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Jazz Blues Club » Music » Blues
1976: Etta James - Etta Is Betta Than Evvah! [wih bonus tracks] Rhythm-n-Blues, Soul
1976: Etta James - Etta Is Betta Than Evvah! [wih bonus tracks]
Artist: Etta James
Album: Etta Is Betta Than Evvah! [wih bonus tracks]
Label: Chess (Lp)/Kent (CD)
Year: 1976
Release: 2013
Format, bitrate: Mp3, 320 kBit/s
Time: 76:23
Size: 175.1 MB
AMG rating: 1976: Etta James - Etta Is Betta Than Evvah! [wih bonus tracks]

Released in 1976, when Etta James wasn't ruling the charts by any means but wasn't adverse to the idea of climbing back into the Top 40, Etta Is Bettah Than Evvah! bears a boastful title and its ten funky cuts do not lack for bravado. Nevertheless, it's very difficult to agree that Etta is better than ever here. Part of the problem is that the songs are just kind of generic: good-enough uptempo dance cuts and midtempo groovers, songs that give enough space for Etta but never really escape the confines of average '70s disco-oriented R&B. James certainly sings her heart out, or at least throws her all into the pulsating wah-wah and clavinet grooves, and all the participants are immaculate professionals, always avoiding embarrassment (with the notable exception of "Jump into Love"), but the whole thing winds up as nothing more than vaguely pleasing, a '70s funk-soul record fronted by a singer who never quite seems invested in the fashion she's wearing. The ten bonus tracks added to Kent/Ace's 2013 reissue -- cobbled together from Chess LPs from 1973-1975, plus a few cuts that didn't see release until years later -- are enjoyable (including two Randy Newman covers) but don't really change the character of this fun enough but ultimately forgettable period soul.
~ Stephen Thomas Erlewine, All Music Guide
1993: Blind Willie Johnson - The Complete Blind Willie Johnson Acoustic blues, Gospel
1993: Blind Willie Johnson - The Complete Blind Willie Johnson
Artist: Blind Willie Johnson
Album: The Complete Blind Willie Johnson
Label: Legacy/Columbia
Year: 1927–1930; release: 1993
Format, bitrate: Mp3, 320 kBit/s
Time: 1:34:32
Size: CD 1-144 MB / CD 2-122 MB
AMG Rating: 1993: Blind Willie Johnson - The Complete Blind Willie Johnson

Repost with new links from wombatfreddie

If you've never heard Blind Willie Johnson, you are in for one of the great, bone-chilling treats in music. Johnson played slide guitar and sang in a rasping, false bass that could freeze the blood. But no bluesman was he; this was gospel music of the highest order, full of emotion and heartfelt commitment. Of all the guitar-playing evangelists, Blind Willie Johnson may have been the very best. Though not related by bloodlines to Robert Johnson, comparisons in the emotional commitment of both men cannot be helped. This two-CD anthology collects everything known to exist, and that's a lot of stark, harrowing, emotional commitment no matter how you slice it. Not for the faint of heart, but hey, the good stuff never is.
~ Cub Koda. All Music Guide
1961: Mahalia Jackson - Recorded Live in Europe Music » Blues » Gospel
1961: Mahalia Jackson - Recorded Live in Europe
Artist: Mahalia Jackson
Album: Recorded Live in Europe During Her Latest Concert Tour
Label: Columbia/Sony
Year: 1961; release: 2001
Format: FLAC / Mp3, 320 kBit/s
Size: 303 MB / 120 MB
Time: 53:45

REPOST with new links from Mr.Luloboo

Jackson is accompanied only by pianist Mildred Falls on these songs, recorded in Sweden on April 18, 1961. There's not much to distinguish these from other Jackson performances of the period, other than perhaps the sparse accompaniment, a slightly distant quality to the recording of the vocals, and a sense of event from a live audience that didn't have the opportunity to see Jackson nearly as often as Americans did. Her favorites "Elijah Rock" and "Down By the Riverside" are here, as are compositions by Thomas Dorsey and Clara Ward, and more unexpectedly Rodgers-Hammerstein's "You'll Never Walk Alone." The 2001 CD release on Columbia/Legacy adds two previously unreleased songs recorded a week later in France, "Didn't It Rain" and "When the Saints Go Marching In."
~ Richie Unterberger, All Music Guide
1968: Furry Lewis - Presenting The Country Blues Music » Blues » Acoustic blues
1968: Furry Lewis - Presenting The Country Blues
Artist: Furry Lewis
Album: Presenting The Country Blues
Label: Blue Horizon 7 63228
Year: 1968; Release: 1969
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Time: 39:09
Size: 91 MB (w.s)


