Down Home Blues Jams don't quite hang together
351373
I must confess a bit of disappointment listening to this recording. Having seen Willie King at the 2000 Pocono Blues Festival and enjoying his "I Am the Blues" album I found this Rooster Blues disc an interesting, but not compeletly satisfactory album.  King is obviously influenced by Howlin' Wolf and this helps shape a powerful perfoming style which he brings to mostly topical themes. While some obviously are attracted to the jam nature of these performances, I believe the performances would have been stronger and the messages more effectively communicated if the performances had been more concise and less lyrically repetitive.
4737740
The mostly-female band performs music that sounds more like "Southern Rock" than Jazz, like in the South, where those two genres tend to blend with country to make its own sound.  This is sort of like that, with guitar licks and chord structures remnant of Stevie Ray Vaughn, though he will forever remain the best at it, in my opinion.  This is presumably a "live" recording, as there is a master of ceremonies introducing the musicians.

The singer through most of the album (Dani Wilde) has a voice that reminds me of Melissa Etheridge, only perhaps not quite as rough sounding.  I would have never guessed she was German, as she sounds fairly 'American." The lead guitar sounds a lot like a Les Paul custom, with the rich, full, clear tone.  The song "You need a great big Woman" has the typical G-D-C chord progression, like the song "Route 66."  It's tough to review music; describing musical style is sort of like trying to tell a blind man what "green" looks like.

The MC was sort of annoying at times, sounding like he is begging people to clap during this performance.

This album proves again that there are many talented musicians out there, only 5% of which you ever hear about because they aren't marketed by a huge label.  While I don't think this is a "hidden jewel," it is still enjoyable music, the type I would expect to hear while sitting at a patio-bar in San Antonio.
2635086
Well, maybe listening to this album immediately after listening to&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Hawk-Eyes/dp/B000000YGD/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Hawk Eyes</a>&nbsp;wasn't such a good idea; in spite of some very very talented musicians gathered here,
in spite of some hot moments, some nice swing and bluesy licks, this album just is not as good as it should be;
the loose arrangements and some uninspired solos bring down the excitement promised by the line-up, by the intro of some songs and by some quite brilliant solos.
And, yes, I didn't expect the Cootie Williams group to show R&B tendencies... It just doesn't work all that well for Cootie (although his group also has some fine jazz moments).
3205605
I must admit, after several listens with a (hopefully) objective ear, that I am a little disappointed with the new release from Indigenous.  Things We Do was a powerful outing, deftly covering a diverse musical territory -  songs that spoke to the soul and compelled repeated listenings as you tried  to grasp the subtle nuances as well as the forward guitar and voice of Mato  Nanji.  The mix was the key here, with a smooth rhythm section, leads that  jumped out at you, and a well-captured sense of emotion in Mato's voice,  which like many blues singers is limited in range, but still highly  effective at putting across his feelings.  But Circles falls short of that  earlier standard rather than building upon it.  Blues is about sparseness,  about the space between the instruments as much as the instruments  themselves.  It's supposed to be plaintive.  The mix here is too crowded  and Mato's voice and guitar, which drive the group, especially in their  live performances (which are not to be missed) are lost in the shuffle.  This is a shame, because there are some gems here waiting to burst out.  Rest of My Days came across very well live, but on disc it seems a little  muddled.  I like the steel guitar and a little of the hammond organ, but  the background singing is not really necessary.  The CD feels overly  produced (a 40 second fade-in on track 3 is the worst example) and the band  is solidly reigned in, instead of playing on the edge like they should be.  Now I'm not saying they should do nothing but Stevie Ray knock-offs - some  of the mellower tracks on Things We Do were the ones which really got my  attention - I'm just saying they should keep their energy focussed and at  the forefront.
3066200
This is a good example and sample of Lightnin' Hopkins.  My guitar teacher uses it to teach me acoustic blues in the free form style that is not a strict 12 bar form.  A strong shuffle pattern with free form blues runs predominate.

You will hear some of this in Stevie Ray Vaughn's music.
2899869
I agree with a previous review - start at song 7 till the end and you are as close to CTA as you can get. At least you can hear the guitar.  The band needs to find a blues/rock guitarist that knows how to use a "wah-wah" pedal - and then maybe they can get back to the classic CTA sound...
196582
About as good a recording you will get from the house board and the liner notes indicate most fans should forgive this shortfall.

Gatton's playing is great though he doesn't play a telecaster on this particular night? Principatos playing is smooth but often washed in effects. (common 80's blues sound). Enjoyable as a reference for Danny's playing but won't make it into any of my playlists.
3527204
The songs all have a somewhat bluesy feel but each sounds totally different from the others (well, except the tracks that are repeated. Several tracks have both a radio and studio version. One song has tracks with sax and without, and there appear to be two tracks that are for use as backing music at the end.)

