Sweet electric blues from Freddie King – and a record that features a surprising set of arrangements from Donny Hathaway! The album's more Freddie's than Donny's, but it's a great meeting of the two talents under the Atlantic-endorsed Cotillion banner – served up with an unusual studio lineup that includes Frank Wess and George Coleman on tenor sax, Willie Bridges on baritone, Ernie Royal on trumpets, and Cornell Dupree on rhythm guitar. The horns keep things full and soulful, and make the album a bit less rock-directed than some of King's other efforts from the 70s – and at some of the hipper moments, you can definitely hear some deeper sophistication on the charts that clearly marks Hathaway's presence. King Curtis arranged one track on the set – "Woke Up This Morning" – and other Donny-arranged tunes include "Yonder Wall", "Stumble", "I Wonder Why", "What'd I Say", "The Things I Used To Do", and "My Feeling For The Blues".
For a recording fervently hyped as a special occasion – B.B. King's 50th album and all that – this one is surprisingly patchy in concept and erratic in execution…
Universally hailed as the king of the blues, the legendary B.B. King was without a doubt the single most important electric guitarist of the last half of the 20th century. His bent notes and staccato picking style influenced legions of contemporary bluesmen, while his gritty and confident voice – capable of wringing every nuance from any lyric – provided a worthy match for his passionate playing. The recordings on this collection represent the very best of the sides King cut for ABC/ MCA between 1964 and 1985, proving that the thrill is most definitely still here.
Nina Simone Sings the Blues, issued in 1967, was her RCA label debut, and was a brave departure from the material she had been recording for Phillips. Indeed, her final album for that label, High Priestess of Soul, featured the singer, pianist, and songwriter fronting a virtual orchestra. Here, Simone is backed by a pair of guitarists (Eric Gale and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard "Pretty" Purdie), organist (Ernie Hayes), and harmonica player who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The song selection is key here. Because for all intents and purposes this is perhaps the rawest record Simone ever cut. It opens with the sultry, nocturnal, slow-burning original "Do I Move You," which doesn't beg the question but demands an answer: "Do I move you?/Are you willin'?/Do I groove you?/Is it thrillin'?/Do I soothe you?/Tell the truth now?/Do I move you?/Are you loose now?/The answer better be yeah…It pleases me…." As the guitarists slip and slide around her husky vocal, a harmonica wails in the space between, and Simone's piano is the authority, hard and purposely slow.
Roy Buchanan was always one of the most respected guitarists in his field, ever since the '70s. However, he hit a rough patch in the early '80s, falling out of favor and finding record contracts hard to find. He made a startling comeback in 1985 with When a Guitar Plays the Blues, his first record for Alligator Records. Though the record still suffers the slightly antiseptic formula of Alligator Records, Buchanan shines throughout, making it clear why this brought him back to the spotlight in 1985.
This contains straight-up reissues of two of T-Bone's Imperial albums, themselves merely collections of the original 78s. Everything on these 24 sides was recorded between 1950 and 1954 – not as trailblazing a period as the one from 1946 to 1947 on Black and White, but still prime T-Bone by any yardstick. The majority of these sides were cut in Los Angeles, with the exception of the New Orleans-recorded "I'm Still in Love With You" and the Windy City cut of "Bye Bye Baby." Loads of great T-Bone guitar and a cool West Coast sound to most everything on here make this an important addition to anyone's blues collection.