Albert Collins + Barrelhouse – Live (1978)

FrontCover1.jpgNot really an introduction nessecary:

Albert Gene Drewery, known as Albert Collins and the Ice Man (October 1, 1932 – November 24, 1993),[1] was an American electric blues guitarist and singer with a distinctive guitar style. He was noted for his powerful playing and his use of altered tunings and a capo. His long association with the Fender Telecaster led to the title “The Master of the Telecaster”. (by wikipedia)

A leading Dutch pop journalist, the well respected Jip Golsteyn,once wrote that Barrelhouse is and has been for a long time, the leading rhythm & blues group in the Low Countries.The band started in 1974, released 10 albums in as many years, among them a live album with the legendary Albert Collins from Texas.

After some changes in personnel during their acclaimed existence, the band split up in 1986, individual members finding new ways in different groups. But in spite of leadsinger Tineke Schoemaker’s chart success with One Two, a longing for the supple and solid band that once was theirs crept into the minds of the Barrelhouse members while time passed. In 1993 Barrelhouse hit the road again with their original line-up. It was an instant success, not in the least because of the flexibility with which the band renewed its repertoire. This renewed sound and approach was highlighted on the CD’s that followed: Fortune Changes (1993) and Time Frames (1998). By the end of the Summer of 2002 the third CD since the split was released: Walking in Time.

VideoClipTaken from the video clip

Some say that Barrelhouse is ‘magic’, a lucky combination of musicians that blends into an energetic and solidly lubricated piece of rhythm & blues, all at once catching the eye, forcing you to dance. The most obvious element is the powerful voice of the lead singer Tineke Schoemaker. She doesn’t need to imitate: her soul and sound are original, her range and timing touches the audience immediately. But where would she be without the band featuring bass player Jan Willem Sligting and drummer Bob Dros who make up the very solid rhythm section always leaving room for the soloist to perform on top with their very characteristic Barrelhouse groove. Both guitar players Johnny and Guus LaPorte prove that excellent guitar-solos and strong and inspired rhythm guitar go hand in hand. The brothers excel in both. The band is completed by the technical prowess of piano player Han van Dam, who adds to the solidity of the rhythm section both during solos or in accompaniment. Barrelhouse is dynamic in their slow blues and medium tempo, but even more so when they get worked up with an energetic number which they perform with a kind of enthusiasm that puts a spell on any audience lucky enough to catch a show.


The band has appeared on Dutch television on several occasions and played on major European festivals like Breminale (Bremen – Germany), Moulin Blues (Ospel, The Netherlands), The R&B Festival Peer (Belgium), Blue Balls Festival (Luzern, Switzerland) and North Sea Jazz Festival (The Hague, The Netherlands).

And here´s a very fine live album from the early days of Barrelhouse (the band is still active !).

Collins is backed by a Dutch band on this recording of a December 1978 show in Alkmaar, Holland. Dividing his attention between originals and covers of tunes by the likes of Lowell Fulson and Guitar Slim, it’s a typically energetic set with long solos, the backup musicians playing competently, and female singer Tineke Schoemaker taking the vocals on “Blue River Rising.” (by Richie Unterberger)

I include a very rare video-clip from Dutch TV: Alber Collins & Barrelhouse the song “Conversation With Collins” … including a rely runny guitar-solo by Albert Collins … watch !


Alternate CD frontcover

Albert Collins (guitar, vocals)

with Barrelhouse:
Han van Dam (piano)
Bob Dros (drums)
Guus Laporte (guitar)
Johnny Laporte (guitar)
Jan Willem Sligting (bass)
Tineke Schoemaker (vocals)
Tony Vos (saxophone)


01. Frosty (A.Collins) 4.44
02. Honey Hush (Fulson) 5.47
03. I’ve Got A Mind To Travel (G.Collins) 7.31
04. Don’t Loose Your Cool (A. Collins) 5.37
05. Blue River Rising (Shuler/Bonner) 6.32
06. Cock It On The Wall (Traditional) 3.04
07. Conversation With Collins (A. Collins) 9.28
08. Keep Your Business Straight (G. Collins) 9.27
09. Things I Used To Do (Slim) 4.54
10. Conversation With Collins (video-clip) (A. Collins) 6.19




George Thorogood & The Destroyers – Live: Let’s Work Together (1995)

FrontCover1.jpgLive: Let’s Work Together is the second live album by George Thorogood & the Destroyers.

