousin of B.B. King), his unusual nickname Bukka resulted from an erroneous spelling of his first name by the Vocalion label back in 1937.
At the other end of the spectrum are Barbecue Bob and Sister O.M. Terrell, about whom very little is known. Born Robert Hicks on September 11, 1902, Barbecue Bob took his performing name from his main occupation as a cook and, indeed, one of the few photographs of him around show him decked out in his cook's garb. The untitled cut presented here, recorded in 1929 (two years before his death on October 21, 1931) sounds very much like Handy's St. Louis Blues - but with different lyrics. As for Sister Ola Mae Terrell, it appears she was a wandering Holy Ghost Preacher who somehow managed six cuts for Columbia in or around 1953 and then disappeared.
In between these two extremes are some of the best slide guitar artists ever recorded, including Oscar "Buddy" Woods, aka The Lone Wolf, who not only was one of the driving forces behind the development of the lap steel bottleneck blues slide guitar; but is credited by many historians as THE one who created the genre.
These and other details are contained in the six pages of liner notes written by musicologist and author Richard Spottswood (Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893-1942), the AAD sound reproduction is excellent, and with the insert you get a discography of the contents.The Slide Guitar: Bottles, Knives & Steel Overview

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Shake That Thing: Fingerpicking Country Blues Review

Shake That Thing: Fingerpicking Country Blues
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Shake That Thing: Fingerpicking Country Blues ReviewStefan Grossman is one of a handful of contemporary acoustic blues guitarists that I consistently enjoy. He knows this music inside and out, and he does all of the little things right (e.g., getting just the right vibrato, phrasing, or articulation). Unlike all but a few of his peers, he really seems to think about the tone and sound of the guitar.
Grossman certainly makes little effort to dazzle the listener with explosive fingerwork. I can listen to these tracks over and over again, marvelling at how many ways he can change the feel of a song by varying the pulse, or how many sounds he can get out of the bass. Do keep in mind that this is a "How to..." CD. This recording is designed to demonstrate a variety of country blues guitar styles, and all of the tracks are geared to the intermediate fingerstyle player. His other 1990s solo CD's are more technically challenging. The pleasures of this recording are subtle, but if you listen to this type of music a lot (as I have, for more years than I care to count), you will probably appreciate this CD. Right now I'm comparing it to a recent solo acoustic guitar CD by Kenny Sultan, who sounds superficial and cliched in comparison.
Also, Grossman sings on a few tracks. His singing is natural and easy to listen to. He hasn't sung on most of his recordings for the last 20 years or so. He really should sing more often. Hopefully he'll record again soon - this is a 1998 recording.Shake That Thing: Fingerpicking Country Blues Overview

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King of the 12 String Guitar Review

King of the 12 String Guitar
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King of the 12 String Guitar Review"King Of The 12-String Guitar" is not the definitive Huddie Ledbetter-collection, of course...Leadbelly recorded literally hundreds of sides. And it isn't quite the best single-disc compilation of his either (that would be "The Best Of Leadbelly" from Cleopatra, or "Take This Hammer" from the "When The Sun Goes Down"-series).
But this 1991 CD offers a dozen and a half excellent early waxings, most of them alternate takes and other previously unissued sides, which makes "King Of The 12-String Guitar" a very interesting purchase for collectors, especially if their collection is lacking a little something in the "early Leadbelly"-section.
Newcomers should find these gritty 30s recordings to their liking as well, though. Huddie Ledbetter's best-known songs are largely missing, sure, but there is a lot of other great stuff on this 56-minute disc: "Packin' Trunk Blues", "Four Day Worry Blues", "Death Letter" (not the Son House-number), and many more.
Collectors who already have "Leadbelly's Last Sessions", and either Smithsonian/Folkways' "Leadbelly Legacy" series or Catfish's "The Definitive Leadbelly", will want this CD for the numerous rarities, but it can also be enjoyed as simply a good slice of Leadbelly in his prime.King of the 12 String Guitar Overview

