Led Zeppelin II
Artist: Led Zeppelin
Released: 1969

Recorded quickly during Led Zeppelin's first American tours, Led Zeppelin II provided the blueprint for all the heavy metal bands that followed it. Since the group could only enter the studio for brief amounts of time, most of the songs that compose II are reworked blues and rock & roll standards that the band was performing on-stage at the... [+] Read More

Recorded quickly during Led Zeppelin's first American tours, Led Zeppelin II provided the blueprint for all the heavy metal bands that followed it. Since the group could only enter the studio for brief amounts of time, most of the songs that compose II are reworked blues and rock & roll standards that the band was performing on-stage at the time. Not only did the short amount of time result in a lack of original material, it made the sound more direct. Jimmy Page still provided layers of guitar overdubs, but the overall sound of the album is heavy and hard, brutal and direct. "Whole Lotta Love," "The Lemon Song," and "Bring It on Home" are all based on classic blues songs -- only, the riffs are simpler and louder and each song has an extended section for instrumental solos. Of the remaining six songs, two sport light acoustic touches ("Thank You," "Ramble On"), but the other four are straight-ahead heavy rock that follows the formula of the revamped blues songs. While Led Zeppelin II doesn't have the eclecticism of the group's debut, it's arguably more influential. After all, nearly every one of the hundreds of Zeppelin imitators used this record, with its lack of dynamics and its pummeling riffs, as a blueprint. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: The Rolling Stones
Released: 1972

Greeted with decidedly mixed reviews upon its original release, Exile on Main St. has become generally regarded as the Rolling Stones' finest album. Part of the reason why the record was initially greeted with hesitant reviews is that it takes a while to assimilate. A sprawling, weary double album encompassing rock & roll, blues, soul, and... [+] Read More

Greeted with decidedly mixed reviews upon its original release, Exile on Main St. has become generally regarded as the Rolling Stones' finest album. Part of the reason why the record was initially greeted with hesitant reviews is that it takes a while to assimilate. A sprawling, weary double album encompassing rock & roll, blues, soul, and country, Exile doesn't try anything new on the surface, but the substance is new. Taking the bleakness that underpinned Let It Bleed and Sticky Fingers to an extreme, Exile is a weary record, and not just lyrically. Jagger's vocals are buried in the mix, and the music is a series of dark, dense jams, with Keith Richards and Mick Taylor spinning off incredible riffs and solos. And the songs continue the breakthroughs of their three previous albums. No longer does their country sound forced or kitschy -- it's lived-in and complex, just like the group's forays into soul and gospel. While the songs, including the masterpieces "Rocks Off," "Tumbling Dice," "Torn and Frayed," "Happy," "Let It Loose," and "Shine a Light," are all terrific, they blend together, with only certain lyrics and guitar lines emerging from the murk. It's the kind of record that's gripping on the very first listen, but each subsequent listen reveals something new. Few other albums, let alone double albums, have been so rich and masterful as Exile on Main St., and it stands not only as one of the Stones' best records, but sets a remarkably high standard for all of hard rock. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: Stevie Ray Vaughan and Double Trouble
Released: 1983

It's hard to overestimate the impact Stevie Ray Vaughan's debut, Texas Flood, had upon its release in 1983. At that point, blues was no longer hip, the way it was in the '60s. Texas Flood changed all that, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. Vaughan became... [+] Read More

It's hard to overestimate the impact Stevie Ray Vaughan's debut, Texas Flood, had upon its release in 1983. At that point, blues was no longer hip, the way it was in the '60s. Texas Flood changed all that, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. Vaughan became a genuine star and, in doing so, sparked a revitalization of the blues. This was a monumental impact, but his critics claimed that, no matter how prodigious Vaughan's instrumental talents were, he didn't forge a distinctive voice; instead, he wore his influences on his sleeve, whether it was Albert King's pinched yet muscular soloing or Larry Davis' emotive singing. There's a certain element of truth in that, but that was sort of the point of Texas Flood. Vaughan didn't hide his influences; he celebrated them, pumping fresh blood into a familiar genre. When Vaughan and Double Trouble cut the album over the course of three days in 1982, he had already played his set lists countless times; he knew how to turn this material inside out or goose it up for maximum impact. The album is paced like a club show, kicking off with Vaughan's two best self-penned songs, "Love Struck Baby" and "Pride and Joy," then settling into a pair of covers, the slow-burning title track and an exciting reading of Howlin' Wolf's "Tell Me," before building to the climax of "Dirty Pool" and "I'm Crying." Vaughan caps the entire thing with "Lenny," a lyrical, jazzy tribute to his wife. It becomes clear that Vaughan's true achievement was finding something personal and emotional by fusing different elements of his idols. Sometimes the borrowing was overt, and other times subtle, but it all blended together into a style that recalled the past while seizing the excitement and essence of the present. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Greatest Hits, Vol. 1: 1964-1966
Artist: The Yardbirds
Released: 1986

Greatest Hits, Vol. 1: 1964-1966 falls short of being a truly definitive compilation, stopping shortly after Jeff Beck joined the group and thereby leaving off anything from Roger the Engineer on. Still, as a collection of early singles, plus highlights from Five Live Yardbirds, this is first-rate, containing their tough blues-rock ravers and... [+] Read More

Greatest Hits, Vol. 1: 1964-1966 falls short of being a truly definitive compilation, stopping shortly after Jeff Beck joined the group and thereby leaving off anything from Roger the Engineer on. Still, as a collection of early singles, plus highlights from Five Live Yardbirds, this is first-rate, containing their tough blues-rock ravers and their first forays into psychedelia. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: John Mayall
Released: 1969

