John Mayall – Same (Rare Italian Sampler) (1982)

FrontCover1John Mayall (born 29 November 1933), OBE, is the godfather of the British blues. A singer/songwriter and multi-instrumentalist, he has been a bandleader and recording artist since 1965. A generation older than most of his sidemen, Mayall was a mentor; his bands were both a lab and finishing school for iconic musicians — particularly guitarists. Eric Clapton, Peter Green, and Mick Taylor served, as did bassists Jack Bruce and John McVie and drummers Mick Fleetwood and Aynsley Dunbar, among dozens of others. Five of Mayall’s first seven albums, including 1966’s Blues Breakers with Eric Clapton, 1967’s A Hard Road, and 1969’s The Turning Point, all placed inside the British Top Ten. After emigrating to the U.S., Mayall cut several albums during the ’70s including Ten Years Are Gone and Jazz Blues Fusion, that showcased veteran blues and jazz players including Harvey Mandel, Jesse Ed Davis, Larry Taylor, and Blue Mitchell.


During the ’80s, Mayall sold out houses across the globe, recorded for several labels, and employed top-shelf guitar slingers including Walter Trout, Sonny Landreth, and Coco Montoya. Mayall issued a series of memorable recordings for Silvertone in the ’90s including Wake Up Call, Spinning Coin, and Blues for the Lost Days. He was appointed OBE (Order of the British Empire) by Queen Elizabeth II in 2005. In 2016, he was inducted into the Blues Hall of Fame. In 2019, age 85, Mayall issued Nobody Told Me, a diverse set that garnered massive acclaim for his choice of guests, including Joe Bonamassa. In 2021 Mayall announced his retirement from touring. In 2022, two months after his 88th birthday, he released the star-studded The Sun Is Shining Down. (by Thom Jurek)


And here´s a rare and pretty good sampler from Italy …

… his album is identical with the compilation “The World Of John Mayall Vol.2” (Decca) released in 1970.

But this version has a wonderful booklet (includin many informations about John Mayall, unfortunately only written in italian) with many great and rare pictures of John Mayall live – some of them from an Italy tour with John Mayall and Mick Taylor in 1982)


It´s time to discover one of the most important British Blues musician of all time !

Enjoy the Blues power of John Mayall !


John Mayall (vocals,guitar, harmonica, keyboards)
many, many studio musicians (I guess you know them all …)


01. Checkin’ Up On My Baby (Williamson) 4.00
02. Broken Wings (Mayall) 4.19
03. My Time After Awhile (Geddins/Badger) 5.13
04. Ready To Ride (Mayall) 3.34
05. Double Crossin’ Time (Mayall/Clapton) 3.05
06. Leaping Christine (Mayall) 2.26
07. Killing Time (Mayall) 4.48
08. Brand New Start (Mayall) 3.27
09. 2401 (Mayall) 3.47
10. Someday After A While (King/Thompson) 3.04
11. She Is Too Young (Mayall) 2.19
12. I Can Quit You Baby (Dixon) 4.34





More from John Mayall:

The official website:

Various Artists – 2th Blues Festival Bonn 1987 (1988)

FrontCover1As everyone here probably knows, I am a great lover of blues music (regardless of whether it is black or white blues music).

And here is a very special rarity, recorded live at the 2th Blues Festival in Bonn/Germany.

I guess this album was only released in Germany.

So, This are one of the hardest recordings of bands like Canned Heat, Chicken Shack, Man (they were of course not a blues band) and Dr. Feelgood … all bands I like very much …

… and I m guess there are still many fans of these bands and their music.


So enjoy this album (including the jam session as an encore… !) … I call it: Excellent stuff and you should not miss it !

Recorded live at the Biskuithalle, Bonn/Germany, September, 27, 1987



Chicken Shack:
Bev Smith (drums)
Wayne Terry (bass)
Stan Webb (guitar, vocals)
David Wilkie (keyboards)

Dr. Feelgood:
Lee Brilleaux (vocals, guitar)
Philipp Mitchell (bass, vocals)
Drums, Vocals – Kevin Morris (drums, vocals)
Gordon Russell (guitar)

Martin Ace (bass, vocals)
Micky Jones (guitar, vocals)
Deke Leonard (guitar, vocals)
Terry Williams (drums, vocals)

Canned Heat:
Adolpho „Fito“ De LaParra (drums)
Larry Taylor (bass, vocals)
James Thornberry (guitar, vocals, flute)
Henry Vestine (guitar)



Chicken Shack:
01. The Thrill Has Gone (Darnell/Hawkins) 7.52
02. Have You Ever Loved A Woman (Myles) 10.57
03. I’d Rather Go Blind (Jordan) 6.44

Dr. Feelgood:
04. Down At The Doctors (Jupp) 4.13
05. See You Later Alligator (Guidry) 3.27
06. Back In The Night (Johnson) 4.06
05. Milk And Alcohol (May/Lowe) 2.47

06. What A Night (Roger/Leonard) 3.26
07. Jumping Like A Kangaroo (Ace) 4.58
08. Bananas (John/Jones/Ryan/Williams) 8.31

Canned Heat:
09. Going Up The Country (Wilson) 3.01
10. Rollin’ And Tumblin’ (Morganfield) 4.19
11. Amphetamine Annie (Wilson/Hite/Parra/Vestine/Taylor) 4.22

All Star Jam Session:
12. Dust My Broom (James) 8.53




Alternate frontcover:

Alexis Korner’s Blues Incorporated – Red Hot From Alex (1964)

FrontCover1Alexis Andrew Nicholas Koerner (19 April 1928 – 1 January 1984), known professionally as Alexis Korner, was a British blues musician and radio broadcaster, who has sometimes been referred to as “a founding father of British blues”. A major influence on the sound of the British music scene in the 1960s, Korner was instrumental in the formation of several notable British bands including The Rolling Stones and Free.

After the war, Korner played piano and guitar (his first guitar was built by friend and author Sydney Hopkins, who wrote Mister God, This Is Anna) and in 1949 joined Chris Barber’s Jazz Band[8] where he met blues harmonica player Cyril Davies. They started playing together as a duo, started the influential London Blues and Barrelhouse Club in 1955 and made their first record together in 1957. Korner made his first official record on Decca Records DFE 6286 in the company of Ken Colyer’s Skiffle Group. His talent extended to playing mandolin on one of the tracks of this rare British EP, recorded in London on 28 July Alexis Korner011955. Korner encouraged many American blues artists, previously virtually unknown in Britain, to perform at the London Blues and Barrelhouse Club, which he established with Davies at the Round House pub in Soho.