It was recorded on December 2–3, 1994 at Mississippi Nights in St. Louis, Missouri and December 5, 1994 at Center Stage in Atlanta, and released in 1995 on the EMI Records label.

The album featured guest appearances by musicians Elvin Bishop and Johnnie Johnson. (by wikipedia)

George Thorogood and his Delaware Destroyers have been raisin’ rock ‘n’ roll Shenanigans now for over thirty years. Coming out of Detroit in 1974, they got to release their first self-titled studio album in 1977. However, it was not until another nine years of roadwork, and several studio albums later, that the band hit pay-dirt with their first live album, simply titled `Live’ in 1986. It made the live Destroyer experience available to the world. And after all is said and done, it is not surprising that this is where the band finally clicked on album. George Thorogood and the Destroyers have always been a live beast, bursting into life when they hit the boards in front of a frenzied audience, but wilting slightly when cooped up in a recording studio.

In the Destroyers career so far there have been three live albums, the original from 1977, then lately there was Live in 1999, but it’s this middle one from 1995 that I picked as the best of a good bunch. The simple reason is that the performance is explosive, well recorded, chock-a-block full of Thorogood classics, the odd surprise here and there, and, like any good live recording, it is topped and tailed by a good solid slab of Mr. Chuck Berry.
The ever dependable Destroyers, stripped down to a basic four piece which this dog prefers (I’d rather have four musicians working hard than a nine piece being able to take it easy), put out a good solid sound. Apart from the amazing George out front on lead guitar and vocals, you have the exuberant Hank Carter on saxophone, who also contributes a touch of keyboards when the feeling takes. These two are backed by one of the most solid rhythm sections in history – Bill Blough on bass and Jeff Simon on drums. Over the years these two have welded together a mighty partnership.
For the first eleven songs the boys crank up their audience with a set full of Thorogood destroyers, working the fifth member of the band, the audience, to frenzy. Particularly on the tribute to John Lennon with their version of Larry Williams’ ‘Bad Boy’, which the Beatles would of first started playing in their days in Hamburg nightclubs back in the early sixties. But when George introduces Elvin (Bad Boy) Bishop to the crowd to join the band for some slide guitar on `Let’s Work Together’, the audience can barely contain themselves with excitement.


To top that, out from the wings for the final two songs comes Mr. Piano of Rock ‘n’ Roll/Blues/Boogie, Mr. Johnny Johnson. In his past Johnson has been chief sideman to all the greats including Chuck Berry, Buddy Guy, etc., and if you have never heard barrel house, honky-tonk piano, lend an ear to the last two tracks on this album. The first of the two is a storming version of ‘St. Louis Blues’, then we are led away by the rock ‘n’ roll national anthem ‘Johnny B. Goode’. By this time the excitement contained in the grooves of your CD can barely be controlled as your CD player hangs onto the disc by the skin of its teeth. The band members shoulder each other out of the way to take turns at soloing. Finally George breaks back in to take control and brings the song to a shattering climax.
All in all a very satisfying live recording of a band at the top of their game. Not many people know that when George sings…
“Why don’t you get a haircut and get a real job,
Just like your big brother Bob”
…he is of course singing about his soul brother `The Prince of Darkness’, Bob Finch of Tahitian Queen fame. Well, now you know.
Rocked by Mott the Dog
Rolled by Ella Crew (by Kim Fletcheron)

That´s what I call high energy Rock N Roll …


Bill Blough (bass)
Hank Carter (saxophone, keyboards, background vocals)
Jeff Simon (drums)
George Thorogood (guitar, slide-guitar, vocals)
Elvin Bishop (slide-guitar on 12.)
Johnnie Johnson (piano on 13. – 14.)