Recorded just after Mick Taylor departed for the Stones, John Mayall eliminated drums entirely on this live recording. With mostly acoustic guitars and John Almond on flutes and sax, Mayall and his band, as his typically overblown liner notes state, "explore seldom-used areas within the framework of low volume music." But it does work. The... [+] Read More

Recorded just after Mick Taylor departed for the Stones, John Mayall eliminated drums entirely on this live recording. With mostly acoustic guitars and John Almond on flutes and sax, Mayall and his band, as his typically overblown liner notes state, "explore seldom-used areas within the framework of low volume music." But it does work. The all-original material is flowing and melodic, with long jazzy grooves that don't lose sight of their bluesy underpinnings. Lyrically, Mayall stretches out a bit into social comment on "The Laws Must Change" on this fine, meditative mood album. ~ Richie Unterberger, All Music Guide [-] Hide

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Artist: Eric Clapton
Released: 1970

Eric Clapton's eponymous solo debut was recorded after he completed a tour with Delaney & Bonnie. Clapton used the core of the duo's backing band and co-wrote the majority of the songs with Delaney Bramlett -- accordingly, Eric Clapton sounds more laid-back and straightforward than any of the guitarist's previous recordings. There are still... [+] Read More

Eric Clapton's eponymous solo debut was recorded after he completed a tour with Delaney & Bonnie. Clapton used the core of the duo's backing band and co-wrote the majority of the songs with Delaney Bramlett -- accordingly, Eric Clapton sounds more laid-back and straightforward than any of the guitarist's previous recordings. There are still elements of blues and rock & roll, but they're hidden beneath layers of gospel, R&B, country, and pop flourishes. And the pop element of the record is the strongest of the album's many elements -- "Blues Power" isn't a blues song and only "Let It Rain," the album's closer, features extended solos. Throughout the album, Clapton turns out concise solos that de-emphasize his status as guitar god, even when they display astonishing musicality and technique. That is both a good and a bad thing -- it's encouraging to hear him grow and become a more fully rounded musician, but too often the album needs the spark that some long guitar solos would have given it. In short, it needs a little more of Clapton's personality. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: Cream
Released: 1967

The threesome of Jack Bruce, Ginger Baker, and legendary guitarist Eric Clapton forming the band Cream was a monumental effort of jazz, blues, and psychedelic rock during the British rock period of the late 1960s. Cream, with their raw fury of intense sound, was renowned for their rare talent of taking songs of complex arrangements and making... [+] Read More

The threesome of Jack Bruce, Ginger Baker, and legendary guitarist Eric Clapton forming the band Cream was a monumental effort of jazz, blues, and psychedelic rock during the British rock period of the late 1960s. Cream, with their raw fury of intense sound, was renowned for their rare talent of taking songs of complex arrangements and making them an act of spontaneous beauty during live shows. Disraeli Gears, their second release, was an essential landmark recording that brought listeners to the direction they were soon to take with Wheels of Fire. Taking on a circus-spinning arsenal of sounds and effects, Cream's fashionable art is a blend of highly sustained drenched distortion, rampant percussion, and a kaleidoscope of various musical textures and colors, both in melody and rhythm. Each of Disraeli Gears' list of 11 tunes is original in format, containing it own unique brands of dashing blues-laden guitar riffs by Clapton, as well as thick basslines and smashing drum leads. Highlights of the record feature Clapton's awe-inspiring and soul-gripping guitar leads, including hits such as "Sunshine of Your Love" and "Tales of Brave Ulysses." The latter is a magical poem laced into a line of mesmerizing chordal changes. Disraeli Gears is a definitive staple of early British rock and a sensational addition to the avid classic rock listener. ~ Shawn Haney, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Baddest of George Thorogood and the Destroyers
Artist: George Thorogood & the Destroyers
Released: 1992

The aptly-titled The Baddest of George Thorogood and the Destroyers offers a dozen tracks that cleanse the church of rock'n'roll of all but its most basic elements: guitar, bass, drums, and a pile of Chuck Berry, Bo Diddley and Rolling Stone licks. Delaware's George Thorogood has never quite captured his wildman live presence in the studio, but... [+] Read More

The aptly-titled The Baddest of George Thorogood and the Destroyers offers a dozen tracks that cleanse the church of rock'n'roll of all but its most basic elements: guitar, bass, drums, and a pile of Chuck Berry, Bo Diddley and Rolling Stone licks. Delaware's George Thorogood has never quite captured his wildman live presence in the studio, but having all his best material gathered on one disc -- including "Bad to the Bone," "Move It on Over," and "One Bourbon, One Scotch, One Beer" -- makes for a great party. Steve Morse's liner notes are brief but, like the songs, get right to the point ... cut to the bone, you might say. ~ Roch Parisien, All Music Guide [-] Hide

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Artist: The Allman Brothers Band
Released: 1970

The best studio album in the group's history, electric blues with an acoustic texture, virtuoso lead, slide, and organ playing, and a killer selection of songs, including "Midnight Rider," "Revival," "Don't Keep Me Wonderin'," and "In Memory of Elizabeth Reed" in its embryonic studio version, which is pretty impressive even at a mere six minutes... [+] Read More

The best studio album in the group's history, electric blues with an acoustic texture, virtuoso lead, slide, and organ playing, and a killer selection of songs, including "Midnight Rider," "Revival," "Don't Keep Me Wonderin'," and "In Memory of Elizabeth Reed" in its embryonic studio version, which is pretty impressive even at a mere six minutes and change. They also do the best white cover of Willie Dixon's "Hoochie Coochie Man" anyone's ever likely to hear. ~ Bruce Eder, All Music Guide [-] Hide

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Artist: The Fabulous Thunderbirds
Released: 1992

The best tracks from the Fabulous Thunderbirds' more rock-oriented years at CBS Associated Records are collected on this single-disc compilation. ~ Stephen Thomas Erlewine, All Music Guide