Good voice. Lyrics are Christian, but appear to be honest about struggles which probably make it unsuitable for younger ages.

Not really my cup of tea but through no fault of the artist.
2581227
The British wailing guitars is cool but the over all recording is a little too garage recorded sounding for me......
2450550
Bought the CD and while the blues artists are legendary, it isn't the greatest. Sorry, can't put Canned Heat in a greatest blues compilation. Of all the versions of Willie Dixon's Spoonful, they put the Canned Heat cover on there? Sorry, it sounded just like almost every other one of their songs. Poor choice. Also,speaking of Willie Dixon, not one song sung by him? Unlike what the review said,the songs were out of order. Tracks 4&12 on the third disc were out of order.
4509337
The lyrics and chords are good, and the melody is useful for working with the tunes.

It has the melodies to the tunes which is good for crafting your own lead, but doesn't have the creative lead work that normally accompanies these pieces, nor the associated tab. So a part of what might be missing are the hammer-ons, pull-offs... that provide the character of the blues.

Generally the lyrics are good. Often in the blues there are several versions of the lyrics, sometimes the best isn't the first.

Blues covers a large area style wise. This book can help you to destermine the correct style for the song.
2547143
I got this album last year at a thrift store in Cambridge. It was part of a "mystery pack" of vinyl, which was a buck for 10 albums wrapped up so you couldn't see what was in it. I got a bunch of opera records, mostly, but this one was in there. For some reason, I immediately assumed it was a black soul singer. Don't have any clue why.

Anyway, today I pulled this out of my vinyl collection and looked at the back for the first time. Well, apparently there isn't anyone actually named "Eric Quincy Tate," it's a band with that name. And it's some real southern-fried funk rock. I did a little research and found that this band had a real cult following in the Atlanta area in the seventies.

It's an interesting album concept, one side of studio tracks, and one side containing a couple of live jams of about 10-15 minutes apiece, "Recorded Live, in concert, at the annual Chattahoochee River `Ramblin' Raft Race,' Atlanta, Georgia 1975 by Sam's Tape Truck". It works, though, and this is a real lost gem of southern rock. It really builds up to a smoking guitar jam on the final track, "Big Boss Jam," which will leave you wanting to here more from this crew.

Highly recommended for blues-rock fans.
2706124
This second release from HJB proves they have what it takes to compete in the world of blues: fantastic, heartfelt singing and songs; excellent, blazing instrumentation (including dad's harp playing). What keeps this from being THE perfect recording is the mix: the drums are way too far to the front and sometimes cover the vocals, guitar and bass playing.  This cd is definitely worth the money despite this minor annoyance; probably the second best blues recording I've heard this year.
4958861
I am a huge Tab Benoit fan and have everything he has recorded since I discovered his tracks on the Blues for the Homeless CD.This is a more subdued recording and my least favorite next to the Homesick for the Road CD..There is a studio version of Let Love Take Control(found on the excellent live CD Swampland Jam which gives you a good taste of his live shows). Way too mellow for me. I would rather listen to Standing on the Banks, These Blues Are Mine, Swampland or Nice and Warm.
2662249
Big George Jackson - Beggin' Ain't For Me

This release has a downhome electric blues style. The guitar is pretty raw and I do like the harp of Big George which has a solid tone. At 6ft 6 George is indeed big and he sings with a big mans pipes. The thin sample tracks here do not do this one justice and this needs to be played at a good volume. I recommend this for those who enjoy that raw juke sound.
702099
It's an ok album but they get so crazy syncopated I can't keep up. I more enjoy when they're obeying the rules a little more so I can hear more of Guthrie's guitar playing. Is that wrong?
2153564
This is part of the Living the Blues series put out by Time Life. Thus the selections are sound and the sound is of good quality. Many of the best-known performers are represented. It includes B.B. King's signature The Thrill is Gone (with a great bass mix), a fine Buddy Guy (My Time After Awhile), Wilbert Harrison's excellent Kansas City, and Howlin' Wolf's Little Red Rooster. The Earl King will remind you of Fats Domino.
The version of T-Bone Walker's Stormy Monday, one of my favorite blues tracks, is good but not the best. IMHO, the best version is T-Bone's live recording of Stormy Monday found on Absolutely the Best of Blues. The best cover of Stormy Monday is, of course, the Allman Brothers on At the Fillmore East.
In sum, a good collection, but there are stronger ones out there.