Alexis Korner’s Blues Incorporated, or simply Blues Incorporated, were an English blues band formed in London in 1961, led by Alexis Korner and including at various times Jack Bruce, Charlie Watts, Terry Cox, Davy Graham, Ginger Baker, Art Wood, Long John Baldry, Ronnie Jones, Danny Thompson, Graham Bond, Cyril Davies, Malcolm Cecil, Dick Heckstall-Smith and Mick Jagger.

Korner (1928–1984) was a member of Chris Barber’s Jazz Band in the 1950s, and met up with Cyril Davies (1932–1964) who shared his passion for American blues. In 1954 they teamed up as a duo, began playing blues in London jazz clubs, and opened their own club, the London Blues and Barrelhouse Club, where they featured visiting bluesmen from America. The club embraced aspiring young musicians, including in its early days Charlie Watts, Long John Baldry, and Jack Bruce.

In 1961 Korner and Davies formed Blues Incorporated, the first amplified R&B band in Britain, and brought in singer Baldry (sometimes replaced by Art Wood), drummer Watts, bassist Bruce, and saxophonist Dick Heckstall-Smith. It was an informal band: its membership was intended to be fluid.

On 17 March 1962, Korner and Davies established a regular “Rhythm and Blues Night” at the Ealing Jazz Club. This brought together many more fans of blues and R&B music including Mick Jagger, Keith Richards, Brian Jones, Eric Clapton, Rod Stewart, Paul Jones, John Mayall, Zoot Money, and Jimmy Page, some of whom would occasionally sit in on Blues Incorporated performances. Watts left the group around this time to join the Rolling Stones and suggested Ginger Baker as his replacement.

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From 3 May 1962, Blues Incorporated secured a Thursday-night residency at the Marquee Club, which brought them to the attention of record producer and promoter Jack Good who arranged a recording contract with Decca Records resulting in the LP R&B from the Marquee, released in late 1962. The album was actually recorded in the Decca studio and featured Baldry as lead singer with songs by Muddy Waters, Jimmy Witherspoon and Leroy Carr.

Late in 1962 Davies disagreed with Korner’s intention to add a brass section to the band and turn more towards jazz than blues, so left to form his own group, the Cyril Davies All-Stars, and was replaced by Graham Bond. Blues Incorporated found a new residency at the Flamingo club but, shortly afterwards, Bond, Bruce and Baker left to form the Graham Bond Organisation.

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Blues Incorporated concentrated on live work rather than recording and the group only released two singles on Parlophone, “I Need Your Loving” / “Please Please Please Please” (1964) and “Little Baby” / “Roberta” (1965). In 1964 they released the LPs At The Cavern and Red Hot From Alex, with American Herbie Goins as lead singer and Danny Thompson, later of Pentangle, on bass. By the time of the group’s last album Sky High (credited to Alexis Korner’s Blues Incorporated) in 1965, the group included Duffy Power on vocals. Korner dissolved the group in 1966. (wikipedia)

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And here´s his second album with his Blues Incorporated:

One of Alexis Korner’s better and more obscure albums, Red Hot From Alex, features the 1964 version of Blues Incorporated, supported by alumnus Dick Heckstall-Smith on tenor sax on a handful of tracks, recreating their live sound in the studio. The results are reasonably successful, the group at times achieving a fairly intense, swinging ensemble sound that, at its best, carries an infectious level of excitement. This band’s sound is a lot slicker throughout than that of the version of Blues Incorporated that played the Marquee Club in 1962 and 1963 and left behind the album R&B From The Marquee. The opener, “Woke Up This Morning,” has a convincingly funky sound, driven by Herbie Goins’ vocals, and a fairly together rhythm section, though Dave Castle’s alto sax seems a little too lightweight to pull off the authenticity. The group leaps back to somewhat purer blues on “Skippin’,” featuring Heckstall-Smith’s tenor, Korner playing some suitably animated rhythm guitar, and Ron Edgeworth aggressively attacking his organ. The first minute of “Herbie’s Tune” offers a great showcase for Korner’s guitar, soon joined by Heckstall-Smith’s sax, and Edgeworth’s organ, while “Stormy Monday” throws a flute into an otherwise similar mix — one can easily imagine Brian Jones dueting with Korner on those cuts.

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The only real flaw in the album, apart from an over-reliance on jazz at the expense of blues, is the lack of any real charismatic presence within the band, vocally or instrumentally — “Stormy Monday” shows off the group to best advantage, with Korner in the spotlight playing some of the flashiest and most compelling blues licks of his career, and if the album could have had a few more tracks like that, it just might have found an audience not far from the listenership that John Mayall and Graham Bond were cultivating; a little too much of what surrounds the blues here, however, is significantly less exciting jazz, played well enough, but otherwise not really terribly diverting — “Roberta,” “It’s Happening,” and “Jones” probably went over big at the group’s club dates, but just don’t make for great moments on record, and Korner’s own “Cabbage Greens,” showcasing his low-wattage guitar pyrotechnics (which just might prove refreshing to those weary of, or only versed in, the Jimi Hendrix/Jimmy Page school of blues guitar) and Edgeworth’s organ playing, isn’t much more interesting. “Chicken Shack” is the track that best captures the group’s sound at its most engaging, and the album is a welcome document of their work, but it’s more of a historic curio than an essential acquisition, on a musical par with, say, John Mayall Plays John Mayall. (by Bruce Eder)


Dave Castle (saxophone)
Ron Edgeworth (keyboards)
Barry Howten (drums)
Alexis Korner (guitar)
Art Theman (saxophone)
Danny Thompson (bass)
Herbie Goins (vocals, percussion on 01., 04.,- 06. + 10.)
Dick Heckstall-Smith (saxophone on 02., 03. + 09.)

A German reissue:

01. Woke Up This Morning (King) 2.37
02. Skippin’ (Korner) 2.14
03. Herbie’s Tune (Korner) 4.00
04. Stormy Monday (Walker) 4.40
05. It’s Happening (Bond) 2.06
06. Roberta (Koprner) 2.26
07. Jones (Terry/Ellington) 3.52
08. Cabbage Greens (Korner) 2.10
09. Chicken Shack (Smith) 2.01
10. Haitian Fight Song (Mingus) 3.32



Alternate edition:

More from Alexis Korner:

Alexis Korner05

Etta James – Rocks The House (1963)

FrontCover1Jamesetta Hawkins (January 25, 1938 – January 20, 2012), known professionally as Etta James, was an American singer who performed in various genres, including blues, R&B, soul, rock and roll, jazz, and gospel. Starting her career in 1954, she gained fame with hits such as “The Wallflower”, “At Last”, “Tell Mama”, “Something’s Got a Hold on Me”, and “I’d Rather Go Blind”. She faced a number of personal problems, including heroin addiction, severe physical abuse, and incarceration, before making a musical comeback in the late 1980s with the album Seven Year Itch.