Walter "Furry" Lewis (1893– 1981) personified the relaxed and intimate character of the early blues. A master of multiple guitar techniques, he was most notably an impressive bottleneck guitarist who echoed his vocal phrasings with an expressive set of sliding notes. He was able to give his performances a spontaneity, subtlety, and feeling that made him, in the words of blues historian Sam Charters, one of "only a handful of singers [of his era] with the creative ability to use the blues as an expression of personal emotion."
~ Smithsonian Folkways
1978-1980: Ravi Shankar & Friends - Towards the Rising Sun Jazz-Blues, Country & Folk
1978-1980: Ravi Shankar & Friends - Towards the Rising Sun
Artist: Ravi Shankar
Album: Towards the Rising Sun
Label: Deutsche Grammophone (2005)
Year: 1978-1980; release: 2005
Quality: FLAC
Size: 360 MB (w. scans)
Runtime: 69:19

As Ravi Shankar explains in the notes to this cd all music in the East, despite other differences, is based on similar structures. This fact gives him the oportunity to explore a merging of the music of India with that of Japan. So here Ravi Shankar uses ancient indian ragas (system of melody forms which form the structure of Indian music) which use five notes and are similar to the modes used in Japanese music to execute his experiment. Of the six pieces contained in the cd five are permormed with the use of both Indian (sitar, tanpura, tabla) and Japanese instruments (the stringed koto and the shakuchachi flute). Of these, four are based on Indian ragas as mentioned above specifically composed to accomodate the use of Japanese instruments and make for very pleasing and meditative listening. The other piece which is called "Improvisations on the theme of Rokudan" is a 17th century Japanese composition for koto and here it is performed with the addition of Indian instruments. Whereas all the pieces on this record including the sixth which is a straight Indian raga are mesmerizingly beautiful, "Rokudan" is the showcase. There is an ascending structure to this piece which concludes with a magnificent crescendo that Shankar himself composed. Overall the music on this cd seems to have a stucture as opposed to other recordings of Indian music I have listened to which feel more free-form that makes it more easily comprehended the way western music is. So from India we travel east to meet Japan and further east to meet the West? ~ S. Tsalavoutas, Amazon.com
1997: T-Model Ford - Pee-Wee Get My Gun Music » Blues » Modern electric blues

1997:  T-Model Ford - Pee-Wee Get My Gun
Artist: T-Model Ford
Album: Pee-Wee Get My Gun
Label: Fat Possum/Epitaph 80303-2
Year: 1997; Release: 1997
Genre: Modern Electric Delta Blues
Format, bitrate: mp3@320kbps
Time: 41:51
Size: 101 MB (w.s.)

Ford fits snugly into what has become the Fat Possum house sound: repetitive, raw electric guitar riffs, going off on one or two-chord vamps with stream-of-consciousness, improvised-sounding lyrics. The effect can be hypnotic or tedious, depending upon your taste. It's got more of a boogie, down-home feel that the usual Fat Possum release though, with Frank Frost adding keyboards to the usual guitar-drum duo combination on a couple of cuts. ~Richie Unterberger, All Music Guide
1986: Matt "Guitar" Murphy - Last Call: Live At The 40 Watt Club Music » Blues » Modern electric blues » Modern Electric Chicago Blues
1986: Matt "Guitar" Murphy - Last Call: Live At The 40 Watt Club
Artist: Matt "Guitar" Murphy
Album: Last Call: Live At The 40 Watt Club
Label: Bluzpik Media Group Inc.
Year: 1986; Release: 2012
Format, bitrate: Mp3, 320 kBit/s
Time: 48:21
Size: 114.37 MB

When Matt moved to Miami, Florida he started searching the internet for recorded shows from the past. Nothing of note came in until Pat Biddle, who was the sound engineer at the 40 Watt Club in Athens, Georgia for a decade contacted Matt. After reviewing all of the recordings, Matt feels that this is an authentic representation of Roadhouse Blues as he had come to remember over his decades of time with James Cotton, Memphis Slim and Howlin' Wolf. A totally Live Recording, a clear snapshot of post-Blues Brothers Matt "Guitar" Murphy while he was in charge of all his majestic fret prowess with a fabulous band of musicians captured live off the sound board. The CD was released in January 2012 on BMGI.
1992: Albert King / Otis Rush - So Many Roads: Charly Blues Master Works, Vol. 2 Music » Blues
1992: Albert King / Otis Rush - So Many Roads: Charly Blues Master Works, Vol. 2
Artist: Albert King / Otis Rush
Album: So Many Roads: Charly Blues Master Works, Vol. 2
Label: Charly Blues Masters
Year: 1992
Format: Flac
Time: 39:32
Size: 160.52 MB (full covers)