01. No Particular Place To Go (Berry) 5.14
02. Ride On Josephine (McDaniel) 6.57
03. Bad Boy (Williams) 4.51
04. Cocaine Blues (Amall) 3.34
05. If You Don’t Start Drinkin’ (I’m Gonna Leave) (Thorogood) 4.28
06. I’m Ready (Dixon) 5.12
07. I’ll Change My Style (Parker/Villa) 4.40
08. Get A Haircut (Avery/Birch) 5.42
09. Gear Jammer (Thorogood) 6.11
10. Move It On Over (Williams) 6.08
11. You Talk Too Much (Thorogood) 6.17
12. Let’s Work Together (Harrison) 6.47
13. St. Louis Blues (Handy) 7.03
14. Johnny B. Goode (Berry) 5.55



Country Joe McDonald – Superstious Blues (1991)

FrontCover1Country Joe was a legendary agit-prop performer in the heydays of Berkeley’s student riots. If his beginnings were political, he soon discovered San Francisco’s hippies and LSD and managed to web his political stance to acid-rock’s visionary format. (Translated by Ornella C. Grannis)

Joe McDonald was the musician who inherited, for a brief season, Bob Dylan’s and the Fug’s charisma.
McDonald found himself in the right place at the right time: the protest marches for peace that arose in 1964 at Berkeley, on the opposite side of the San Francisco Bay.
Born to a Jewish mother and a communist father, McDonald moved to Berkeley in 1962 – after a four year stint in the Marines – to become a sarcastic spokesman for the anti-war movement. He was a folk singer by trade and a politician at heart. He employed the idea of the “rag baby”, a sort of musical announcement to be distributed at concerts. The first of such announcements came in the form of an EP in 1965.
His style fused Woody Allen’s sarcastic debate, Bob Dylan’s caustic complaints and the Fugs’ satire with the happy sound of jug-band. McDonald’s engagement in 1965 of an electric band, The Fish (the fish in Mao Zedong’s Red Book are the revolutionaries) with eighteen-year old prodigy Barry Melton at the guitar and David Cohen at one of the first Farfisa organs accompanying the singers’ bitter polemics, allowed an expansion of style into blues and rock and roll.. His notoriety was centered on campus, but he never got the full attention the hippies of the Bay: his religion was politics, not acid.

The repertory of Country Joe, as he was billed on his records, stretched from Vaudeville to the dreamy ballad to the instrumental jam. The album Electric Music For Mind And Body (Vanguard, 1966), was the manifesto of his hip socialism, in particular the ferocious Fugs-style satire Superbird, the bitter fairy tale Not So Sweet Martha Lorraine (practically a campus adaptation of Dylan’s Like A Rolling Stone), the tragic Death Sound Blues. But as a testimonial to McDonald’s unusual eclecticism, the album also features Sad And Lonely Times, a country interlacing of guitars and vocal harmonies, and the hoarse blues Love. The Fish adopted the amateurish sound of a jug band, electrified as folk-rock demanded, crusty as the rebellious spirit of the campus required and coarsened by drugs, with ragged tambourines, uneven singing, and squealing guitars.

The true genius of McDonald reveals itself in the most surreal pieces, such as Happiness Is A Porpoise Mouth, a melancholy waltz articulated by Spanish chords of the acoustic guitar and a simple organ. Bass String is the most stoned and hallucinatory, a mini acid symphony that expands and rarefies itself until nothing remains of the identity of its sound. In these experimental miniatures is evident the influx of the psychedelic society: elastic tempo, stretched vowels, piercing screams, random noise. The height of the record and also the apex of Country Joe’s psychedelia is Grace, a lyric serenade of echoes, bells, thumps, pizzicatoes, drops and many other little slow background noises alongside a Japanese lullaby, refracted like a maze of deforming mirrors. More creative yet are the instrumentals. Section 43, sinister and vaguely oriental, orchestrated for harmonica, Farfisa, tom-tom and pealing guitars, remains to date a masterpiece of acid rock. The Masked Marauder alternates between an instrumental lead by a cheesy Farfisa, a Vaudevillian march, and a theme that sounds like a film soundtrack by Morricone. Overall, this is an album that uses politics as a pretext, an album that in reality stands more for the psychedelic spirit of the San Francisco hippies than for the revolutionary spirit of Berkeley’s radicals.