The best tracks from the Fabulous Thunderbirds' more rock-oriented years at CBS Associated Records are collected on this single-disc compilation. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: Fleetwood Mac
Released: 1995

If you've ever wondered what the original Fleetwood Mac really sounded like, these BBC Recordings give a very good idea. They're one part blues band, one part oldies act, one part serious, and one part tongue very much in cheek. Any band that could play Elmore James and B.B. King blues with absolute precision and passion one minute and... [+] Read More

If you've ever wondered what the original Fleetwood Mac really sounded like, these BBC Recordings give a very good idea. They're one part blues band, one part oldies act, one part serious, and one part tongue very much in cheek. Any band that could play Elmore James and B.B. King blues with absolute precision and passion one minute and become a drunken lunatic rockabilly band the next had to have chops and a sense of humor and this version of the Mac had both in spades. Jeremy Spencer craziness balances out Peter Green's seriousness, while Kirwan and the rhythm section of McVie and Fleetwood rope it all in. An illuminating two disc set that any roots music or blues lover will adore. Highly recommended. ~ Cub Koda, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Very Best of J.J. Cale
Artist: J.J. Cale
Released: 1998

The Very Best of J.J. Cale is an excellent single-disc collection of the music from one of the most influential singer-songwriters that emerged out of America during the 1970s. Just as Townes Van Zandt and Guy Clark define Texas songwriting, Cale is the epitome of the Oklahoma writers. Although most people know him as the writer of Eric... [+] Read More

The Very Best of J.J. Cale is an excellent single-disc collection of the music from one of the most influential singer-songwriters that emerged out of America during the 1970s. Just as Townes Van Zandt and Guy Clark define Texas songwriting, Cale is the epitome of the Oklahoma writers. Although most people know him as the writer of Eric Clapton's hit "Cocaine," Cale constantly offered up other quality material that could only be defined by his vocal style, which can accurately be described as "reclining in the groove." Popular tunes such as "Call Me the Breeze," "Hey Baby" and "Crazy Mama" have a deceptively laid-back intensity that to a large degree influenced such rockers as Lowell George of Little Feat and the previously mentioned Clapton. Cale's guitar work proved to be influential as well (again on Clapton), but also popular swamp-rockers such as Delaney Bramlett. The Very Best of J.J. Cale offers a comprehensive collection from Cale's early-'70s recordings in Nashville, to Muscle Shoals in Alabama, to his later work on Hollywood. If you're going to explore Cale's groove, this is the place to start. ~ Matthew Greenwald, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Full House Live
Artist: J. Geils Band
Released: 1972

Live is the way the J. Geils Band should be experienced; they put on a show like few others, and Full House is the proof. From start to finish, there is not one bad cut. From the opener, "First I Look at the Purse" right on through "Looking for a Love," these guys don't give up an inch. ~ James Chrispell, All Music Guide

Live is the way the J. Geils Band should be experienced; they put on a show like few others, and Full House is the proof. From start to finish, there is not one bad cut. From the opener, "First I Look at the Purse" right on through "Looking for a Love," these guys don't give up an inch. ~ James Chrispell, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Anthology
Artist: Joe Cocker
Released: 1999

A&M's double-disc Anthology may be too much for casual fans that just want the hits, but anyone else will find this exhaustive 37-track chronicle of Joe Cocker's prime years definitive. The first disc concentrates on his first three albums, buttressed by a rare 1964 single of the Beatles' "I'll Cry Instead" and his 1970 non-LP single "The... [+] Read More

A&M's double-disc Anthology may be too much for casual fans that just want the hits, but anyone else will find this exhaustive 37-track chronicle of Joe Cocker's prime years definitive. The first disc concentrates on his first three albums, buttressed by a rare 1964 single of the Beatles' "I'll Cry Instead" and his 1970 non-LP single "The Letter"/"Space Captain." Disc two features highlights of all the albums he recorded between 1972 and 1982, selecting not only hits, but key album tracks. The end result is a collection that is concise and definitive. It may be missing such latter day hits as "When the Night Comes" and doesn't cover as much ground as the box set Long Voyage Home, but anyone looking for a comprehensive collection of Cocker's classic recordings will be satisfied by Anthology. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Calling Card
Artist: Rory Gallagher
Released: 1976

Gallagher's second album for Chrysalis -- and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) -- was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the... [+] Read More

Gallagher's second album for Chrysalis -- and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) -- was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut -- a perennial concert favorite -- found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame. While "Moonchild," "Country Mile," and "Secret Agent" displayed catchy hooks, engaging riffs, and raging guitar work (the latter adds a touch of Deep Purple's Jon Lord-styled organ to the proceedings), it's the elegant ballad "I'll Admit You're Gone" that shifts the guitarist into calmer waters and proves his melodic talent was just as cutting on quieter tunes. And it's a crime that the gorgeous "Edged in Blue," certainly one of the artist's saddest and most beautiful pop melodies, was overlooked in his catalog. The 1999 reissue sports track-by-track and first person liner notes from Gallagher's brother Donal, crisp remastered sound, and two additional songs not included on previous versions, one of which, "Public Enemy (B-Girl Version)," later appeared on the Photo-Finish album in an inferior performance to this. Arguably Rory Gallagher's finest studio effort, it was among his best and most varied batch of songs, and it is a perfect place for the curious to start their collection as well as an essential disc showing Gallagher at the peak of his powers. ~ Hal Horowitz, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Second Winter
Artist: Johnny Winter
Released: 1969

Johnny's second Columbia album shows an artist in transition. He's still obviously a Texas bluesman, recording in the same trio format that he left Dallas with. But his music is moving toward the more rock & roll sounds he would go on to create. The opener, "Memory Pain," moves him into psychedelic blues-rock territory, while old-time rockers... [+] Read More