Great album, featuring two of the premier exponents of modern blues guitar. There are six superb sides by Rush from 1960 including the magnificent So Many Roads, So Many Trains which is one of his greatest ever performances with a mind-bending string-bending guitar solo and two tracks not originally released including a remake of his Cobra classic All Your Love. The 8 cuts by Albert were recorded for Parrot in 1953 and Bobbin in 1961 with only two of the Parrot sides being originally issued - all are superb and it's interesting to see the development in Albert's style between his early and later sessions.
1982: Eric Gale - Blue Horizon Smooth & Lounge, Rhythm-n-Blues
1982: Eric Gale - Blue Horizon
Artist: Eric Gale
Album: Blue Horizon
Label: Elektra Musician
Year: 1982
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Time: 36:39
Size: 92 Mb (+5%rec.)



Nice, basically mainstream session from funk and R&B session star Eric Gale. Gale showed his jazz and blues roots on this one, with several tasty, thoughtfully played solos.
~Ron Wynn, All Music Guide
1993: Ali Farka Touré & Ry Cooder - Talking Timbuktu Jazz, Fusion, Blues
1993: Ali Farka Touré & Ry Cooder - Talking Timbuktu
Artist: Ali Farka Touré & Ry Cooder
Album: Talking Timbuktu
Label: World Circuit HNCD 1381
Year: 1993; Release: 1994
Format, bitrate: Mp3, 320 kBit/s
Time: 1:00:05
Size: 139 MB (w. s.)

Guitarist Ali Farka Touré has repeatedly bridged the gap between traditional African and contemporary American vernacular music, and this release continues that tradition. The CD features him singing in 11 languages and playing acoustic and electric guitar, six-string banjo, njarka, and percussion, while teaming smartly with an all-star cast that includes superstar fusion bassist John Patitucci, session drummer Jim Keltner, longtime roots music great Ry Cooder (who doubled as producer), venerable guitarist Gatemouth Brown, and such African percussionists and musicians as Hamma Sankare on calabash and Oumar Touré on congas.
~ Ron Wynn, Al lMusic Guide
1980: Jay McShann-Tuxedo Junction Swing, Blues
1980: Jay McShann-Tuxedo Junction
Artist: Jay McShann
Album: Tuxedo Junction
Label: Sackville Stereo LP 3025
Year: ; release:1980
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Time: 47:18
Size: 106.5 MB


Veteran pianist Jay McShann has recorded extensively for the Canadian Sackville label, and all of those LPs (most have not yet been reissued on CD) are easily recommended to fans of swing and blues piano.
This date matches McShann in duets with bassist Don Thompson, interpreting a pair of originals and such standards as "Tuxedo Junction,""Robbins Nest" and "Do Nothing Till You Hear From Me." McShann stretches out longer than usual on the tunes and comes up with plenty of fresh ideas, even on songs he has played a countless number of times.
~ Scott Yanow, All Music Guide
1940s: Various Artists - Pachuco Boogie Swing, Latin, Rhythm-n-Blues
1940s: Various Artists - Pachuco Boogie
Artist: Various Artists
Album: Pachuco Boogie
Label: Arhoolee CD 7040
Year: 1940's; Release: 2002
Format, bitrate: Mp3, 256 kBit/s
Time: 58:22
Size: 105 MB (w. s)
AMG rating: 1940s: Various Artists - Pachuco Boogie