More populist than Dylan and more musical than the Fugs, Country Joe found the right balance between politics and music with the album that followed: I Feel Like I’m Fixin To Die (Vanguard, 1967). In it, the arrangements are more sophisticated (with plenty of CountryJoeMcDonald03sound effects and atypical instruments distributed between the grooves) and the sound is crisper. The three ring circus fanfare that gives its name to the album, and even more so the irreverence of the “Fish Cheer”, is one of the everlasting examples of political song, the target obviously being Vietnam, and also the best introduction to the work of these jester/acrobats of rock. The rest of the album is not expressed in such a surreal mode, the best mode for this artist. Instead, it fluctuates, soft and tranquil, in benevolent melancholy. It’s subdued by ballads: Who Am I, ecstatically suspended in one of McDonald’s slow-motion vocals, Pat’s Song, an imitation of Donovan adapted to Cohen’s ceremonial organ, and Janis, a tender serenade with a harpsichord that fuses waltz, rag, country and western.
Much more radical are the acid excesses of Magoo, sung with dilated and refracted march-like vocals and accompanied by the sound of a storm, and of Thought Dream, a slow piece to which the organ confers a religious tone. The instrumentals have lost the calliope spirit of the Farfisa, having adopted instead that sound of the Grateful Dead’s acid jams, as in Eastern Jam.The form is transfigured in the swoon of Colors For Susan, a piece of liquid, transcendental guitar music, punctuated by casual thumps, that constitutes although without words, one of the best made Indian prayers of hippie music.
In the 1968 McDonald participated in the Chicago protests. The year after he triumphed at Woodstock. Also in 1969 he was arrested for greeting the audience in his usual way (“F-U-C-K”). His politics were now prevailing, and his music was languishing after a couple of mediocre albums of political songs.
McDonald went back abruptly to the folk of his roots at at time when everybody was doing the same. The results were unimpressive: Together (Vanguard, 1968) and Here We Go Again (Vanguard, 1969) include Rock And Soul Music, Good Guys Bad Guys, Rocking Round The World.

Thinking Of Woody Guthrie (Vanguard, 1969) reprised ten songs of the great father of the song of protest, done according to the dictates of Nashville, the great father of musical fascism.
McDonald’s last political forays are to be found in War War War (Vanguard, 1971), in particular in Man From Athabaska and The Call, and on the noble Paris Sessions (1973), a tribute to contemporary events in the name of a vibrant rock and roll,with a mostly female line-up that included Dorothy Moscowitz of the United States of America.
McDonald continued to release a series of impressive albums well into the 80s: Paradise With An Ocean View (1975), Love Is A Fire (Fantasy, 1976) Goodbye Blues (1977), Rock And Roll Music From The Planet Earth (Fantasy, 1978), the acoustic On My Own (Rag Baby, 1980), and many others.
Superstitious Blues (Rykodisc, 1991) is music for “retired” hippies.
Bevis Frond brought him back on the scene for a tribute album, Eat Flowers & Kiss Babies (Woronzow, 1999). (

And here is one of his superb solo-album … called “Superstious Blues”.

This excellent comeback album finds McDonald in acoustic mode, accompanied by Jerry Garcia for some strong picking on a thoughtful collection of songs. (by William Ruhlmann)


Terry Adams (cello)
Stephen Barsotti (bass)
Barry Flast (bass, piano)
Peter Frankel (guitar)
Jerry Garcia (guitar, slide-guitar)
Kirk Felton (drums)
Sandy Rothman (dobro)


01. Standing At The Crossroads () 4.23
02. Eunecita () 4.13
03. Superstitious Blues () 3.58
04. Tranquility () 3.36
05. Starship Ride () 3.09
06. Cocaine (Rock) () 3.48
07. Blues For Breakfast () 3.38
08. Clara Barton () 3.37
09. Blues For Michael () 6.52

All songs written by Country Joe McDonald




Still alive and well: Country Joe McDonald in 2017

Canned Heat – Los Angeles (1967)

FrontCover1.jpgRight damn fine SBD for a 1967 club tape, with a few spots o’ bother.
Warts: Repaired dullspots & dropouts but surely missed a few. Vocal mikes were too hot & probably not that great quality & sometimes a bit distorted, but painstakingly repaired it where possible. #04 had 4 tape chew glitches in middle – mostly fixed 2 & other 2 used split second patch (still audible but minimized) & another spot 1min before end only partially repaired, still has split second of hiss. #07 had many micro glitches now mostly fixed as are major mike distortion breakup glitches 2/3rds thru. Repaired/smoothed out between song splices. Removed overlapped (repeated) clapping segment after #09. #10 lessened worst mike distortion spots. #13 major mike distortion breakup glitches mostly fixed.
– In ‘67 it was essentially sets at the Grove, not shows. The club was rarely emptied between performances (info courtesy of Alan Bershaw).
– Early & Late “Show” attributions are guesses in some cases, related to announcements & Bokelman list.
– 1967 Ash Grove Canned Heat tapes exist from January 8,13,14,20 & March 29 so there are hours more!
– The same Mark Andes on bass who was a founding member of Spirit, Jo Jo Gunne & Firefall.
– Frank Cook was also the drummer & manager for early Pacific Gas & Electric (from 1967-1970).