Johnny's second Columbia album shows an artist in transition. He's still obviously a Texas bluesman, recording in the same trio format that he left Dallas with. But his music is moving toward the more rock & roll sounds he would go on to create. The opener, "Memory Pain," moves him into psychedelic blues-rock territory, while old-time rockers like "Johnny B. Goode," "Miss Ann," and "Slippin' and Slidin'" provide him with familiar landscapes on which to spray his patented licks. His reworking of Dylan's "Highway 61 Revisited" is the high spot of the record, a career-defining track that's still a major component of his modern-day set list. This was originally released back in the day as a three-sided vinyl double album, by the way. ~ Cub Koda, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Layla and Other Assorted Love Songs
Artist: Derek & the Dominos
Released: 1970

Wishing to escape the superstar expectations that sank Blind Faith before it was launched, Eric Clapton retreated with several sidemen from Delaney & Bonnie to record the material that would form Layla and Other Assorted Love Songs. From these meager beginnings grew his greatest album. Duane Allman joined the band shortly after recording began,... [+] Read More

Wishing to escape the superstar expectations that sank Blind Faith before it was launched, Eric Clapton retreated with several sidemen from Delaney & Bonnie to record the material that would form Layla and Other Assorted Love Songs. From these meager beginnings grew his greatest album. Duane Allman joined the band shortly after recording began, and his spectacular slide guitar pushed Clapton to new heights. Then again, Clapton may have gotten there without him, considering the emotional turmoil he was in during the recording. He was in hopeless, unrequited love with Patti Boyd, the wife of his best friend, George Harrison, and that pain surges throughout Layla, especially on its epic title track. But what really makes Layla such a powerful record is that Clapton, ignoring the traditions that occasionally painted him into a corner, simply tears through these songs with burning, intense emotion. He makes standards like "Have You Ever Loved a Woman" and "Nobody Knows You (When You're Down and Out)" into his own, while his collaborations with Bobby Whitlock -- including "Any Day" and "Why Does Love Got to Be So Sad?" -- teem with passion. And, considering what a personal album Layla is, it's somewhat ironic that the lovely coda "Thorn Tree in the Garden" is a solo performance by Whitlock, and that the song sums up the entire album as well as "Layla" itself. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: Blind Faith
Released: 1969

Blind Faith's first and last album, more than 30 years old and counting, remains one of the jewels of the Eric Clapton, Steve Winwood, and Ginger Baker catalogs, despite the crash-and-burn history of the band itself, which scarcely lasted six months. As much a follow-up to Traffic's self-titled second album as it is to Cream's final output, it... [+] Read More

Blind Faith's first and last album, more than 30 years old and counting, remains one of the jewels of the Eric Clapton, Steve Winwood, and Ginger Baker catalogs, despite the crash-and-burn history of the band itself, which scarcely lasted six months. As much a follow-up to Traffic's self-titled second album as it is to Cream's final output, it merges the soulful blues of the former with the heavy riffing and outsized song lengths of the latter for a very compelling sound unique to this band. Not all of it works -- between the virtuoso electric blues of "Had to Cry Today," the acoustic-textured "Can't Find My Way Home," the soaring "Presence of the Lord" (Eric Clapton's one contribution here as a songwriter, and the first great song he ever authored) and "Sea of Joy," the band doesn't do much with the Buddy Holly song "Well All Right"; and Ginger Baker's "Do What You Like" was a little weak to take up 15 minutes of space on an LP that might have been better used for a shorter drum solo and more songs. Unfortunately, the group was never that together as a band and evidently had just the 42 minutes of new music here ready to tour behind. ~ Bruce Eder, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Allman Brothers Band
Artist: The Allman Brothers Band
Released: 1969

This might be the best debut album ever delivered by an American blues band, a bold, powerful, hard-edged, soulful essay in electric blues with a native Southern ambience. Some lingering elements of the psychedelic era then drawing to a close can be found in "Dreams," along with the template for the group's on-stage workouts with "Whipping... [+] Read More

This might be the best debut album ever delivered by an American blues band, a bold, powerful, hard-edged, soulful essay in electric blues with a native Southern ambience. Some lingering elements of the psychedelic era then drawing to a close can be found in "Dreams," along with the template for the group's on-stage workouts with "Whipping Post," and a solid cover of Muddy Waters' "Trouble No More." There isn't a bad song here, and only the fact that the group did even better the next time out keeps this from getting the highest possible rating. ~ Bruce Eder, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Truth
Artist: Jeff Beck
Released: 1968

Despite being the premiere of heavy metal, Jeff Beck's Truth has never quite carried its reputation the way the early albums by Led Zeppelin did, or even Cream's two most popular LPs, mostly as a result of the erratic nature of the guitarist's subsequent work. Time has muted some of its daring, radical nature, elements of which were appropriated... [+] Read More

Despite being the premiere of heavy metal, Jeff Beck's Truth has never quite carried its reputation the way the early albums by Led Zeppelin did, or even Cream's two most popular LPs, mostly as a result of the erratic nature of the guitarist's subsequent work. Time has muted some of its daring, radical nature, elements of which were appropriated by practically every metal band (and most arena rock bands) that followed. Truth was almost as groundbreaking and influential a record as the first Beatles, Rolling Stones, or Who albums. Its attributes weren't all new -- Cream and Jimi Hendrix had been moving in similar directions -- but the combination was: the wailing, heart-stoppingly dramatic vocalizing by Rod Stewart, the thunderous rhythm section of Ron Wood's bass and Mickey Waller's drums, and Beck's blistering lead guitar, which sounds like his amp is turned up to 13 and ready to short out. Beck opens the proceedings in a strikingly bold manner, using his old Yardbirds hit "Shapes of Things" as a jumping-off point, deliberately rebuilding the song from the ground up so it sounds closer to Howlin' Wolf. There are lots of unexpected moments on this record: a bone-pounding version of Willie Dixon's "You Shook Me"; a version of Jerome Kern's "Ol' Man River" done as a slow electric blues; a brief plunge into folk territory with a solo acoustic guitar version of "Greensleeves" (which was intended as filler but audiences loved); the progressive blues of "Beck's Bolero"; the extended live "Blues Deluxe"; and "I Ain't Superstitious," a blazing reworking of another Willie Dixon song. It was a triumph -- a number 15 album in America, astoundingly good for a band that had been utterly unknown in the U.S. just six months earlier -- and a very improbable success. ~ Bruce Eder, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Viva Santana! - COLUMBIA/SONY
Artist: Santana
Released: 1988