The Zootsuit Riots and the Sleepy Lagoon case of the 1940s made Americans aware that a young Latino subculture existed in their country. Thanks to the press slant, however, it was presented as something to be feared. The reality, of course, was quite different. They were no more dangerous than teens anywhere and everywhere. They did, however, have their own music, a mix of Latino styles and jump blues, a selection of which is offered on this illuminating record, headlined by the title track, a straight-up jump blues that has more in common with African-American music than any rock & roll that might follow. The bandleader, young bassist Don Tosti, would go on to record plenty of similar sides for the pachucos, or young Mexicans, under several different names, like Cuarteto Don Ramon, Sr.. He'd even re-record "Pachcuco Boogie" in the early '50s, quite possibly because the original version is rumored to have sold over a million copies. Most of the other acts here pick up on his small-band, eight-to-the-bar idea, but there's at least one exception, the acoustic "Frijole Boogie," a lovely piece of guitar work from Jorge Cordoba (the genre was elastic enough to include the corrido "El Bracero y la Pachuca," too). Every culture celebrates itself. Some of the tributes come from within, as Tosti's do; some are exploitative. But it's wonderful to see daylight shining finally on this little piece of American history.
~ Chris Nickson, All Music Guide
1970: Johnny Lytle/Albert Dailey/Chester Thompson - I Giganti Del Jazz Rhythm-n-Blues, Soul-Jazz
1970: Johnny Lytle/Albert Dailey/Chester Thompson - I Giganti Del Jazz
Artist: Johnny Lytle/Albert Dailey/Chester Thompson
Album: I Giganti Del Jazz
Label: Curcio GJ-93
Year: 1970
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Time: 37 min
Size: 55 MB


Though here simply called "Johnny Lytle," this is actually a reissue of the long-out-of -print Johnny Lytle album I Giganti Del Jazz, also known as Los Grandes Del Jazz.
This LP has never been on CD before, and the original LP was never released outside of Europe. This was one of a series of European-only LPs featuring various jazz musicians. Fans have been clamoring for this album for quite some time. This version is an on-demand CDR recording.

The rest of the musicians are unknown, though instruments include piano, organ, conga, drums, electric guitar, and upright bass. Not every instrument is featured on every track.
What we have is a collection of funky soul-jazz/R&B, much of it with a distinctly down-home feel. "Mine" is somewhat of a departure, as it wades heavily into Cal Tjader-esque Latin-jazz territory, and it's a real pleasure, clocking in at a satisfying 7:20. "Babo" is a uptempo funky mod workout, which has appeared on some funky compilations. "Walk A Soul Mile" is a easy-grooving funk excursion that could have been a contender for a Sanford & Son theme song, and has been confirmed as a Johnny Lytle composition. It's not unlike Organ Combo music which is being played in some bars to this very day. The tracks I've mentioned are fantastic, but in reality every track is a winner.

Much of the above information comes courtesy of Doug Payne, who keeps an excellent online Johnny Lytle discography which can be found easily with a simple search, and is highly recommended.
1963: Hank Jacobs - So Far Away Music » Blues » Rhythm-n-Blues


1963: Hank Jacobs - So Far Away
Artist: Hank Jacobs
Album: So Far Away
Label: Sue Records Inc./Catalog#: LP 1023
Year: 1963
Release: 1964
Format, bitrate: Mp3, 128 kBit/s (Lp-rip)
Size: 30 MB


So Far Away was recorded in late 1963 and was a small hit in January 1964 on the American Sue label. Michael Jack Kirby of WayBack Attack says: After So Far Away, Hank Jacobs continued his session work and can be heard at the piano on a number of well-known mid-60s records, including soulful sides like Im So Thankful by The Ikettes and Bettye Swanns chart-topping 1967 R&B hit Make Me Yours."
1965: Dave "Baby" Cortez - Organ Shindig Music » Blues » Rhythm-n-Blues
1965: Dave "Baby" Cortez  - Organ Shindig
Artist: Dave "Baby" Cortez
Album: Organ Shindig
Label: Roulette Records
Year: 1965
Format, bitrate: mp3; 128 mb/s (LP-rip)
Duration 30:22
Size: 32 MB