Etta James02

James’s deep and earthy voice bridged the gap between rhythm and blues and rock and roll. She won six Grammy Awards and 17 Blues Music Awards. She was inducted into the Rock and Roll Hall of Fame in 1993, the Grammy Hall of Fame in 1999, and the Blues Hall of Fame in 2001. Rolling Stone magazine ranked James number 22 on its list of the 100 Greatest Singers of All Time; she was also ranked number 62 on its list of the 100 Greatest Artists of All Time. Billboard’s 2015 list of The 35 Greatest R&B Artists Of All Time includes James, whose “gutsy, take-no-prisoner vocals colorfully interpreted everything from blues and R&B/soul to rock n’roll, jazz and gospel”.

Etta James01

Etta James Rocks the House is the first live album by the American singer Etta James. It was recorded live on the nights of September 27 and 28, 1963, at the New Era Club in Nashville, Tennessee, and was released on December 13, 1963.

Hot with the releases of At Last! and The Second Time Around, Etta James Rocks the House became the artist’s first recorded live album under Argo Records. The concept was to catch James in a raw and fiery performance outside the recording studio. The album is among her finest live recordings. (wikipedia)

Etta James03

Though the studio albums Etta James made for Chess in the 1960s usually had the blues singer surrounded by lush production and string-heavy arrangements, this live date finds her performing with only a rhythm section, organist, guitarist, and tenor saxophonist. The singer seems to respond to both the stripped-down setting and the enthusiastic audience with noticeable abandon. In fact, James the classy balladeer, a role she sometimes plays on her studio albums, is nowhere to be found on this blazing set. The only time the band slows down is on the tearjerker story-song “All I Could Do Is Cry” (though what the tune lacks in tempo it makes up for in emotional intensity).

Etta James05

The rest of the set is straight-edged blues and R&B, including covers of some hits of the day, like “Money (That’s What I Want)” and Ray Charles’ “What’d I Say.” Jimmy Reed’s “Baby What You Want Me to Do” (on which James does a growling, harmonica-imitating vocal solo) steps up the blues quotient, as does the band’s finale of Willie Dixon’s “I Just Want to Make Love to You,” with James’ gospel-drenched pipes wailing all the while. Etta James Rocks the House indeed. (by Rovi Staff)


One of the most appropriately titled live albums of all time. Etta James’s Rocks the House ranks up there with James Brown’s Live at the Apollo, 1962 and Sam Cooke’s Live at the Harlem Square Club, 1963 as being one of 60’s soul music’s greatest ever live documents. These are albums that still kick with vitality and fun, gritty, danceable music decades after being recorded and Rocks the House is among them. Throughout this album, Etta shows us a different side of her that we don’t usually hear on her studio recordings, one of wild, gritty, energetic soul blues/blues soul (not unlike the Sam Cooke on Live at the Harlem Square Club, but with a much bluesier sound) by ripping through a series of frenetic, wild numbers like her revved up version of her hit Something’s Gotta Hold on Me and her covers of Ray Charles What’d I Say, Barrett Strong’s Money (That’s What I Want), and B.B. King’s Woke up this Morning among others. One has to wonder why this album isn’t on more “essential” and “must hear before you die” albums lists. (by R.S.)


Freeman Brown (drums)
Gavrell Cooper (saxophone)
Vonzell Cooper (organ)
Etta James (vocals)
David T. Walker (guitar)
Richard Waters (drums)
Marion Wright (bass)


01. Introduction/Something’s Got A Hold On Me (James/Kirkland/Woods) 5.03
02. Baby What You Want Me To Do (Reed) 4.14
03. What’d I Say (Charles) 3.15
04. Money (That’s What I Want) (Bradford/Gordy, Jr.) 3.22
05. Seven Day Fool (Davis/Gordy, Jr./Woods) 4.20
06. Sweet Little Angel (McCollum) 4.15
07. Ooh Poo Pah Doo (Hill) 4.05
08. Woke Up This Morning (King) 3.38
09. Ain’t That Loving You Baby (Reed) 2.52
10. All I Could Do Was Cry (Davis/Fuqua/Gordy, Jr.) 3.21
11. I Just Want To Make Love To You (Dixon) 3.40



More from Etta James:

Etta James04

Ry Cooder – Chicken Skin Music (1976)

FrontCover1Yesterday he celebrated his 75th birthday !

Ryland Peter “Ry” Cooder (born March 15, 1947) is an American musician, songwriter, film score composer, record producer, and writer. He is a multi-instrumentalist but is best known for his slide guitar work, his interest in traditional music, and his collaborations with traditional musicians from many countries.

Cooder’s solo work draws upon many genres. He has played with John Lee Hooker, Captain Beefheart, Gordon Lightfoot, Ali Farka Touré, Eric Clapton, The Rolling Stones, Van Morrison, Neil Young, Randy Newman, Linda Ronstadt, Vishwa Mohan Bhatt, David Lindley, The Chieftains, The Doobie Brothers, and Carla Olson and The Textones (on record and film). He formed the band Little Village, and produced the album Buena Vista Social Club (1997), which became a worldwide hit; Wim Wenders directed the documentary film of the same name (1999), which was nominated for an Academy Award in 2000.

Rc Cooder

Cooder was ranked at No. 8 on Rolling Stone magazine’s 2003 list of “The 100 Greatest Guitarists of All Time”, while a 2010 list by Gibson Guitar Corporation placed him at No. 32. In 2011, he published a collection of short stories called Los Angeles Stories.

Ry Cooder

Chicken Skin Music is Ry Cooder’s fifth studio album, released in 1976, on the Reprise label. (wikipedia)

Ry Cooder has always believed in the “mutuality in music,” and this may be no more evident in his career than with his fifth album, Chicken Skin Music (a Hawaiian colloquialism, synonymous with goosebumps). Even more than usual, Cooder refuses to recognize borders — geographical or musical — presenting “Stand By Me” as a gospel song with a norteño arrangement, or giving the Jim Reeves country-pop classic, “He’ll Have to Go,” a bolero rhythm, featuring the interplay of Flaco Jimenez’s accordion and Pat Rizzo’s alto sax. Elsewhere, he teams with a pair of Hawaiian greats — steel guitarist and singer Gabby Pahinui and slack key guitar master Atta Isaacs — on the Hank Snow hit “Yellow Roses” and the beautiful instrumental “Chloe.”