This earliest Canned Heat live tape I found yet, was recorded in an unknown club and feature the original Canned Heat w/Frank Cook on Drums! Again the song-list here includes some tracks not available from any other known Canned Heat recording! Those of you who
downloaded in June my Canned Heat compilation “Tracks” already have nearly half of the tracks here, but these tracks were remastered in a different way from my own tape & here’s the complete performance, from a different source!

CANNED HEAT’s Club performance here is kind of rough and unpolished, but full of “Heat” and some tracks here are standing clearly in the tradition of the great “Blues Shouters” as Howlin Wolf or Big Joe Turner! The general quality is great, but on some tracks the Bear’s vocals are quite oversaturated! I did my best to polish this & also used the better channel (with less dropouts) of this mono sbd recording! (theultimatebootlegexperience7.blogspot)

Canned Heat1967_01

Mark Andes (bass)
Frank Cook (drums, vocals)
Bob Hite (harmonica, vocals)
Henry Vestine (guitar)
Alan Wilson (guitar, harmonica, vocals)


01. Alley Special (Holmes) 4.11
02. Big Road Blues (Wilson/Hite/Cook/Vestine/Taylor) 3.09
03. There Is Something On Your Mind (McNeely) 9.25
04. Dust My Broom (James) 5.12
05. 300 Pounds Of Heavenly Joy (Dixon) 4.01
06. Pet Cream Man (Hutto) 6.56
07. Bullfrog Blues (#1) (Harris) 3.21
08. E Shuffle (unknown) 5.29
09. Instrumental (unknon) 1.15
10. Madman Blues (Hooker) 4.14
11. Terraplane Blues (Johnson) 4.25
12. Rollin’ & Tumblin’ (Newbern) 4.48
Track 13. Bullfrog Blues (#2) (Harris) 5.44

Canned Heat1967_02


Fleetwood Mac – Blues Jam In Chicago (1969/2004)

FrontCover1.jpgBlues Jam at Chess/Fleetwood Mac In Chicago/Blues Jam In Chicago Vols. 1 & 2 was the result of a recording session in early 1969, at Chess Records in Chicago (home to Muddy Waters, Howlin’ Wolf, et al.) with Fleetwood Mac, then a young British blues band, and a number of famous Chicago Blues artists from whom they drew inspiration. (by wikipedia)

This set, recorded at Chess Record’s Ter-Mar complex in Chicago, pairs Peter Green’s Fleetwood Mac with some of the Windy City’s blues legends including Willie Dixon, Otis Spann, Buddy Guy, and David “Honeyboy” Edwards. Put together on short notice, and recorded in one day, the sessions have something of a ramshackle feel, but the energy of the performances transcends any shortcomings on this date. Dixon oversaw the proceedings, and can be heard during the between-song banter giving directions and chastising Walter “Shakey” Horton for missing his cues.


Since the Peter Green-led Fleetwood Mac was so directly influenced by Chicago blues, the session acts as a kind of stylistic homecoming for the band. Bassist John McVie and drummer Mick Fleetwood contribute driving rhythms while guitarists Danny Kirwan and Jeremy Spencer lend both rhythms and the occasional lead. Green’s stunningly fluid guitar work is at the fore, as usual. But the real treat is picking out the Chess players–Otis Spann’s piano on “I Got the Blues,” J.T. Brown’s tenor sax on Elmore James’s “I Can’t Hold Out,” or Guy and Edwards, who go toe-to-toe with Green on “Red Hot Jam,” one of the session’s indisputable highlights.


Like VOL. 1, BLUES JAM IN CHICAGO VOL. 2 documents collaborations between some of Chess Records’ most prominent bluesmen and the late-1960s version of Fleetwood Mac (the blues-rock power outfit, as opposed to the commercially successful soft-rock incarnation from the ’70s). Given that the Peter Green-led Fleetwood Mac was already deeply rooted in Chicago blues, the project proved to be a natural for the group, with Green’s blues-drenched leads and the chops of Mick Fleetwood (drums), John McVie (bass), Danny Kirwan and Jeremy Spencer (guitars) providing a perfect framework for contributions by Willie Dixon, Otis Spann, and David “Honeyboy” Edwards, among others.