Released in 1988, Viva Santana! is a generous 30-track overview of Santana's first 20 years of recording. Appropriately, it concentrates on the band's glory years of the late '60s and early '70s, when both Carlos Santana and his supporting musicians were on fire. There are several unreleased cuts, including live tracks included for hardcore... [+] Read More

Released in 1988, Viva Santana! is a generous 30-track overview of Santana's first 20 years of recording. Appropriately, it concentrates on the band's glory years of the late '60s and early '70s, when both Carlos Santana and his supporting musicians were on fire. There are several unreleased cuts, including live tracks included for hardcore fans, but Viva Santana! is most useful as a thorough overview for curious listeners. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Tres Hombres
Artist: ZZ Top
Released: 1973

Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn't have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that... [+] Read More

Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn't have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that they sound indestructible, and the group brought the best set of songs they'd ever have to the table. On the surface, there's nothing really special about the record, since it's just a driving blues-rock album from a Texas bar band, but that's what's special about it. It has a filthy groove and an infectious feel, thanks to Billy Gibbons' growling guitars and the steady propulsion of Dusty Hill and Frank Beard's rhythm section. They get the blend of bluesy shuffles, gut-bucket rocking, and off-beat humor just right. ZZ Top's very identity comes from this earthy sound and songs as utterly infectious as "Waitin' for the Bus," "Jesus Just Left Chicago," "Move Me on Down the Line," and the John Lee Hooker boogie "La Grange." In a sense, they kept trying to remake this record from this point on -- what is Eliminator if not Tres Hombres with sequencers and synthesizers? -- but they never got it better than they did here. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Electric Ladyland
Artist: Jimi Hendrix Experience
Released: 1968

Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's... [+] Read More

Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to.

But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer (who supervised the remastering of the original two-track stereo masters for this 1997 reissue on MCA) for taking Hendrix's visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here. What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound. As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: "Crosstown Traffic," his reinterpretation of Bob Dylan's "All Along the Watchtower," "Burning of the Midnight Lamp," the spacy "1983...(A Merman I Should Turn to Be)," and "Voodoo Chile (Slight Return)," a landmark in Hendrix's playing. With this double set (now on one compact disc), Hendrix once again pushed the concept album to new horizons. ~ Cub Koda, All Music Guide [-] Hide

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Artist: Jimi Hendrix Experience
Released: 1993

One of the most stunning debuts in rock history, and one of the definitive albums of the psychedelic era. On Are You Experienced?, Jimi Hendrix synthesized various elements of the cutting edge of 1967 rock into music that sounded both futuristic and rooted in the best traditions of rock, blues, pop, and soul. It was his mind-boggling guitar... [+] Read More

One of the most stunning debuts in rock history, and one of the definitive albums of the psychedelic era. On Are You Experienced?, Jimi Hendrix synthesized various elements of the cutting edge of 1967 rock into music that sounded both futuristic and rooted in the best traditions of rock, blues, pop, and soul. It was his mind-boggling guitar work, of course, that got most of the ink, building upon the experiments of British innovators like Jeff Beck and Pete Townshend to chart new sonic territories in feedback, distortion, and sheer volume. It wouldn't have meant much, however, without his excellent material, whether psychedelic frenzy ("Foxey Lady," "Manic Depression," "Purple Haze"), instrumental freak-out jams ("Third Stone From the Sun"), blues ("Red House," "Hey Joe"), or tender, poetic compositions ("The Wind Cries Mary") that demonstrated the breadth of his songwriting talents. Not to be underestimated were the contributions of drummer Mitch Mitchell and bassist Noel Redding, who gave the music a rhythmic pulse that fused parts of rock and improvised jazz. Many of these songs are among Hendrix's very finest; it may be true that he would continue to develop at a rapid pace throughout the rest of his brief career, but he would never surpass his first LP in terms of consistently high quality. [The 1993 MCA version not only replaces the cover art with some truly awful artwork, but combines the US and UK releases, adhering to neither original running order. Bad move.] ~ Richie Unterberger, All Music Guide [-] Hide

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Artist: Big Brother & the Holding Company
Released: 1967

Big Brother's debut album was not recorded under optimum circumstances. The sessions were too rushed, and the sound thinner than the band would have liked, especially given how much more powerful some of the material (such as "Down on Me") would sound in later concerts. Still, it's not the useless throwaway some critics have portrayed it as, and... [+] Read More

Big Brother's debut album was not recorded under optimum circumstances. The sessions were too rushed, and the sound thinner than the band would have liked, especially given how much more powerful some of the material (such as "Down on Me") would sound in later concerts. Still, it's not the useless throwaway some critics have portrayed it as, and it decently conveys the band's loose, sometimes reckless blend of blues, folk-rock, and psychedelia. Janis Joplin sings with soulful intensity on "Down on Me" and "Call on Me"; Peter Albin's "Light Is Faster Than Sound" is good wacked-out early Haight-Ashbury psychedelic rock; and the rock cover of Moondog's "All Is Loneliness" is spookily imaginative. The 1999 CD reissue adds the worthy single "Coo Coo"/"The Last Time" (good Eastern-influenced guitar work on the former, a good hurt hard rock vocal from Joplin on the latter) and previously unreleased alternate takes of "Call on Me" and "Bye, Bye Baby." ~ Richie Unterberger, All Music Guide [-] Hide