If Cooder’s approach to the music is stylistically diverse, his choice of material certainly follows suit. Bookended by a couple of Leadbelly compositions, Chicken Skin Music sports a collection of songs ranging from the aforementioned tracks to the charming old minstrel/medicine show number “I Got Mine” and the syncopated R&B of “Smack Dab in the Middle.” Also included is Appalachian songwriter Blind Alfred Reed’s “Always Lift Him Up,” complete with a Hawaiian gospel tune, “Kanaka Wai Wai,” woven into the instrumental section. As he explains in the album’s liner notes, Cooder understands the connection between these seemingly disparate styles. This is not merely eclecticism for its own sake. Chicken Skin Music is probably Ry Cooder’s most eccentric record since his first, but it’s also one of his most entertaining. (by Brett Hartenbach)


Red Callender (bass)
Ry Cooder – bajo sexto, mandola, bottleneck guitar, french accordion, electric guitar, slack-key guitar, tiple, hawaiian guitar, vocals)
Chris Ethridge (bass)
Milt Holland (drums, percussion)
Jim Keltner (drums)
George Bohanon (baritone horn on 02.)
Oscar Brashear (cornet on 02.)
Isaac Garcia (drums on 09.)
Hugo Gonzales (bajo sexto on 09.)
Atta Isaacs (slack-key, guitar on 08.)
Fred Jackson Jr. (saxophone on 02.)
Flaco Jiménez (accordion on 04., 06. + 09.)
Henry Ojeda (bass on 09.)
Gabby Pahinui (steel guitar on 08.)
Benny Powell – trombone on 02.)
Pat Rizzo (saxophone on 04.)
Russ Titelman (bajo sexto on 06.)
Frank Villarreal (saxophone on 09.)
background vocals:
Jimmy Adams -Terry Evans – Cliff Givens – Laurence Fishburne – Bobby King – Herman E. Johnson

01. The Bourgeois Blues (Leadbelly) 3.25
02. “I Got Mine” Traditional; based on Pink Anderson’s version 4:28
03. “Always Lift Him Up/Kanaka Wai Wai” Blind Alfred Reed/Traditional 6:01
04. “He’ll Have to Go” Joe Allison, Audrey Allison 5:07
Side twoNo. Title Writer(s) Length
05. “Smack Dab in the Middle” Charles E. Calhoun 3:18
06. “Stand by Me” Ben E. King, Jerry Leiber, Mike Stoller 3:38
07. “Yellow Roses” Ken Devine, Sam Nichols 6:11
08. “Chlo-e” (instrumental) Gus Kahn, Neil Moret 3:00
09. “Goodnight, Irene” Lead Belly, John Lomax 4:32




More from Ry Cooder:

The official website:

John Lee Hooker – The Collection – 20 Blues Greats (1988)

FrontCover1John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues.

Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie.

Hooker was ranked 35 in Rolling Stone’s 2015 list of 100 greatest guitarists.


Some of his best known songs include “Boogie Chillen’” (1948), “Crawling King Snake” (1949), “Dimples” (1956), “Boom Boom” (1962), and “One Bourbon, One Scotch, One Beer” (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don’t Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song “I’m In The Mood”) and Chill Out (for the album) both earned him Grammy wins as well as Don’t Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison). (wikipedia)

John Lee Hooker2

And here´s a low budget sampler with many of his well known songs

It´s never too late, to discover the great John Lee Hooker (again).


John Lee Hooker (guitar, vocals)
many studio musicians


01. Dimples (Hooker) 2.16
02. I’m In The Mood (Hooker/Besman) 2.43
03. Hobo Blues (live) (Hooker) 2.54
04. Boogie Chillun (Hooker) 2.34
05. Boom Boom (Hooker) 2.33
06. Blues Before Sunrise (Hooker) 3.51
07. Time Is Marching (Hooker) 3.01
08. Tupelo (Hooker) 3.23
09. Little Wheel (Hooker) 2.33
10. Shake, Holler And Run (Hooker) 2.35
11. Want Ad Blues (Boyd) 2.15
12. Crawling King Snake (Hooker/Josea/Taud) 2.41
13. Whiskey And Wimmen (Hooker) 2.46
14. Tease Me Baby (Hooker) 3.03
15. Wednesday Evening Blues (Hooker) 4.00
16. My First Wife Left Me (King) 3.37
17. Maudie (Hooker) 2.18
18. No Shoes (Hooker) 2.27
19. I Love You Honey (Hooker) 2.37
20. Rock House Blues (Boogie) (Hooker) 2.55



More from John Lee Hooker:


The official website:

Eric Clapton – Reptile (2001)

FrontCover1Eric Patrick Clapton CBE (born 30 March 1945) is an English rock and blues guitarist, singer, and songwriter, widely regarded as one of the most important and influential guitarists of all time. Clapton ranked second in Rolling Stone’s list of the “100 Greatest Guitarists of All Time” and fourth in Gibson’s “Top 50 Guitarists of All Time”. He was also named number five in Time magazine’s list of “The 10 Best Electric Guitar Players” in 2009.

After playing in a number of different local bands, Clapton joined the Yardbirds in 1963, replacing founding guitarist Top Topham. Dissatisfied with the change of the Yardbirds sound from blues rock to a more radio-friendly pop rock sound, Clapton left in 1965 to play with John Mayall & the Bluesbreakers. On leaving Mayall in 1966, after one album, he formed the power trio Cream with drummer Ginger Baker and bassist Jack Bruce, in which Clapton played sustained blues improvisations and “arty, blues-based psychedelic pop”.[6] After Cream broke up in November 1968, he formed the blues rock band Blind Faith with Baker, Steve Winwood, and Ric Grech, recording one album and performing on one tour before they broke up. Clapton embarked on a solo career in 1970.

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Alongside his solo career, he also performed with Delaney & Bonnie and Derek and the Dominos, with whom he recorded “Layla”, one of his signature songs. He continued to record a number of successful solo albums and songs over the next several decades, including a 1974 cover of Bob Marley’s “I Shot the Sheriff” (which helped reggae reach a mass market),[7] the country-infused Slowhand album (1977) and the pop rock of 1986’s August. Following the death of his son Conor in 1991, Clapton’s grief was expressed in the song “Tears in Heaven”, which appeared on his Unplugged album, and in 1996 he had another top-40 hit with the R&B crossover “Change the World”. In 1998, he released the Grammy award-winning “My Father’s Eyes”. Since 1999, he has recorded a number of traditional blues and blues rock albums and hosted the periodic Crossroads Guitar Festival. His most recent studio album is Happy Xmas (2018).

