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1-Forty Days and Forty Nights 2-(I'm Your) Hoochie Coochie Man 3-Rock Me 4-Baby Please Don't Go 5-She Moves Me 6-Got My Mojo Working 7-You Can't Lose What You Ain't Never Had 8-Forty Days and Forty Nights 9-Baby Please Don't Go 10-Thirteen Highway 11-Rock Me 12-Honey Bee (Sail On) 13-Trouble No More 14-(I'm Your) Hoochie Coochie Man 15-Long Distance Call (1966 'Geffen')(74:28/15) Recorded Live / Auditorium - San Francisco 11/04-06/1966.
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16 of 16 people found the following review helpful
Format:Audio CD
Well, I already gave it five stars, so I don't suppose I'm keeping anybody in suspense here. But yes, when it is as stellar as this one we do.
This is well over an hour of highlights from the Muddy Waters Blues Band's 1966 stay at San Francisco's Fillmore Auditorium, and the fidelity is absolutely excellent, the "bootleg" layout notwithstanding.
There is plenty of live Muddy Waters out there, yes, but almost all of it (with the exception of the classic Newport album) is from the 70s. This, however, is from the mid-60, and thus significantly closer to Muddy Waters' prime. Not that Muddy was ever that far off his prime, but he does sound less laid-back here than on several of his latter-day recordings.
Muddy's vocals are powerful and aggressive all the way through, and the hard-edged band is no less terrific. It has a grittier sound than the more frequently recorded 70s band which featured Bob Margolin, Pinetop Perkins, and Willie "Big Eyes" Smith, and these recordings differ from almost all other live recordings of the great man in having no piano player present. Now, I would never suggest that Muddy sans piano was in any way better than Muddy plus piano, but there are plenty of live albums out there which feature either Pinetop Perkins or the great Otis Spann, and it is actually quite nice to hear something a little different. And harpist George "Harmonica" Smith deserves special praise; his huge, horn-like tones and gritty, forceful playing has more character than what you'll hear from most of Muddy Waters' other post-50s harpists (with the exception of James Cotton, of course).
These recordings were made over three consecutive nights, and a few songs appear twice, including "Hoochie Coochie Man" and "Forty Days and Forty Nights". It would have been more interesting to have 15 different songs, of course, but it is hard to fault what is here, really. The best, tightest live "Long Distance Call" ever. Two tough, punchy renditions of "Forty Days and Forty Nights". A swinging, swaggering "Got My Mojo Working", and plenty more.
These are tight, compelling performances by one of the best bands in the business, anchored by the great Muddy Waters in top form. It doesn't get much better than that.
This is well over an hour of highlights from the Muddy Waters Blues Band's 1966 stay at San Francisco's Fillmore Auditorium, and the fidelity is absolutely excellent, the "bootleg" layout notwithstanding.
There is plenty of live Muddy Waters out there, yes, but almost all of it (with the exception of the classic Newport album) is from the 70s. This, however, is from the mid-60, and thus significantly closer to Muddy Waters' prime. Not that Muddy was ever that far off his prime, but he does sound less laid-back here than on several of his latter-day recordings.
Muddy's vocals are powerful and aggressive all the way through, and the hard-edged band is no less terrific. It has a grittier sound than the more frequently recorded 70s band which featured Bob Margolin, Pinetop Perkins, and Willie "Big Eyes" Smith, and these recordings differ from almost all other live recordings of the great man in having no piano player present. Now, I would never suggest that Muddy sans piano was in any way better than Muddy plus piano, but there are plenty of live albums out there which feature either Pinetop Perkins or the great Otis Spann, and it is actually quite nice to hear something a little different. And harpist George "Harmonica" Smith deserves special praise; his huge, horn-like tones and gritty, forceful playing has more character than what you'll hear from most of Muddy Waters' other post-50s harpists (with the exception of James Cotton, of course).
These recordings were made over three consecutive nights, and a few songs appear twice, including "Hoochie Coochie Man" and "Forty Days and Forty Nights". It would have been more interesting to have 15 different songs, of course, but it is hard to fault what is here, really. The best, tightest live "Long Distance Call" ever. Two tough, punchy renditions of "Forty Days and Forty Nights". A swinging, swaggering "Got My Mojo Working", and plenty more.
These are tight, compelling performances by one of the best bands in the business, anchored by the great Muddy Waters in top form. It doesn't get much better than that.
6 of 6 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
If you've stumbled over this by accident, let me say this: Muddy Waters is one of the greatest Bluesmen who ever lived, probably one of the top five, and I doubt if any Blues fan would disagree that statement. So, how does this fit unto his canon?
Well, it's a good 72mins live CD taken from 3 consecutive sets in November 1966. It's a nice live Muddy to add to your Muddy collection if you have one and a good place to start if you don't. What makes it different from almost all his other full band studio and live recordings is the lack of a piano. Don't know why there isn't one, maybe everyone he liked was sick or on holiday. Whatever, it makes for a subtle but noticeably different dynamic as he and the band plough through some of his most popular songs. The band -George Harmonica Smith on harp, Luther 'Georgia Boy' Johnson guitar, Sammy Lawhorn guitar, Mac Arnold bass (the only one of the band I haven't heard of), and regular Francis Clay on drums -are tight and able, though I wouldn't have expected anything else. Muddy, as always, is in fine voice and in total control throughout this highly enjoyable set.
Nice one.
Well, it's a good 72mins live CD taken from 3 consecutive sets in November 1966. It's a nice live Muddy to add to your Muddy collection if you have one and a good place to start if you don't. What makes it different from almost all his other full band studio and live recordings is the lack of a piano. Don't know why there isn't one, maybe everyone he liked was sick or on holiday. Whatever, it makes for a subtle but noticeably different dynamic as he and the band plough through some of his most popular songs. The band -George Harmonica Smith on harp, Luther 'Georgia Boy' Johnson guitar, Sammy Lawhorn guitar, Mac Arnold bass (the only one of the band I haven't heard of), and regular Francis Clay on drums -are tight and able, though I wouldn't have expected anything else. Muddy, as always, is in fine voice and in total control throughout this highly enjoyable set.
Nice one.
4 of 4 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Recorded over 3 nights in November 1966 at the Fillmore in San Francisco, this is, for the era, a particularly fine recording - calling this an authorized bootleg doesn't remotely do the recording quality justice; if it wasn't intended for release it certainly sounds like it was. According to the sleeve notes, Muddy would do a short set bookended by two sets by his backing band; it's interesting to note that while the first 4 songs appear twice across the 3 nights, each set is quite different and seven songs only appear once. The sound is very much a recreation of his 50s recordings for Chess, with no post-1960 material, though apart from drummer Francis Clay the sidemen are newer recruits. Muddy is in very fine voice throughout, harmonica player George Smith is excellent in a Little Walter style and Sammy Lawhorn does a pretty fine impression of Muddy's slide playing for the most part - just as well because, sadly, Muddy doesn't play guitar on these performances. This, and some occasionally out of tune or slightly sloppy guitars, are the only downsides to this recording - most of it is superb, a good example being the fabulously intense guitar duet that suddenly erupts on the closing Long Distance Call. Highly recommended to fans but I'd point beginners at a good compilation such as His Best 1947 To 1955 so that they can hear Muddy's superb slide playing.
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