Elvis sang about a mess of blues here's a stack of 'em, this 3CD set features some classic blues cuts with searing guitar lines and scorching hot solos. We have the masters John Lee Hooker, Albert King, Muddy Waters et al rubbing shoulders with some modern day blues masters such as Kirk Fletcher and Deborah Coleman. So tune up, plug in and turn that dial all the way to 11.
Digitally remastered two-fer containing a pair of Chess Records albums from the Blues great: 1966's Muddy, Brass And The Blues and 1973's Can't Get No Grindin'. Muddy, Brass And The Blues was a massive undertaking in direction which a couple of years later John Mayall.
Two classic Hooker LPs, all digitally re-mastered, 22 solid slabs of dark, leathery, brooding nostalgia. This is the electric blues at its very roots. If there’s still anyone out there reading this magazine who hasn’t at least one Hooker album in their collection, then you’re still a long way from qualifying as a blues aficionado. So this is a good place to start. This stripped-bare, one man and a growling electric guitar (on most tracks) music is the stuff those guys who fled the south for the auto production lines in the north used to listen to.
"Go Back Home to the Blues" is the second Knickerbocker All-Stars record, building on the enthusiastically received "Open Mic at the Knick". Once again the deep pool of New England blues talent has provided knockout versions of blues and R&B classics, this time adding some new songs which are perfect fits stylistically. The Knickerbocker All-Stars are celebrated veterans and masters of their craft. Original Roomful of Blues members and other Roomful alumni, members of the Duke Robillard Band, Sugar Ray and the Bluetones, and vocalists Willie J. Laws and Brian Templeton all make a powerful blend…
This remastered two-fer combines guitarist Mel Brown's second Impulse release from 1968, The Wizard, with Blues for We released the following year. The Wizard is a straight-ahead soul-jazz date picking up where Chicken Fat left off with a few originals alongside funky renditions of “Ode to Billie Joe” and Pee Wee Crayton’s R&B hit of the late '40s “Blues After Hours.” Blues for We relies more on an interesting selection of cover versions ranging from “Ob-La-Di, Ob-La-Da” and “Son of a Preacher Man” to the bubblegum staple by the 1910 Fruitgum Company “Indian Giver” and Acker Bilk’s “Stranger on the Shore,” which was the theme of a BBC television drama. Brown’s guitar work on both sessions is fluid and greasy, as are the funky drum licks, but occasionally, the arrangements drift into superior background music. New liner notes are absent, but the original packaging – front and back cover art and liner notes – remain intact.