Green and company bring an edge to the proceedings, playing with the kind of muscle and unbridled energy associated with rock music. Interestingly, VOL. 2 has greater variety in the lineup than VOL. 1, with Dixon substituting on bass for McVie on a number of tracks, along with much swapping of vocal duties. This last fact gives the second installment the edge over the first, with Edwards singing on his own tunes (“Honey Boy Blues” is a highlight), and the inimitable Spann singing “Someday Soon Baby” and “Hungry Country Girl.” This is one of the finer snapshots of British blues-rock meeting its source. (by allmusic)

This album is not only a highlight in the career of the early Fleetwood Mac, but in the history of Blues …


Alternate frontcover

Mick Fleetwood (drums)
Peter Green (vocals, guitar)
John McVie (bass)
Danny Kirwan (vocals, guitar)

Jeremy Spencer (vocals, guitar, slide guitar)
J. T. Brown (saxophone)
Willie Dixon (bass)
David “Honeyboy” Edwards (guitar)
Buddy Guy (guitar)
Walter “Shakey” Horton (harmonica)
S.P. Leary (drums)
Otis Spann (vocals, piano)



CD 1:
01. Watch Out (Green) 4.20
02. Ooh Baby (Burnett) 4.06
03. South Indiana (take 1) (Horton) 3.21
04. South Indiana (take 2) (Horton) 3.47
05. Last Night (Jacobs) 5.01
06. Red Hot Jam (take 1 with studio talk) (Green) 5.55
07. Red Hot Jam (take 2 – master version) (Green) 6.02
08. I’m Worried (Green) 3.47
09. I Held My Baby Last Night (James/Taub) 5.16
10. Madison Blues (James) 4.56
11. I Can’t Hold Out (James) 4.49
12. Bobby’s Rock (previously unreleased) (James) 4.00
13. I Need Your Love (John Jr.) 4.32
14. Horton’s Boogie Woogie (take 1 with studio chatter – previously unreleased) (Horton) 3.37
15. I Got The Blues (master version with previously unreleased false start) (Horton) 4.55

CD 2:
01. World’s In A Tangle (Rogers) 5.26
02. Talk With You (Kirwan) 3.28
03. Like It This Way (Kirwan) 4.25
04. Someday Soon Baby (Spann) 7.37
05. Hungry Country Girl (Spann) 5.47
06. Black Jack Blues (Brown) 5.08
07. Everyday I Have The Blues (Slim) 4.55
08. Rockin’ Boogie (Spencer) 3.58
09. My Baby’s Gone (Edwards) 4.04
10. Sugar Mama (take 1 – previously unreleased) (Traditional) 0.49
11. Sugar Mama” (take 2 – master version) (Traditional) 6.08
12. Homework (Clark/Perkins/Rush) 3.21
13. Honey Boy Blues (previously unreleased) (Edwards) 2.20
14. I Need Your Love (take 1 – previously unreleased) (Rogers) 2.15
15. Horton’s Boogie Woogie (take 2 – previously unreleased) (Horton) 3.40
16. Have A Good Time (previously unreleased) (Horton) 4.55
17. That’s Wrong (previously unreleased) (Horton) 4.13
18. Rock Me Baby (previously unreleased) (Jackson) 3.25




Black River Bluesman & Bad Mood Hudson – Moonshine Medicine (2016)

FrontCover1.jpgThe Black River Bluesman and Bad Mood Hudson deliver the goods on Moonshine Medicine . They’re in with the big Alligators, Witch doctors , Chickens, and Lowebows. Not your soccer mom blues cruise blues. Something more dangerous . It’s as if Tony Iommi and Jessie Mae Hemphill had a love child with John Bonham and Sam Carr as delivery doctors. They dig Deep with the Lowebow to tones of earth shaking power and vocals and beats that bring to mind the howl of a beast in the wilds of the Finnish tundra. (John Lowe)

Coming direct from Finland, Jukka “Black River Bluesman” Juhola and “Andy” Bad Mood Hudson are a duo act with a number of recordings under their belt. Juhola handles the lead vocals while accompanying himself on Lowebow guitars, a custom version of the cigar box guitar, produced by Johnny Lowe in Memphis in a number of configurations and tunings. Hudson plays drums as well as adding backing vocals to an all-original batch of songs.

