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."
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"
For something less traditional but no less killing, try Melvin Taylor & The Slack Band’s Bang That Bell. A post-Hendrix exercise in funky-blue wah-wah wailing, this one has more allusions to Prince and the Isley Brothers than Muddy and the Wolf. In the course of a single tune (“Another Bad Day”) he can blend jazzy, Wes Montgomery-styled octaves with over-the-top wah-wah work and metalesque speed picking. But in spite of all the virtuosic six-string technique, Taylor can also get up into some nasty real-deal shuffles and earthy funk, as he proves so convincingly on “It’s Later than You Think,” which features some brilliant harmonica playing by Sugar Blue, and on a super-funky updating of the Earl King classic “Trick Bag.” And he digs into a slow blues, “A Quitter Never Wins,” with fangs bared. The closer, “Even Trolls Love Rock & Roll,” is a wild fretboard scorcher featuring guest guitar slinger Eric Gales. A tremendous guitarist and soulful singer, Taylor is a major versatile talent on the crossover blues-rock circuit that includes the likes of Robert Cray, Jonny Lang and Kenny Wayne Shepherd.
Jamaican-born bluesman Kirkland has always stretched the boundaries of his music and on this outing moves further into contemporary waters. Guest stars abound on this album, and Kirkland's idiosyncratic guitar work is answered and abetted by appearances from Tab Benoit, Sonny Landreth, Kenny Neal, Cub Koda, Christine Ohlman and G.E. Smith, as well as driving work from drummer Jaimoe and organist Richard Bell. The material is all over the road, but particularly noteworthy as highlights are Kirkland's take on Elmore James' "Done Somebody Wrong," "Snake In the Grass," "Nightgirl," and the title track.
At Newport 1960 is a live album by Muddy Waters performed at Newport Jazz Festival in Newport, Rhode Island, with his backing band, consisting of Otis Spann (piano, vocals), Pat Hare (guitar), James Cotton (harmonica), Andrew Stevens (bass) and Francis Clay (drums), on July 3. Waters's performances across Europe in the 1950s and at Newport helped popularize blues to a broader audience, especially to whites. The album is said to be one of the first live blues albums.
With the confusing plethora of Elmore James discs out on the market, this is truly the place to start, featuring the best of his work culled from several labels. Highlights include James' original recording of "Dust My Broom," "It Hurts Me Too," "T.V. Mama" (with Elmore backing Big Joe Turner), and the title track, one of the best slow blues ever created. Slide guitar doesn't get much better than this, making this particular compilation not only a perfect introduction to Elmore's music, but an essential piece for any blues collection.
Originally recorded for Capitol Records in his pre-Hee-Haw days (1963), this is Roy Clark's instrumental album, an all-guitar fest that showcases the country artist's amazing chops. Kicking off with a warp-speed version of "Twelfth Street Rag" that actually gets doubles in tempo by the final chorus, this album features a brace of generic "twistin''' instrumentals (read: public domain tunes given a twist beat) like "Texas Twist," "Weeping Willow Twist," "Wildwood Twist" ("Wildwood Flower"), "Golden Slippers," and "Over the Waves," rocked up cha-cha's like "Pink Velvet Swing" and Bob Wills' "A Maiden's Prayer," and boogies like the closing "Chicken Wire." Produced by Ken Nelson and sounding for all the world like it was cut in a single afternoon session, this should open up anyone's eyes and ears who thinks of Roy Clark only as a belly scratchin' fool, telling corny jokes and singing sappy love ballads.