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Artist: Janis Joplin & The Full Tilt Boogie Band
Released: 1971

Janis Joplin's second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out. Thanks also to a more consistent set of songs, the results are magnificent -- given room to breathe, Joplin's trademark... [+] Read More

Janis Joplin's second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out. Thanks also to a more consistent set of songs, the results are magnificent -- given room to breathe, Joplin's trademark rasp conveys an aching, desperate passion on funked-up, bluesy rockers, ballads both dramatic and tender, and her signature song, the posthumous number one hit "Me and Bobby McGee." The unfinished "Buried Alive in the Blues" features no Joplin vocals -- she was scheduled to record them on the day after she was found dead. Its incompleteness mirrors Joplin's career; Pearl's power leaves the listener to wonder what else Joplin could have accomplished, but few artists could ask for a better final statement. The 1999 CD reissue adds four previously unreleased live July 1970 recordings: "Tell Mama," "Little Girl Blue," "Try," and "Cry Baby." ~ Steve Huey, All Music Guide [-] Hide

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Artist: Big Brother & the Holding Company
Released: 1999

Cheap Thrills, the major-label debut of Janis Joplin, was one of the most eagerly anticipated, and one of the most successful, albums of 1968. Joplin and Big Brother had earned extensive press notice ever since they played the Monterey Pop Festival in June 1967, but their only recorded work was a poorly produced, self-titled Mainstream album,... [+] Read More

Cheap Thrills, the major-label debut of Janis Joplin, was one of the most eagerly anticipated, and one of the most successful, albums of 1968. Joplin and Big Brother had earned extensive press notice ever since they played the Monterey Pop Festival in June 1967, but their only recorded work was a poorly produced, self-titled Mainstream album, and they spent a year getting out of their contract with Mainstream in order to sign with Columbia while demand built. When Cheap Thrills appeared in August 1968, it shot into the charts, reaching number one and going gold within a couple of months, and "Piece of My Heart" became a Top 40 hit. Joplin, with her ear- (and vocal cord-) shredding voice, was the obvious standout. Nobody had ever heard singing as emotional, as desperate, as determined, as loud as Joplin's, and Cheap Thrills was her greatest moment. Big Brother's backup, typical of the guitar-dominated sound of San Francisco psychedelia, made up in enthusiasm what it lacked in precision. But everybody knew who the real star was, and Joplin played her last gig with Big Brother while the album was still on top of the charts. Neither she nor the band would ever equal it. Heard today, Cheap Thrills is a musical time capsule and remains a showcase for one of rock's most distinctive singers. [The 1999 CD reissue adds the previously unreleased outtakes "Roadblock" and "Flower in the Sun" from the Cheap Thrills sessions, along with previously unreleased live March 1968 versions of "Catch Me Daddy" and "Magic of Love."] ~ William Ruhlmann, All Music Guide [-] Hide

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Artist: Delaney & Bonnie & Friends
Released: 1970

This 42-minute, eight-song live album, cut at Croydon late in 1969, is not only the peak of Delaney & Bonnie's output, but also the nexus in the recording and performing careers of Eric Clapton and George Harrison. On Tour With Eric Clapton features the guitarist performing the same blend of country, blues, and gospel that would characterize his... [+] Read More

This 42-minute, eight-song live album, cut at Croydon late in 1969, is not only the peak of Delaney & Bonnie's output, but also the nexus in the recording and performing careers of Eric Clapton and George Harrison. On Tour With Eric Clapton features the guitarist performing the same blend of country, blues, and gospel that would characterize his own early solo ventures in 1970. He rises to the occasion with dazzling displays of virtuosity throughout, highlighted by a dizzying solo on "I Don't Want to Discuss," a long, languid part on "Only You Know and I Know," and searing, soulful lead on the beautifully harmonized "Coming Home." Vocally, Delaney & Bonnie were never better than they come off on this live set, and the 11-piece band sounds tighter musically than a lot of quartets that were working at the time, whether they're playing extended blues or ripping through a medley of Little Richard songs. It's no accident that the band featured here would become Clapton's own studio outfit for his debut solo LP, or that the core of this group -- Bobby Whitlock, Carl Radle, and Jim Gordon -- would transform itself into Derek & the Dominoes as well; or that most of the full band here would also comprise the group that played with George Harrison on All Things Must Pass and at the Concert for Bangladesh, except that the playing here (not to mention the recording) is better. Half the musicians on this record achieved near-superstar status less than a year later, and although the reasons behind their fame didn't last, listening to their work decades later, it all seems justified. One only wishes that Atlantic Records might check their vaults for any unreleased numbers from these shows that could fit on an extended CD. ~ Bruce Eder, All Music Guide [-] Hide

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Artist: The Animals
Released: 1988

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Artist: Cream
Released: 1995

There have been many compilations drawn from the four albums Cream originally released between 1966 and 1969. But the one most commonly available since the early 1980s was the ten-track Strange Brew: The Very Best of Cream (1983) (Polydor 811 639), a bare-bones collection focusing on the group's hit singles. Note, then, that this album, despite... [+] Read More

