This is the album I was waiting from Popa Chubby from awhile! Guitar playing and songwriting in its best. It is as fresh as "The Good, the Bad and the Chubby" and "How'd a White Boy Get the Blues" were at their own right.

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Gilded by strings and horns, keyboards and flutes, and driven by a propulsive disco beat, Albert is about as slick as Albert King ever got, but he manages to turn in a few strong performances on the album. On the whole, the songs aren't particularly distinctive, and the instrumental support is way too anonymous, but hardcore Albert fans may find a couple solos, a couple of phrases worth hearing beneath all the heavy-handed production and thumping beats.

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Southwest Louisiana-based guitarist, songwriter and singer Sonny Landreth is a musician's musician. The blues slide guitar playing found on his two Zoo Entertainment releases, Outward Bound (1992) and South of I-10 (1995) is distinctive and unlike anything else you've ever heard. His unorthodox guitar style comes from the manner in which he simultaneously plays slide and makes fingering movements on the fret board. ....

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Allen Toussaint is one of the greatest R&B producers ever to grace New Orleans, but his touch as a blues producer is shaky at best. This attempt to update King's early classics is a snooze.

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This provided fresh looks at 11 Collins classics, among them such epic numbers as "Don't Lose Your Cool," "Frosty," "Honey Hush" and "Tired Man." There were slow, wailing ballads with blistering solos, electrifying uptempo wailers with a great horn section answering Collins' phrases with their own bleats, and first-rate mastering and production. Guest stars included B.B. King, Branford Marsalis, Kim Wilson and Gary Moore, while Collins injected vitality into numbers he'd already made standards years ago. This set is a wonderful tribute to an incredible guitarist and musician.

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Albert Collins doesn't change anything for his major label debut, Iceman. Like its predecessors, it is slick and professional, featuring a variety of shuffles, R&B tunes, and slow blues, all stamped with Collins's trademark icy wail. None of the songs or performances are particularly noteworthy, but Iceman is a solid set that delivers the goods for fans of his style.

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Sonny Landreth (born February 1, 2022) is a American blues musician from southwest Louisiana who is especially known as a slide guitar player. He was born in Canton, Mississippi, but soon after, his family moved to Jackson, Mississippi, before settling in Lafayette, Louisiana. When he is not touring and performing, he resides in Breaux Bridge, Louisiana.

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TRUCKIN' WITH ALBERT COLLINS is a replica of the 1969 Blue Thumb reissue (BT-8). A re-titled reissue of the 1965 album THE COOL SOUND OF ALBERT COLLINS, this set of early sessions shows the style of this blues-guitar behemoth already clearly defined. Collins plays in minor tuning and plucks the strings aggressively with his right hand, giving his playing--even at this stage--an utterly distinctive sound. The set list features Collins's original, groove-inflected instrumentals (he turns in one vocal performance on "Dyin' Flu"), with tenor sax, alto sax, and trumpet adding punchy lines and jazzy solos over comping from a tight bass-drums-and-organ rhythm section.

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Al Miller had been contributing to the Chicago blues scene for over 30 years when, in 1994, he finally recorded his first album as a leader, Wild Cards. The singer/guitarist/harpist was far from a huge name in the blues world, but then, a lack of commercial success wasn't something that discouraged Delmark founder Bob Koester--if Koester felt that a blues or jazz artist deserved to be documented, he would put out an album regardless of how obscure he/she was.

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At 71, blues pianist/singer Moore is only up to his second CD, but it's a very good one. He's definitely reminiscent of his main influence, Roosevelt Sykes, just not as bawdy. Traces of Jay McShann also creep in here and there. Moore wrote all seventeen of these tracks, but you've heard them all under the guise of more familiar blues standards. The back-up band is solid; guitarist James Wheeler is an expert at economical, sweet, tasty solos and fills, Bob Stroger knows the right basslines to lay down, and drummer Wilie "Big Eyes" Smith is a legend. When Moore gets on a roll, he stays there, as the majority of his tunes are easy shuffles with New Orleans flourishes.

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A crude, saw-toothed edge defines the man known as T-Model Ford. His record is full of jagged guitar licks and dirty juke-joint aesthetics that bleed from the Delta's dark, lovesick soul. Not bad for a 78-year-old man... but maybe age is the only conduit for this kind of musical wisdom. <Amazon.com's Best of 2000>

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Like his brother Otis (Big Smokey), Albert Smothers was already a guitarist when he arrived in Chicago. Ten years younger than Big Smokey, and making the move ten years later, Little Smokey plays in a more modern style, indebted to the aggressive West Side guitarists and to Albert King. He led his own bands, and worked with Howlin' Wolf, Earl Hooker and Paul Butterfield among many others before temporarily quitting music in the '70s.

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