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Roadsongs Review

Roadsongs
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Roadsongs ReviewTwo discs,48,58 minutes each approximately. The sound is very crisp and clean,with an almost "you are there" feel. The discs are slipped, bare, into a tri-fold cardboard holder, which has some interesting color photos inside, along with a pertinent quote from Eric Clapton about being on the road constantly. The booklet lists the song titles, and lengths. There's a short written piece by singer Mike Mattison on his first concert experience as a member of the band, playing live,and how blues music is the foundation of THE DEREK TRUCKS BAND. The remainder of the booklet is taken up with color photos of members of the band.
With this new release, the DEREK TRUCKS BAND proves that they are one of few bands that can deliver great live versions from their previous, bluesy, studio release "Already Free", combined with their take on a (lengthy) jazz classic "Afro Blue", the well known "Anyday" (DEREK AND THE DOMINOS), and the old blues warhorse "Key To The Highway" (among others), and inject them with their own sound. Songs like "Down In The Flood" (Dylan), "Days Is Almost Gone", and "Down Don't Bother Me", for example, are injected with the excitement of a live recording in front of an appreciative audience.Trucks and his band are capable of playing in virtually any genre of music they choose-from blues, gospel, rock, r&b, country, to world music, all combined into one broad style-and it's all here.
On this live set Trucks and his band (which range in age from their 20's to their 40's) show they have the skill, confidence, and depth to assimilate many styles of music and take that music (and the listener) in virtually any direction. Trucks, who came out of THE ALLMAN BROTHERS BAND, who had a penchant for improvisation, has that rare combination of technique, style, and soulfulness that elevates him into the upper echelons of guitar players. His playing with musicians like Eric Clapton and Warren Haynes has only deepened his approach to improvisation. He has continued to define his guitar tone, and whether picking single notes or playing full chords, his sound is rich and full. His slide playing is very warm, soulful, yet visceral, with an almost understated excitement.
The 2003 set "Live at Georgia Theatre" (now available for approximately $10), is a good comparison in defining Truck's tone and style. On this 2 CD set his sound is closer to Duane Allman's, with Trucks just beginning to step into his own style. The core band (as on "Roadsongs") members do their usual good job of holding/advancing everything together. Both of these sets are companion pieces when it comes to great live music from this band. If you haven't heard "Live at Georgia Theatre" (with great sound) you're missing some fine music.
The bands sound, which is a combination of razor sharp chops, and a relaxed, honest, organic approach is the perfect combination that seamlessly blends straightforward, no frills playing with several of the better tracks from their last album, with some newer live renditions of other songs. Throughout, the well thought out arrangements (with the inclusion of occasional horns), which constantly ebb and flow, keep the music fresh and interesting-along with the (sometimes subtle) always exciting playing of Trucks. The vocals, handled by Mike Mattison, allow Trucks to concentrate on his guitar playing and the direction of the music, which is vital when weaving seemingly disparate styles of music into one organic whole.
This live set is a continuation, a refinement of this bands sound. Trucks (and the band) continues to forge ahead in whatever direction the music takes them (and us), which is the hallmark of a band that's choosing to stretch the boundaries of music and not be satisfied with playing the same music in the same repetitive style. This group is one of few bands to play across and assimilate different genres of music, and weave them into an honest style all their own. So sit back and let this music take you where it will-you won't be sorry.Roadsongs Overview

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Heroes: Giants of Early Guitar Rock Review

Heroes: Giants of Early Guitar Rock
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Heroes: Giants of Early Guitar Rock ReviewNot too many. Dion is definately one. Everything he's done since YO, FRANKIE has been pure rockin' GOLD, and this album is no exception.
Great songs, by a GREAT artist who deserves to have more people know that he is simply BETTER THAN EVER. (PLUS a terrific DVD as a bonus). Sample these songs. Buy this record. Then go back for YO,FRANKIE, DEJA NEW, the incredible NEW MASTERS, his Blues albums--BRONX IN BLUE, and SON OF SKIP JAMES, and the best Christmas album of all-time: ROCK N' ROLL CHRISTMAS.
When you're done with all that, get the DION:LIVE IN CONCERT DVD, and then find a way to see him LIVE yourself.
Yeah, I guess I like Dion. He's one of my very favorite artists, but it's not just some oldies nostalgia trip---I mean, sure--he was one of the greatest of the early rockers, no doubt. But all these albums, even the covers and re-dos of his own classics are a brand new experience that equal or surpass his early work. He's never sounded better, and he's got a hipper-than-ever, blues-laden approach that just electrifies his material. He's cool, he's honest, and he's fun.Heroes: Giants of Early Guitar Rock Overview

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Blues Guitar Women Review

Blues Guitar Women
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Blues Guitar Women ReviewWhat's so nice about this set, especially disc 1, is the sensational singing and playing of many unknown Women of the Blues. Although a huge blues fan and a big collector, several of the performers I had not heard of, such as the Lara Price Band, Alice Stuart and Carolyn Wonderland. But I have now, and they are sensational! I immediately went out and bought a cd of Stuart and Wonderland and Beverly Watkins. This is a big time gem of music. SENSATIONAL. Under $15.00 at most places, so, so worth the money. Have a quick listen to the samples and you'll be hooked and off to the store.Blues Guitar Women Overview

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Rory Block Teaches the Guitar of Robert Johnson- DVD#2 Review

Rory Block Teaches the Guitar of Robert Johnson- DVD#2
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Rory Block Teaches the Guitar of Robert Johnson- DVD#2 ReviewIf you have her first one this is a must have. She does just as good of a job on these songs as she did on the previous dvd. Her passion and knowledge of Robert Johnson and the Blues is remarkable. Could've done without the self-promotion throughout both dvd's but, she is out to sell product after all.Rory Block Teaches the Guitar of Robert Johnson- DVD#2 Overview

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Exploring The Guitar With Keb' Mo'-Songs and Arrangements to Enrich Your Playing Review

Exploring The Guitar With Keb' Mo'-Songs and Arrangements to Enrich Your Playing
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Exploring The Guitar With Keb' Mo'-Songs and Arrangements to Enrich Your Playing ReviewI discovered Keb' Mo' just a few weeks ago - I really enjoy his music, especially his solo acoustic performances, so I figured I'd give this DVD a try. I'm so glad that I did! On this video, Keb' Mo' teaches you seven of his songs, in a very relaxed, non-intimidating manner. He comes accross as a very happy, laid-back kind of guy, and assures you that with practice, these songs aren't very difficult to learn. He performs each song for you, then breaks each one down into lesson "sections", that will have you playing (and probably singing, you can't help it) them in no time. He also includes some fingerpicking excersises to help develop your picking hand dexterity. I'd say that this video is for "intermediate" players, as fingerpicking style can be difficult for beginners, but some of these songs are suprisingly simple to play. I've owned the video for 2 weeks now, and am just getting through the 3rd song, so it has kept me challenged and busy, which I like. I've also learned several new chords as a result. The video also comes with a booklet of tablature for each song, so that you can practice without the video if you like. I highly recommend this DVD to anyone who enjoys solo acoustic fingerstyle blues guitar - you won't be dissapointed! Well worth the money!Exploring The Guitar With Keb' Mo'-Songs and Arrangements to Enrich Your Playing Overview

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