After scoring the Top Ten singles "The Happy Organ" in 1959 and "Rinky Dink" three years later, instrumentalist Dave "Baby" Cortez (organ) issued a trio of LPs on Roulette Records in the mid -60s. Organ Shindig (1965) -- his first of several long-players for the label -- hosts spirited remakes of concurrent pop and soul classics. Cortez is supported by an uncredited combo consisting primarily of electric guitars, electric bass, drums and the occasional horn section augmentation. While all involved -- especially Cortez -- supply energetic environs to the familiar favorites, for the most part the aggregate provide a virtually ersatz backdrop. Sam Cooke's "Shake" is given much the same Memphis R&B vibe that Otis Redding would bring to his interpretation. Herbie Hancock's "Watermelon Man" retains the slippery syncopated rhythm as Cortez supplies limber leads and irrepressible Hammond B-3 interjections. Interestingly, the a cappella introduction to "Boy From New York City" -- presumably by Cortez himself -- offers up the only vocals on Organ Shindig. There are substantial contributions from the studio band, bearing the distinct aura of performers from Phil Spector and Brian Wilson's luminous 'Wrecking Crew' coterie. As alluded to above however, and as was common practice of the time, none of the personnel are listed on the original LP jacket. "Can't Buy Me Love" swings hard in an almost bluesy expression from the up front and center organist. He quite literally wails as his rotating Leslie speaker cabinet spins at warp speed. There are also a few noteworthy entries from the Motown catalog, including a surprisingly good take of "How Sweet It Is (To Be Loved by You)," as well as the bouncy reading of John D. Loudermilk's "Paper Tiger," which had been a hit for Sue Thompson in 1964
~ Lindsay Planer , All Music Guide
2011: Trombone Shorty - For True Post-bop, Rhythm-n-Blues, Soul, Funk-Jazz
2011: Trombone Shorty - For True
Artist: Trombone Shorty
Album: For True
Label: Verve Forecast
Year: 2011
Format, bitrate: Mp3, 320 kBit/s
Time: 44:47
Size: 102.66 MB

New Orleans' Troy Trombone Shorty Andrews knows the music biz inside out. Hounded for years by friends and music business types to jump into the game, he understood the lessons of his lineage elders: too many had been been ripped off and discarded. He took his time, assembling, rehearsing, and touring Orleans Avenue, a band steeped in brass band history, jazz improv, funk, soul, rock, and hip hop. He finally signed to Verve Forecast and released Backatown in April of 2010. Entering at number one on the jazz charts, it stayed there for nine straight weeks, and was in the Top Ten for over six months. For True hits while Backatown is climbing again. Chock-full of cameos it is an extension, but sonically different. It's production is crisper, but the musical diversity more pushes further. In addition to trombone, Shorty plays trumpet, organ, piano, drums, synths, and, of course, sings. Orleans Avenue colors the rest. They are tighter, even more confident, and perhaps even more adventurous here. Though Shorty handles some tracks playing all the instruments himself, or with a guest or two, OA bear the lion's share with gravitas. Buckjump is the first clue that this is part two -- it could have been the closing track on Backatown. The Rebirth Brass Band guest and play a big funky horn chart as Shorty's big trombone solo greases the skids. NOLA's Weebie chants in tandem with the break-heavy rhythm track. "Encore" (written with Motown's Lamont Dozier) showcases some of Shorty's B-3 and soulful vocal skills, as Warren Haynes lends his trademark guitar sound. The title track, one of the album's brief musical interludes, features Shorty's solo with a killer trumpet break. Do to Me has a melody constructed around Shorty's smoking bone solo and a knife-edged guitar solo from Jeff Beck. "The Craziest Things" and "Dumaine Street" showcase Shorty's and Orleans Avenue's collective ability to create locking, complementary grooves; they play funky second-line rhythms countered by a jazz horn chart and improv in an R&B tune on the former, and a marching stepper on the latter. Ivan and Cyril Neville help with some fine vocal work on "Nervis," and Ledisi's stellar performance on the swinging rhythm & blues Then There Was You shines. "Mrs. Orleans" featuring Kid Rock's out-of-place, boisterous rap, could have been left off without the album suffering. The cut "Big 12," with producer Ben Ellman on blues harmonica, is titled for Shorty's older brother James' nickname, it kicks with big bass drums, hi-hat, and snares, locked on horns, rock guitar vamps, and a dubwise bassline. Ultimately, comparing For True to Backatown is pointless: they are of a piece, experimental records that show different sides of his identity besides the one for punchy homegrown R&B he's known for at home; two parts of a compelling, dynamic musical aesthetic firmly in and of the 21st centuryeven whenthey look back at history.
~ Thom Jurek, All MUsic Guide
19xx: Mickey Baker - The One And Only Great Guitar Music » Blues » Rhythm-n-Blues
19xx: Mickey Baker - The One And Only Great Guitar
Artist: Mickey Baker
Album: The One And Only
Years: 195x, realise 19xx
Genre: Early R'n'B
Format, bitrate: mp3, 320kb/s
Size: 167 MB