They create a distortion-laden wall of sound full of droning slide guitar tones riding ponderous drum beats. The title track opens the disc with Juhola barking out lyrics over accompaniment that resembles the Mississippi Hill country sound, minus the finesse and at a considerably louder volume level. “Big Alligator” continues in the heavy vein while “Latest Stranger” and “Gasoline” could be the duo’s attempts to emulate Black Sabbath.“Bucket Hot Water” finds Juhola playing in a more traditional manner while chanting, then shrieking mundane lyrics.


“Chicken Song” slows the pace, allowing the band to establish a more traditional blues sound. The frenzied approach is back on “Candy Box Blues,” “Knock Knock,” and “Digital Ghost,” causing the songs to blend together into a continuous cacophony of hard-edge sounds. The disc ends with “Going Down With The Lowebow” as the the two men repeatedly sing the title line while Juhola rips off taut licks from his instrument.

Black River Bluesman and Bad Mood Hudson have a unique insight into blues music. Fans of cigar box guitars and listeners who are open to a more modern rendering of blues may find this approach appealing. (Mark Thompson)


Andy “Bad Mood” Hudson (drums, vocals)
Jukka “Black River Bluesman” Juhola (vocals & lowebow guitar)


01. Moonshine Medicine (J.Juhola) 2.24
02. Big Alligator (J.Juhola/Roots) 2.44
03. Latest Stranger (J.Juhola/Roots) 2.52
04. Bucket Hot Water (J.Juhola) 2.30
05. Chicken Song (J.Juhola) 2.45
06. Candy Box Blues (J.Juhola/V.Juhola) 3.24
07. Knock Knock (J.Juhola) 2.19
08. Gasoline (J.Juhola) 2.45
09. Digital Ghost (J.Juhola) 2.31
10. Going Down With A Lowebow (J.Juhola) 2.49



Buddy Guy – Live In Munich (audience tape) (1993)

MC Cover1George “Buddy” Guy (born July 30, 1936)[2] is an American blues guitarist and singer. He is an exponent of Chicago blues and has influenced eminent guitarists including Eric Clapton, Jimi Hendrix, Jimmy Page, Keith Richards, Stevie Ray Vaughan, Jeff Beck and John Mayer. In the 1960s, Guy played with Muddy Waters as a house guitarist at Chess Records and began a musical partnership with the harmonica player Junior Wells.

Guy was ranked 30th in Rolling Stone magazine’s “100 Greatest Guitarists of All Time”. His song “Stone Crazy” was ranked 78th in the Rolling Stone list of the “100 Greatest Guitar Songs of All Time”. Clapton once described him as “the best guitar player alive”.

In 1999 Guy wrote the book Damn Right I’ve Got the Blues, with Donald Wilcock. Guy’s autobiography, When I Left Home: My Story, was published in 2012. (by wikipedia)

The early 90´s were very sucessful years fro Buddy Guy. He rleased two of his best albums, “Damn Right, I’ve Got the Blues” (1991) and “Feels Like Rain” (1993).

And I have to reduce my collection of audience tapes and so I will offer you this very rare audience tape (recorded by me *smile*).

You´ll hear Buddy Guy … and it´s pure dynamite … and it´s a very good audience tape !

Recorded live at the Terminal 1, Munich/Germany, May 14, 1993

Buddy Guy

Buddy Guy (guitar, vocals)
unknown band

MC Cover2

01. Blues Medley I (18,39)
01.1. Mary Had A Little Lamb (Traditional/Guy) 4.05
01.2. It´s My Own Fault (King/Taub) 9.25
01.3. Slippin Out – Slippin In (LaSalle) 4.45
02. Blues Medley II (16.22)
02.1. My Time After Awhile (Badger/Feinberg/Geddins) 9.11
02.2. Cut You Loose (unknown) + Hoochie Coochie Man (Morganfield) 7.01
03. Voodoo Chile (Hendrix) 2.55
04. Accussin´ Me (unknown) 8.06
05. Tore Down (Thompson) 6.20
06. Some Kind Of Wonderful (Ellison) + I Wanna Make Love To You (Dixon) + bass & drum solo 14,45
07. We Want A Party (audience)Damn Right, I’ve Got the Blues (Guy) + Rock Me Baby (King/Taub) 7.05
08. Knock On Wood (Cropper/Floyd) + Final Jam (Guy) 17.02