There have been many compilations drawn from the four albums Cream originally released between 1966 and 1969. But the one most commonly available since the early 1980s was the ten-track Strange Brew: The Very Best of Cream (1983) (Polydor 811 639), a bare-bones collection focusing on the group's hit singles. Note, then, that this album, despite the similar title, is a newly compiled 1995 CD/cassette containing all of the recordings on Strange Brew, plus ten more. It is thus the most comprehensive Cream anthology on the market, including all the group's essential tracks on a single disc with superior sound in a package containing good annotations. ~ William Ruhlmann, All Music Guide [-] Hide

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Artist: Them
Released: 1987

Not to be confused with the identically titled Parrot Records release, which is a 20-track double-LP set, this is a 13-track single CD set and a U.S. reissue of the Decca U.K. LP from 1982. It would have been less confusing if they had called it Them's Greatest Hits, since it is primarily a singles compilation. But then, only four of Them's... [+] Read More

Not to be confused with the identically titled Parrot Records release, which is a 20-track double-LP set, this is a 13-track single CD set and a U.S. reissue of the Decca U.K. LP from 1982. It would have been less confusing if they had called it Them's Greatest Hits, since it is primarily a singles compilation. But then, only four of Them's singles were hits, either in the U.K. or the U.S. -- "Baby, Please Don't Go," "Gloria," "Here Comes the Night," and "Mystic Eyes," all included here. Also featured are such non-charting singles as "Don't Start Crying Now," "One More Time," "(It Won't Hurt) Half As Much," and "Richard Cory." This is not the ideal Them compilation, but this is the one that contains Them's most familiar material. ~ William Ruhlmann, All Music Guide [-] Hide

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Artist: The Blues Project
Released: 1997

The most complete Blues Project collection ever assembled, the two-disc Anthology compiles 36 tracks taken from their three albums on Verve and their two records on Capitol as well as rare singles, previously unreleased songs and alternate versions, and material from solo projects. ~ Jason Ankeny, All Music Guide

The most complete Blues Project collection ever assembled, the two-disc Anthology compiles 36 tracks taken from their three albums on Verve and their two records on Capitol as well as rare singles, previously unreleased songs and alternate versions, and material from solo projects. ~ Jason Ankeny, All Music Guide [-] Hide

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Artist: ZZ Top
Released: 1975

Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect.... [+] Read More

Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect. Why? Because the studio side is a worthy successor to the all-fine Tres Hombres, driven by "Tush" and "Heard It on the X," two of their greatest songs that build on that album by consolidating their sound and amplifying their humor. If they had sustained this energy and quality throughout a full studio album, it would have been their greatest, but instead the mood is broken by the live cuts. Now, these are really good live cuts -- and "Backdoor Medley" and "Jailhouse Rock" were fine interpretations, making familiar songs sound utterly comfortable in their signature sound -- and Fandango! remains one of their better albums, but it's hard not to think that it could have been even better. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: Humble Pie
Released: 1987

Released in 1987, during the thick of the Classics series, this compilation winds up being one of the most successful of its brethren, containing almost all of Humble Pie's greatest hits, including "I Don't Need No Doctor," "Hot N Nasty," "Shine On," "30 Days in the Hole," and "C'Mon Everybody." This isn't a strict hits compilation, yet it... [+] Read More

Released in 1987, during the thick of the Classics series, this compilation winds up being one of the most successful of its brethren, containing almost all of Humble Pie's greatest hits, including "I Don't Need No Doctor," "Hot N Nasty," "Shine On," "30 Days in the Hole," and "C'Mon Everybody." This isn't a strict hits compilation, yet it summarizes the band's strengths better than most of its ilk and winds up being an effective introduction to the band. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Artist: The Paul Butterfield Blues Band
Released: 1965

Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band,... [+] Read More

Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ. The result was a wonderfully messy and boisterous display of American-styled blues, with intensity and pure passion derived from every bent note. In front of all these instruments is Butterfield's harmonica, beautifully dictating a mood and a genuine feel that is no longer existent, even in today's blues music. Each song captures the essence of Chicago blues in a different way, from the back-alley feel of "Born in Chicago" to the melting ease of Willie Dixon's "Mellow Down Easy" to the authentic devotion that emanates from Bishop and Butterfield's "Our Love Is Drifting." "Shake Your Money Maker," "Blues With a Feeling," and "I Got My Mojo Working" (with Lay on vocals) are all equally moving pieces performed with a raw adoration for blues music. Best of all, the music that pours from this album is unfiltered...blared, clamored, and let loose, like blues music is supposed to be released. A year later, 1966's East West carried on with the same type of brash blues sound partnered with a jazzier feel, giving greater to attention to Bishop's and Bloomfield's instrumental talents. ~ Mike DeGagne, All Music Guide [-] Hide

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Artist: Little Feat
Released: 1972

Little Feat's debut may have been a great album but it sold so poorly, they had to either broaden their audience or, in all likelihood, they'd be dropped from Warner. So, Sailin' Shoes is a consciously different record from its predecessor - less raw and bluesy, blessed with a varied production and catchier songs. That still doesn't make it a... [+] Read More

Little Feat's debut may have been a great album but it sold so poorly, they had to either broaden their audience or, in all likelihood, they'd be dropped from Warner. So, Sailin' Shoes is a consciously different record from its predecessor - less raw and bluesy, blessed with a varied production and catchier songs. That still doesn't make it a pop record, since Little Feat, particularly in its first incarnation, was simply too idiosyncratic, earthy and strange for that. It is, however, an utterly thrilling, individual blend of pop, rock, blues and country, due in no small part to a stellar set of songs from Lowell George. If anything, his quirks are all the more apparent here than they were on the debut, since Ted Templeman's production lends each song its own character, plus his pen was getting sharper. George truly finds his voice on this record, with each of his contributions sparkling with off-kilter humor, friendly surreal imagery and humanity, and he demonstrates he can authoritatively write anything from full-throttle rock & roll ("Teenage Nervous Breakdown"), sweet ballads ("Trouble," a sublimely reworked "Willin'"), skewered folk ("Sailin' Shoes"), paranoid rock ("Cold, Cold, Cold") and blues ("A Apolitical Blues") and, yes, even hooky mainstream rock ("Easy to Slip," which should have been the hit the band intended it to be). That's not to discount the contributions of the other members, particularly Bill Payne and Richie Hayward's "Tripe Face Boogie," which is justifiably one of the band's standards, but the thing that truly stuns on Sailin' Shoes is George's songwriting and how the band brings it to a full, colorful life. Nobody could master the twists and turns within George's songs better than Little Feat, and both the songwriter and his band are in prime form here. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Best of Canned Heat - EMI
Artist: Canned Heat
Released: 1972