Of all the guitarists who helped transform rhythm & blues into rock & roll, Mickey Baker was one of the very most important, ranking almost on the level of Chuck Berry and Bo Diddley. The reason he wasn't nearly as well known as those legends is that a great deal of his work wasn't issued under his own name, but as a backing guitarist for many R&B and rock & roll musicians. Baker originally aspired to be a jazz musician, but turned to calypso, mambo, and then R&B, where the most work could be found.
In the early and mid-'50s, he did countless sessions for Atlantic, King, RCA, Decca, and OKeh, playing on such classics as the Drifters' "Money Honey" and "Such a Night," Joe Turner's "Shake, Rattle & Roll," Ruth Brown's "Mama, He Treats Your Daughter Mean," and Big Maybelle's "Whole Lot of Shakin' Going On." He also released a few singles under his own name, and made a Latin jazz-tinged solo album, Guitar Mambo.
1963: Jimmy McGriff - Jimmy McGriff At The Organ Jazz-Blues, Soul-Jazz
1963: Jimmy McGriff - Jimmy McGriff At The Organ
Artist: Jimmy McGriff
Album: Jimmy McGriff At The Organ
Label: Collectables
Year: 1963
Release: 1996
Format, bitrate: Mp3, 320 kbit/s
Time: 37:57
Size: 88 MB


McGriff with Rudolph Johnson on soprano and tenor sax, Larry Frazier on guitar and Jimmie Smith on drums. This album contains the classic McGriff cut "Kiko," "That's All," and "Hello Betty." This is drum/sax driven McGriff at his best.
~ Michael Erlewine, All Music Guide
1995: Guitar Gabriel - Guitar Gabriel, Volume 1 Music » Blues
1995: Guitar Gabriel - Guitar Gabriel, Volume 1
Artist: Guitar Gabriel
Album: Guitar Gabriel, Volume 1
Label: Music Maker MMCD 0494
Year: 1995; Release: 2006
Format, bitrate: Mp3, 320 kBit/s
Time: 1:00:38
Size: 138 MB

Gabriels repertoire includes an eclectic mixture of Piedmont, Chicago, Texas, and gospel numbersall done, however, in his own gritty, Piedmont-rooted style that he refers to as 'toot blues'.
~David Nelson

In this album the Great Guitar Gabriel "ventures well beyond drink houses into his own private Birdland, an improvisational crossroads where the starkly pre-modern meets the startlingly postmodern.
~Music Maker Relief Foundation
1969: Bill Doggett - Honky Tonk Popcorn Music » Blues » Rhythm-n-Blues
1969: Bill Doggett - Honky Tonk Popcorn
Artist: Bill Doggett
Album: Honky Tonk Popcorn
Label: King Studio
Year: 1969
Format, bitrate: mp3 / 320Kbps
Time: 51:07
Format, bitrate: mp3-320Kbps
Size: 80 mb

Funky funky Hammond a rare late 60s album from organist Bill Doggett, done with some help from James Brown and a set that's unlike anything Doggett ever recorded before or since! There's a blasting groove to the record right from the start thanks to help from The James Brown Band on the leadoff cut but even when they drop out, and Doggett's combo goes out on their own, the sound is still amazing tight, soulful, and very much in a funky 45 style all the way through! Drums are hard, the organ is nice and fluid, and the sound is prime late 60s instrumental funk a groove that Doggett never managed to reach again, which makes this record a real standout treasure. The album includes the legendary funky break cuts "Honky Tonk" and "Honky Tonk Popcorn", plus lots of other nice groovers, like "A Doozy", "Mad", "Slippin In", and "Corner Pocket". 1996-2013, Dusty Groove, Inc.

More than a decade after scoring with the classic R&B instrumental "Honky Tonk," Bill Doggett teamed with producer James Brown to create "Honky Tonk Popcorn," a remarkably vital and relentlessly funky comeback effort on par with anything bearing the JB seal of approval. Doggett's laid-back, soulful organ fits perfectly within the context of Brown's dynamic funk arrangements. "Honky Tonk" is reborn as a ferocious groover, while "Honky Tonk Popcorn" invents the song yet again, this time with a galvanizing guitar lead. Covers of Edwin Starr's "Twenty Five Miles" and Otis Redding's "Mr. Pitiful" are no less incendiary, but what's most surprising is the energy of Doggett's new original material: "Mad" benefits from a monster drum break and a fiery saxophone solo, while the slow-burning "After Lunch" is as smooth and creamy as its title suggests.
~ Jason Ankeny , All Music Guide
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