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Clapton has received 18 Grammy Awards as well as the Brit Award for Outstanding Contribution to Music.[8][9] In 2004, he was awarded a CBE for services to music.[10] He has received four Ivor Novello Awards from the British Academy of Songwriters, Composers and Authors, including the Lifetime Achievement Award. He is the only three-time inductee to the Rock and Roll Hall of Fame: once as a solo artist and separately as a member of the Yardbirds and of Cream.

In his solo career, Clapton has sold more than 280 million records worldwide, making him one of the best-selling musicians of all time. In 1998, Clapton, a recovering alcoholic and drug addict, founded the Crossroads Centre on Antigua, a medical facility for recovering substance abusers. (wikipedia)

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Reptile is the fourteenth solo studio album by Eric Clapton. The album was produced by Eric Clapton with Simon Climie and is Clapton’s first album to include keyboard work by Billy Preston and background vocals by the Impressions. The album reached the Top 10 in 20 countries, topping the national album charts in three of them. In total, the album sold more than 2.5 million copies and gained several certification awards around the globe. To help promote album sales, music network VH1 streamed the album in full on TV.

Eric Clapon04

In the United States, Reptile peaked at number five on the Billboard 200 top albums chart, gaining a so-called “Hot Shot Debut” recognition by the American magazine, as the album sold a total of 101,500 units in its first week. In addition to its success on the main albums chart, compiled by Billboard, the 2001 release also topped the magazines top Internet albums chart for several weeks. In the first quarter of 2001, Reptile sold more than 215,000 copies in the United States alone. On 8 June, the rock album was certified with a Gold disc by the Recording Industry Association of America (RIAA) to commemorate outstanding sales figures reaching more than 500,000 copies. In total, the album stayed sixteen weeks on the Billboard 200 chart and sold more than 700,000 copies by the end of 2001 in the United States, making it that years 184th most purchased album. In Canada, Clapton’s 2001 release went to number 11 on Billboards top Canadian albums chart in 2001. In Japan, the release was even more successful, reaching position six on Oricons album chart in 2001. In New Zealand, Reptile peaked at number 15. However, in Australia, the Clapton album reached number 20 on the ARIA charts in 2001, and was certified Platinum for sales exceeding 70,000 copies in the country.

Booklet01AReptile was a big success in Europe, topping three album charts in the continent, reaching the Top 10 in 16 countries and gaining a total of 13 certification awards for outstanding record sales. Overall, the album reached number two on the European albums chart in 2001. (wikipedia)


For a musician known to strive for authenticity, Eric Clapton has always been curiously obsessed with appearances, seemingly as interested in sartorial details and hairstyles as in the perfect guitar lick. It’s hard to find two photographs of him from the 1960s and early ’70s that appear to be the same person, and even after he formally launched his solo career he switched looks frequently. Thus, the album sleeve of his 13th solo studio album of new material, Reptile, its “concept” credited to the recording artist, seems significant. The album cover shows a smiling Clapton as a child, and there are family photographs on the back cover and in the booklet, along with a current photograph of the artist, who turned 56 in the weeks following the album’s release, in an image that does nothing to hide the wrinkles of late middle age. This photograph faces a sleeve note by Clapton that begins with his explanation of the album title: “Where I come from, the word ‘reptile’ is a term of endearment, used in much the same way as ‘toe rag’ or ‘moosh.'” (Thanks, Eric. Now, all listeners have to do is find out what “toe rag” and “moosh” mean!) The note then goes on to dedicate the album warmly to Clapton’s uncle.


All of this might lead you to expect an unusually personal recording from a man who has always spoken most eloquently with his guitar. If so, you’d be disappointed. Reptile seems conceived as an album to address all the disparate audiences Clapton has assembled over the years. His core audience may think of him as the premier blues guitarist of his generation, but especially as a solo artist, he has also sought a broader pop identity, and in the 1990s, with the hits “Tears in Heaven” and “Change the World,” he achieved it. The fans he earned then will recognize the largely acoustic sound of such songs as “Believe in Life,” “Second Nature,” and “Modern Girl.” But those who think of Clapton as the guy who plays “Cocaine” will be pleased with his cover of another J.J. Cale song, “Travelin’ Light,” and by the time the album was in record stores mainstream rock radio had already found “Superman Inside,” which sounds like many of his mid-tempo rock hits of the ’80s.


This diversity is continued on less familiar material, especially the many interesting cover songs. Somebody, perhaps the artist himself, has been busy looking for old chestnuts, since Reptile contains a wide variety of them: the 1930 jazz song “I Want a Little Girl,” recorded by McKinney’s Cotton Pickers among others; John Greer’s 1952 R&B hit “Got You on My Mind”; Ray Charles’ 1955 R&B hit “Come Back Baby”; James Taylor’s 1972 hit “Don’t Let Me Be Lonely Tonight”; and Stevie Wonder’s 1980 hit “I Ain’t Gonna Stand for It.” The two earliest of these songs are old and obscure enough that Clapton is able to make them his own, and he recasts the Taylor song enough to re-invent it, but remaking songs by Charles and Wonder means competing with them vocally, and as a singer Clapton isn’t up to the challenge. He is assisted by the current five-man version of the Impressions, who do much to shore up his vocal weaknesses, but he still isn’t a disciplined or thoughtful singer. Of course, when that distinctive electric guitar sound kicks in, all is forgiven. Still, Reptile looks like an album that started out to be more ambitious than it ended up being. There may be a song here for each of the artist’s constituencies (and, more important to its commercial impact, for every major radio format except talk and country), but as a whole the album doesn’t add up to the statement Clapton seems to have been hoping to make. (by William Ruhlmann)


Doyle Bramhall II (guitar)
Tim Carmon (keyboards, synthesizer)Eric Clapton (guitar, vocals)
Paulinho da Costa (percussion)
Nathan East (bass)
Andy Fairweather Low (guitar)
Steve Gadd (drums)
Joe Sample (piano)
Paul Waller (drum programming)
Paul Carrack (keyboards on 01., organ, piano on 10.)
Pino Palladino (bass on 01. + 10.)
Billy Preston (organ on 02., 05. + 13., piano on 06. + 09., harmonica on 14.)
The Impressions (background  vocals on 02. –  05., 07. – 13.)