This ten-track set contains essential sides from the classic rock blues and boogie combo Canned Heat, culled from their first four long-players: Canned Heat (1967), Boogie With Canned Heat (1968), Living the Blues [Akarma] (1968), and Hallelujah (1969). Notably, this discounts Canned Heat Cookbook (1969), a hits package that cashed in on their... [+] Read More

This ten-track set contains essential sides from the classic rock blues and boogie combo Canned Heat, culled from their first four long-players: Canned Heat (1967), Boogie With Canned Heat (1968), Living the Blues [Akarma] (1968), and Hallelujah (1969). Notably, this discounts Canned Heat Cookbook (1969), a hits package that cashed in on their association with the Woodstock Music and Arts Fair, and was the first LP to contain the single "Going up the Country." The core personnel during this seminal run includes Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), and Bob "The Bear" Hite (vocals). Frank Cook (drums) stayed long enough to play on their eponymous debut LP, and was replaced by Aldolfo "Fido" Dela Parra (drums) prior to Boogie With Canned Heat (1968). The Heat's interpretations of both blues standards, such as Muddy Waters' "Rollin' & Tumblin'," or the funky update of Wilbert Harrison's "Let's Work Together," were lauded for their uncanny authenticity. With an almost cerebral respect for their craft, few would have guessed Canned Heat did not hail from the R&B meccas of Chicago, Memphis, or St. Louis, but rather the Los Angeles-area artist colony of Topanga Canyon. Their light-hearted reworking of William Harris' "Bullfrog Blues" also became an enthusiastic favorite, staying in the Heat's concert repertoire for decades to follow. In addition to the slightly psychedelic and rambling original "On the Road Again," they were also responsible for the anti-speed anthem "Amphetamine Annie," and the extended musical memoir, "Fried Hockey Boogie." With Hite at the helm, each member is presented as they solo, building up to an open-throttle jam, concluding with the proclamation "...Don't forget to boogie!" When first issued, Best of Canned Heat [EMI] (1990) was one of the only comprehensive CD collections highlighting the band. In the wake of Best of Canned Heat [Disky] (1999), or the two-disc Uncanned! The Best of Canned Heat (1994), this title may come up short. However, those seeking a cursory compilation will probably find all they need here. ~ Lindsay Planer, All Music Guide [-] Hide

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Artist: J. Geils Band
Released: 1976

Double-album live sets came into vogue in 1976 after Peter Frampton's sales went through the roof for A&M, Bob Seger found fame with Live Bullet on Capitol, and the J. Geils Band released its second in-concert document in four years, Blow Your Face Out. There is great power in these grooves recorded over two nights, November 15 and November 19,... [+] Read More

Double-album live sets came into vogue in 1976 after Peter Frampton's sales went through the roof for A&M, Bob Seger found fame with Live Bullet on Capitol, and the J. Geils Band released its second in-concert document in four years, Blow Your Face Out. There is great power in these grooves recorded over two nights, November 15 and November 19, at the now deconstructed Boston Garden and in Detroit at Cobo Hall. Here's the beautiful dilemma with the Geils band: Live: Full House, recorded in Detroit in April of 1972, contains five songs that became J. Geils standards, and none of them overlap on the 1982 EMI single live disc, Showtime, chock-full of their latter-day classics. Can you believe there is absolutely no overlap from the first or third live album on this double disc, which came in between (except for "Looking for a Love," uncredited, which they slip into the intro of "Houseparty" on side two)? The Rhino CD contains Jeff Tamarkin's liner notes, while the original Atlantic album has an exquisite gatefold chock-full of photos, and inner sleeves with priceless band memo stuff à la Grand Funk's Live Album. Sides one and two are great, and three and four are even better. "Detroit Breakdown" rocks and grooves, with tons of audience applause...Wolfy and the polished authority of his monologues are in command as the band oozes into "Chimes" from 1973's Ladies Invited. About three and a half minutes longer than the five-minute original, it is one of many highlights on this revealing pair of discs. A precursor to 1977's title track, "Monkey Island," "Chimes" gives this enigmatic band a chance to jam out slowly and lovingly over its groove. There is so much to this album: the Janis Joplin standard "Raise Your Hand" written by Eddie Floyd, Albert Collins' "Sno-Cone" from their first album, and "Truck Drivin' Man" beating Bachman-Turner Overdrive to the punch. B.B. King producer Bill Szymczyk does a masterful job bringing it all together, and the band photos on back look...roguish. "Must of Got Lost," "Where Did Our Love Go," and "Give It to Me" are here in all their glory, a different glory than the studio versions, on an album that should have done for Geils what Live Bullet and Frampton Comes Alive did for their respective artists. If only a legitimate release of their 1999 tour would be issued to stand next to this monster -- during that tour they combined the best elements of all three of their previous live discs. The J. Geils Band is more important and influential than the boys have been given credit for. It will be the live documents that ensure they eventually get their due, and Blow Your Face Out is a very worthy component that can still frazzle speakers. ~ Joe Viglione, All Music Guide [-] Hide

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