Cub Koda has tried a lot of different things in his long career, but he has never made anything close to Box Lunch. It's not just that the album consists of nothing but acoustic material; he has never been this open with his emotions. There are a few rockers – "Double Barrel Hell" is menacing and "Gimme Trash" is a tongue-in-cheek kitsch celebration…..
The Joint Was Rockin' is a raw, rowdy and deliriously fun record capturing Cub Koda live with the Houserockers in the early '80s. The Houserockers bash away like they were supporting Hound Dog Taylor and Cub proves that he can play the blues with true passion and feeling. More than anything, however, The Joint Was Rockin' is a bracing jolt of energy and fun that's just as good as Live at B.L.U.E.S. 1982, his previous live set with the Houserockers.
The addition of bass and special guests Left Hand Frank and Lefty Dizz only distract from the chemistry between Cub and the Houserockers (even more obvious on their belated live follow-up), but this is a strong session, with the ex-stadium boogie boy sounding totally at home with these blues veterans. His vocal duet with Brewer Phillips on J.B. Lenoir's "Talk to Your Daughter" is a joy, and thankfully not every note is perfectly in place — or in the case of Brewer's guitar, in tune. Added treats: Koda's big-toned harp on "Rockin' This Joint Tonight" and humorous dialog with Frank on "Dirty Duck Blues."
Howlin' Wolf may be gone, but his spirit lives on, as this 13-track tribute album featuring members of the Wolf's own band attests. Sam Lay, Eddie Shaw, Hubert Sumlin, and the rest are as tight and smooth as they ever were playing behind Howlin' Wolf, and they've got an array of guest stars to do the Wolf proud. Taj Mahal (sounding a good bit like Wolf himself) is here, as are guitar-slinger Debbie Davies and multi-instrumentalist Kenny Neal. Lucinda Williams does a bluesy turn, and there are contributions from Lucky Peterson, James Cotton, and more. The CD features plenty of Wolf favorites, including "Saddle My Pony," "Howlin' for My Darling," "The Red Rooster," "Howlin' Wolf Boogie," and "Smokestack Lightnin'," among others. All in all, it's a fitting tribute to a man whose contribution to the blues is immeasurable.
Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century…
Brownsville Station is a rock trio out of Ann Arbor, Michigan, led by Cub Koda. They issued numberous albums in the 1970's. They are probably best know for their radio classic, "Smokin In The Boys Room".Air Special originally came out in 1978 on Epic Records. In contains one bonus track, the single version of "Love Stealer"
While both Bear Family sets deal with a largely unissued wealth of material, this collection is devoted in the main to all the Memphis recordings from 1951 and 1952 that saw the light of day on a number of Los Angeles-based labels owned by the Bihari Brothers, being issued and reissued and reissued again on a plethora of $1.98 budget albums. Featuring recordings done in Sam Phillips' Memphis Recording Service and surreptitious sessions recorded by a young Ike Turner in makeshift studios, these 18 sides are the missing piece of the puzzle in absorbing Wolf's early pre-Chess period. It also helps that this just happens to be some of the nastiest sounding blues ever recorded…
Chester Arthur Burnett, known as Howlin' Wolf, was a Chicago blues singer, guitarist and harmonica player, originally from Mississippi. With a booming voice and looming physical presence, he is one of the best-known Chicago blues artists. Musician and critic Cub Koda noted, "no one could match Howlin' Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits." Producer Sam Phillips recalled, "When I heard Howlin' Wolf, I said, 'This is for me. This is where the soul of man never dies'". Several of his songs, including "Smokestack Lightnin'", "Back Door Man", "Killing Floor" and "Spoonful", have become blues and blues rock standards. In 2004, Rolling Stone magazine ranked him number 51 on its list of the "100 Greatest Artists of All Time."