01. Reptile (Clapton) 3.26
02. Got You On My Mind (Thomas/Briggs) 4.30
03. Travelin’ Light (Cale) 4.17
04. Believe In Life (Clapton) 5.06
05. Come Back Baby (Charles) 3.55
06. Broken Down (Climie/Morgan) 5.25
07. Find Myself (Clapton) 515
08. I Ain’t Gonna Stand For It (Wonder) 4.49
09. I Want A Little Girl (Mencher/Moll) 2.58
10. Second Nature (Clapton/Climie/Morgan) 4.48
11. Don’t Let Me Be Lonely Tonight (Taylor) 4.48
12. Modern Girl (Clapton) 4.49
13. Superman Inside (Clapton/Bramhall II/Melvoin) 5:07
14. Son & Sylvia (Clapton) 4.44
15. Losing Hand (Japanese bonus track) (Stone) 4.18



More from Eric Clapton:

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John Lee Hooker – The Best Of (1991)

FrontCover1John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues.

Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie.

Hooker was ranked 35 in Rolling Stone’s 2015 list of 100 greatest guitarists.


Some of his best known songs include “Boogie Chillen'” (1948), “Crawling King Snake” (1949), “Dimples” (1956), “Boom Boom” (1962), and “One Bourbon, One Scotch, One Beer” (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don’t Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song “I’m In The Mood”) and Chill Out (for the album) both earned him Grammy wins as well as Don’t Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison). (wikipedia)


And here´s a pretty good sampler with many of his finest recordings with a nice booklet.

And real good possibility to discover the music from one of the greatest Blues artiss !!!


John Lee Hooker (guitar, vocals)
many, many studio musicians


01. I’m In The Mood (1959) 2.46
02. Boogie Chillun (1959) 2.37
03. It Serves Me Right To Suffer (1964) 3.33
04. This Is Hip (1963) 2.31
05. House Rent Boogie (1958) 4.05
06. I’m So Excited (1957) 2.56
07. I Love You Honey (1958) 2.35
08. Hobo Blues (1959) 2.50
09. Crawlin’ Kingsnake (1959) 2.46
10. Maudie (1959) 2.22
11. Dimples (1956) 2.16
12. Boom Boom (1961) 2.35
13. Louise (1951) 3.06
14. Ground Hog Blues (1951) 3.00
15. Ramblin’ By Myself (1951) 3.22
16. Walkin’ The Boogie (1952) 2.45
17. One Bourbon, One Scotch, One Beer (1966) 2.58
18. Sugar Mama (1952) 3:14
19. Peace Lovin’ Man (1960) 3.37
20. Leave My Wife Alone (1951) 2.49
21. Blues Before Sunrise (1961) 3.51
22. Time Is Marching (1955) 3.02

All songs written by John Lee Hooker



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Christine Perfect – The Complete Blue Horizon Sessions (2008)

FrontCover1Christine Anne McVie (née Perfect; born 12 July 1943) is an English singer, songwriter, lead vocalist and keyboardist of Fleetwood Mac, which she joined in 1970. She has also released three solo albums. She has a contralto voice. Her direct but poignant lyrics focus on love and relationships. AllMusic describes her as an “Unabashedly easy-on-the-ears singer/songwriter, and the prime mover behind some of Fleetwood Mac’s biggest hits.” Eight of her songs appeared on Fleetwood Mac’s 1988 Greatest Hits album.

In 1998, McVie was inducted into the Rock and Roll Hall of Fame as a member of Fleetwood Mac, and received the Brit Award for Outstanding Contribution to Music. The same year, after almost 30 years with the band, she opted to leave and lived in semiretirement for nearly 15 years. She released a solo album in 2004. In September 2013, she appeared on stage with Fleetwood Mac at London’s O2 Arena. She rejoined the band in September 2014 prior to their On with the Show tour.

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In 2006, McVie received a Gold Badge of Merit Award from Basca, now The Ivors Academy. In 2014, she received the Ivor Novello Award for Lifetime Achievement from the British Academy of Songwriters, Composers and Authors, and was honored with the Trailblazer Award at the UK Americana Awards in 2021. She is also the recipient of two Grammy Awards.

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McVie was born in the Lake District village of Bouth, Lancashire, and grew up in the Bearwood area of Smethwick near Birmingham. Her father, Cyril Percy Absell Perfect, was a concert violinist and music lecturer at St Peter’s College of Education, Saltley, Birmingham, and taught violin at St Philip’s Grammar School, Birmingham. McVie’s mother, Beatrice Edith Maud (Reece) Perfect, was a medium, psychic, and faith healer. McVie’s grandfather was an organist at Westminster Abbey.

Although McVie was introduced to the piano when she was four, she did not study music seriously until age 11, when she was reintroduced to it by Philip Fisher, a local musician and school friend of McVie’s older brother, John. Continuing her classical training until age 15, McVie shifted her musical focus to rock and roll when her brother, John, came home with a Fats Domino songbook. Other early influences included The Everly Brothers.

Christine Perfect05McVie studied sculpture at Moseley School of Art in Birmingham for five years, with the goal of becoming an art teacher. During that time, she met a number of budding musicians in Britain’s blues scene. Her first foray into the music field came when she met two friends, Stan Webb and Andy Silvester, who were in a band called Sounds Of Blue. Knowing that McVie had musical talent, they asked her to join. She often sang with Spencer Davis. By the time McVie graduated from art college, Sounds of Blue had split up, and as she did not have enough money to launch herself into the art world, she moved to London and worked briefly as a department-store window dresser.

In 1967, McVie learned that her ex-bandmates, Andy Silvester and Stan Webb, were forming a blues band, Chicken Shack, and were looking for a pianist. She wrote to them asking to join. They accepted and invited her to play keyboards/piano and to sing background vocals. Chicken Shack’s debut release was “It’s Okay With Me Baby”, written by and featuring McVie.

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She stayed with Chicken Shack for two albums, during which her genuine feel for the blues became evident, not only in her Sonny Thompson-style piano playing, but also through her authentic “bluesy” voice. Chicken Shack had a hit with “I’d Rather Go Blind”, which featured McVie on lead vocals. McVie received a Melody Maker award for female vocalist in both 1969 and 1970. McVie left Chicken Shack in 1969 after marrying Fleetwood Mac bassist John McVie a year earlier. (wikipedia)

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And the rest is history ….

Christine McVie (nee Perfect) is one of the great unsung talents of British blues and pop. Her work with Fleetwood Mac is often overshadowed by her more showy counterparts, Lindsay Buckingham, Peter Green or Stevie Nicks. She provided the spine to their material, and especially added a consistency during the group’s wilderness years between 1970 and 1975 (for those of you who haven’t had the pleasure, check out her contributions to 1973’s Mystery To Me album). This CD is her oft-reissued Christine Perfect album, recorded for Mike Vernon’s Blue Horizon label in the period between her leaving Chicken Shack and before she joined her husband-to-be John McVie in Fleetwood Mac. McVie herself has frequently played down the record. Although certainly not a major work, it is a pretty textbook example of pleasant blues rock as the 60s became the 70s.

Christine Perfect02

To be honest, her tracks sound pretty much like later Fleetwood Mac album material, which given the presence of John McVie on bass and Danny Kirwan on guitar, is fairly understandable. Her version of Kirwan’s When You Say is a standout, easily giving Fleetwood Mac’s Then Play On version a run for its money. Perfect’s piano work here strives to distil the very essence of the blues. It is the additional material that highlights her at her best: the demo, Tell Me You Need Me, that was also demoed by Fleetwood Mac is by far and away the best track here.


The song underlines the pleasure of her best work; languid, expressive, soulful. With three BBC session recordings here as well, The Complete Blue Horizon Recordings, although hardly essential, is a very welcome listen. (by Daryl Easlea)


Martin Dunsford (bass)
Chris Harding (drums, percussion, flute)
Rick Hayward (guitar)
Christine Prfect (vocals, keyboards)
Top Topham (guitar)
Dave Coxhill (saxophone on 08.)
Geoff Driscoll (saxophone on 08.)
Danny Kirwan (guitar on 06.)
John McVie (bass on 06.)
Terry Noonan (trumpet on 01., 02., 08.)
Bud Parkes (trumpet on 08.)
Andy Silvester (bass on 05.)
Derek Wadsworth (trombone on 08.)
unknown string section
unknown trumpet, trombone, saxophone (on 01., 02.)


01. Crazy ‘Bout You Baby (Jacobs) 3.02
02. I’m On My Way (Malone) 3.09
03. Let Me Go (Leave Me Alone) (Perfect) 3.35
04. Wait And See (Perfect) 3.14
05. Close To Me (Perfect/Hayward) 2.40
06. When You Say (Kirwan) 3.15
07. And That’s Saying A Lot (Jackson/Godfrey) 2.58
08. No Road Is The Right Road (Perfect) 2.49
09. For You (Perfect) 2.45
10. I’m Too Far Gone (To Turn Around) (album version) (Hendricks/Otis) 3.26
11. I Want You (White) 2.23
12. Tell Me You Need Me (previously unreleased) (Perfect) 3.20
13. I’m Too Far Gone (To Turn Around) (single version) (Hendricks/Otis) 3.17
14.Hey Baby (previously unreleased BBC sessions) (Perfect/Vernon/Webb) 2.34
15. It’s You I Miss (previously unreleased BBC sessions) (Perfect) 3.45
16. Gone Into The Sun (previously unreleased BBC sessions) 2.45



Christine Perfect03

More from Christine Perfect:

Howlin´ Wolf – The London Howlin’ Wolf Sessions (Deluxe Edition) (1971)

LPFrontCover1Chester Arthur Burnett (June 10, 1910 – January 10, 1976), known professionally as Howlin’ Wolf, was a Chicago blues singer, guitarist, and harmonica player. Originally from Mississippi, he moved to Chicago in adulthood and became successful, forming a professional rivalry with fellow bluesman Muddy Waters. With a booming voice and imposing physical presence, he is one of the best-known Chicago blues artists.

The musician and critic Cub Koda noted, “no one could match Howlin’ Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.” Producer Sam Phillips recalled, “When I heard Howlin’ Wolf, I said, ‘This is for me. This is where the soul of man never dies.'” Several of his songs, including “Smokestack Lightnin'”, “Killing Floor” and “Spoonful”, have become blues and blues rock standards. In 2011, Rolling Stone magazine ranked him number 54 on its list of the “100 Greatest Artists of All Time”.

Howlin´ Wolf01

The London Howlin’ Wolf Sessions is an album by blues musician Howlin’ Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain. It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.

Backstage at the Fillmore Auditorium, after a concert by the Paul Butterfield Blues Band, Electric Flag, and Cream, Chess Records staff producer Norman Dayron spotted the guitar players of the latter two bands, Mike Bloomfield and Eric Clapton, talking and joking around. Dayron approached Clapton and, on impulse, asked “how would you like to do an album with Howlin’ Wolf?” After confirming that the offer was legitimate, Clapton agreed, and Dayron set up sessions in London through the Chess organization to coordinate with Clapton’s schedule.


Clapton secured the participation of the Rolling Stones rhythm section (pianist Ian Stewart, bassist Bill Wyman and drummer Charlie Watts), while Dayron assembled further musicians, including 19-year-old harmonica prodigy Jeffrey Carp, who died in 1973 at age 24. [6] Initially, Marshall Chess did not want to pay the expense for flights and accommodations to send Wolf’s long-serving guitarist Hubert Sumlin to England, but an ultimatum by Clapton mandated his presence. Sessions took place between May 2 and May 7, 1970, at Olympic Studios.

On the first day, May 2, Watts and Wyman were unavailable, and a call went out for immediate replacements. Many showed up, but only recordings featuring Klaus Voormann and Ringo Starr were released from that day. In the initial album credits, Starr is listed as “Richie,” as Dayron was under the impression that, being a Beatle, his name could not be used directly.


Further overdubbing took place at the Chess studios in Chicago with Chess regulars Lafayette Leake on piano and Phil Upchurch on bass, and horn players Jordan Sandke, Dennis Lansing, and Joe Miller of the 43rd Street Snipers, Carp’s band. Ex-Blind Faith keyboardist Steve Winwood, on tour in the United States, contributed to the overdubbing sessions as well. Although he actually plays on only five tracks for the original album, his name is featured on the cover below the Wolf’s, along with Clapton, Wyman, and Watts.

On March 4, 2003, the current owner of the Chess catalogue Universal Music Group released a two-disc Deluxe Edition of the London Sessions. Included as bonus tracks on the first disc were three performances initially released on Chess CH 60026 in February 1974, London Revisited. The second disc featured outtakes and different mixes. (wikipedia)


Shipping sixtysomething blues icon Howlin’ Wolf to England in May 1970, accompanied by his guitarist Hubert Sumlin, was a crapshoot. Wolf’s health was poor and he hadn’t recorded outside of Chicago since 1954. Not surprisingly, Wolf’s London excursion remains a mixed bag. Certainly, the participants’ hearts were in their music–with the notable exception perhaps of Wolf’s–but the result never quite gelled. When the Brit rockers such as Eric Clapton the Rolling Stones’ Bill Wyman and Charlie Watts dug into his songs, they collided with the ornery bluesman. Producer Norman Dayron later overdubbed Steve Winwood and Lafayette Leake’s keyboards (along with horns on a few tracks) to salvage the sessions. Of all the classic Chess albums, this is an odd choice to expand with a second disc of outtakes, none of which are particularly revelatory. Still, Clapton is fiery throughout, and Wolf, although not in prime form, is never less than convincing. Though often criticized, most notably by Clapton himself, Howlin’ Wolf’s London Sessions offers a worthy–though not essential–snapshot of the legend in his waning years. (by Hal Horowitz)


For the casual blues fan with a scant knowledge of the Wolf, this 1971 pairing, with Eric Clapton, Bill Wyman and Charlie Watts from the Rolling Stones, Ringo Starr, and other British superstars, appears on the surface to be one hell of a super session. But those lofty notions are quickly dispelled once you slip this disc into the player and hit play. While it’s nowhere near as awful as some blues purists make it out to be, the disparity of energy levels between the Wolf and his U.K. acolytes is not only palpable but downright depressing. Wolf was a very sick man at this juncture and Norman Dayron’s non-production idea of just doing remakes of earlier Chess classics is wrongheaded in the extreme. The rehearsal snippet of Wolf trying to teach the band how to play Willie Dixon’s “Little Red Rooster” shows just how far off the mark the whole concept of this rock superstar mélange truly is. Even Eric Clapton, who usually welcomes any chance to play with one of his idols, has criticized this album repeatedly in interviews, which speaks volumes in and of itself. (by Cub Koda)


Personnel + Tracklist:

CD 1:

“Rockin’ Daddy” – 3:43 (recorded May 4, 1970)
Howlin’ Wolf – vocal; Hubert Sumlin – rhythm guitar; Eric Clapton – lead guitar; Ian Stewart – piano; Phil Upchurch – bass; Charlie Watts – drums.
“I Ain’t Superstitious” (Willie Dixon) – 3:34 (recorded May 2, 1970)
Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Steve Winwood – piano; Klaus Voormann – bass; Ringo Starr – drums; Jordan Sandke – trumpet; Dennis Lansing – tenor saxophone; Joe Miller – baritone saxophone; Bill Wyman – cowbell.[12]
“Sittin’ On Top Of The World” – 3:51[13] (recorded May 6, 1970)
Wolf – vocal; Jeffrey Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Lafayette Leake – piano; Wyman – bass; Watts – drums.
“Worried About My Baby” – 2:55 (recorded May 7, 1970)
Wolf – vocal, harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Leake – piano; Wyman – bass; Watts – drums.
“What A Woman!” (James Oden) – 3:02 (recorded May 7, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – organ; Wyman – bass; Watts – drums.
“Poor Boy” – 3:04 (recorded May 4, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – piano; Wyman – bass; Watts – drums.

Side two

“Built For Comfort” (Dixon) – 2:08 (recorded May 7, 1970)
Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Wyman – bass; Watts – drums; Sandke – trumpet; Lansing, Miller – saxophones
“Who’s Been Talking?” – 3:02 (recorded May 7, 1970)
Wolf – vocal, harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; John Simon – piano; Winwood – organ; Wyman – bass, shaker; Watts – drums, conga, percussion.
“The Red Rooster (Rehearsal)” – 1:58 (recorded May 7, 1970)
Wolf – vocal; guitar; other personnel as below
“The Red Rooster” (Willie Dixon) – 3:47 (recorded May 7, 1970)
Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Leake – piano; Wyman – bass; Watts – drums.
“Do The Do” (Willie Dixon) – 2:18 (recorded May 6, 1970)
Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Wyman – bass, cowbell; Watts – drums.
“Highway 49” (Joe Lee Williams) – 2:45 (recorded May 6, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – piano; Wyman – bass; Watts – drums.
“Wang-Dang-Doodle” (Willie Dixon) – 3:27 (recorded May 4, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Wyman – bass; Watts – drums.

2003 Deluxe Edition bonus tracks

“Goin’ Down Slow” (James Oden) – 5:52 (recorded May 2, 1970)
Wolf – vocal; Carp – harmonica; Clapton – lead guitar; Voormann – bass; Starr – drums.[14]
“Killing Floor” – 5:18 (recorded May 7, 1970)
Wolf – vocal, electric guitar; Clapton – electric guitar; Wyman – bass; Watts – drums.
“I Want To Have A Word With You” – 4:07 (recorded May 2, 1970)
Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Voormann – bass; Starr – drums.

Re-issue from Italy:
Re-Issue (Italy)

CD 2:

  1. “Worried About My Baby” (rehearsal take) – 4:31 (recorded May 7, 1970)
    • Wolf – vocal, harmonica; Clapton – lead guitar; Wyman – bass.
  2. “The Red Rooster” (alternate mix) – 4:02 (recorded May 7, 1970)
    • Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Leake – piano; Wyman – bass; Watts – drums.
  3. “What A Woman” (alternate take) – 5:10 (recorded May 7, 1970)
    • Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Wyman – bass; Watts – drums.
  4. “Who’s Been Talking” (alternate take with false start and dialogue) – 5:51 (recorded May 7, 1970)
    • Wolf – vocal, harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Wyman – bass; Watts – drums.
  5. “Worried About My Baby” (alternate take) – 3:43 (recorded May 7, 1970)
    • Wolf – vocal, harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Wyman – bass; Watts – drums.
  6. “I Ain’t Superstitious” (alternate take) – 4:10 (recorded May 2, 1970)
    • Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Voormann – bass; Starr – drums.
  7. “Highway 49” (alternate take) – 3:39 (recorded May 6, 1970)
    • Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Wyman – bass; Watts – drums.
  8. “Do The Do” (extended alternate take) – 5:44 (recorded May 6, 1970)
    • Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Wyman – bass, cowbell; Watts – drums.
  9. “Poor Boy” (alternate lyrics mix) – 4:27 (recorded May 4, 1970)
    • Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – piano; Wyman – bass; Watts – drums.
  10. “I Ain’t Superstitious” (alternate mix) – 3:53 (recorded May 2, 1970)
    • Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – piano; Voormann – bass; Starr – drums; Sandke – trumpet; Lansing, Miller – saxophones; Wyman – cowbell.
  11. “What A Woman” (alternate mix with organ overdub) – 3:10 (recorded May 7, 1970)
    • Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Winwood – organ; Wyman – bass; Watts – drums.[15]
  12. “Rockin’ Daddy” (alternate mix) – 3:58 (recorded May 4, 1970)
    • Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Stewart – piano; Upchurch – bass; Watts – drums.




More from Howlin´ Wolf:

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