Essential Wolf, 27 Aug 2006
A welcome budget price collection by one of the most charismatic and influential blues artists of all time. Many of Wolf's best known numbers are here, commencing with 'How Many More Years' from his first session in 1951 in Sam Phillips' Memphis studio, and continuing through the 1954 to 1965 period with Chess Records. The material is licensed from MCA, and therefore in excellent sound quality, with stereo mixes being used on some of the later dates. Just reading the titles reveals that most of the essential tracks are present, including the ones that were to feature strongly in the white blues boom of the 1960s: 'The Little Red Rooster', 'Spoonful', 'Killing Floor', and the inevitable 'Smokestack Lightnin''.

Wolf's songs were notable for their innovative lyrics, mostly composed by Willie Dixon, who, as a member of the Chess house band, played bass on many of these numbers. The CD could almost be considered a tribute to Dixon's songwriting talents. The lyrics of 'Tail Dragger' are particularly interesting in that they describe how the prowling wolf would wipe his tracks out with his tail, a theme borrowed from the 1930 recording 'Howling Wolf Blues No.3' by J.T. 'Funny Paper' Smith, the original Howling Wolf, from whom Chester Burnett obtained his pseudonym.

The rich, dynamic sound of the original recordings is well captured on this reissue, with the stunning guitar of Hubert Sumlin well to the fore on most numbers, and Otis Spann's piano featured here and there, including 'Wang Dang Doodle' and the moody 'Evil'. If you don't already own these classic recordings then this is an excellent place to start.


A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

The main man., 25 Oct 2002
When the blues hit Chicago and got lectrified there were two competing champs for the heavyweight title.

Muddy Waters is the better known, and no slouch in my book, but this guy is the real king.

Listen in awe to that primal bellow. Hubert Sumlin was no slouch on guitar either. Truelly a giant of the blues, and with Willie Dixon penning most of the songs, how can you lose?

So turn your blues-lite Clapton cds into coasters and get your ears round the Wolf.

A good compilation with some cracking songs., 22 Feb 2002
This is a great compilation if Howlin Wolf's best known work and as such is not going to be of much use to die hard fans but as an introduction it works just fine. Howlin Wolf had one of the greatest blues voices, a kind of melodic growl, that was almost an instrument in its own right. It is in fine especiaaly on such songs as "Backdoor Man" (which is a classic) and "Smokestack Ligthning". The tunes are fine and great if you like delta blues but the whole compilation lacks depth (probably due to the fact it's a compilation)and so does not receive the full 5 stars. But this is defenitely worth purcahsing if your a fan of the blues, Beefheart or Zappa

Essential Wolf, 27 Aug 2006
A welcome budget price collection by one of the most charismatic and influential blues artists of all time. Many of Wolf's best known numbers are here, commencing with 'How Many More Years' from his first session in 1951 in Sam Phillips' Memphis studio, and continuing through the 1954 to 1965 period with Chess Records. The material is licensed from MCA, and therefore in excellent sound quality, with stereo mixes being used on some of the later dates. Just reading the titles reveals that most of the essential tracks are present, including the ones that were to feature strongly in the white blues boom of the 1960s: 'The Little Red Rooster', 'Spoonful', 'Killing Floor', and the inevitable 'Smokestack Lightnin''.

Wolf's songs were notable for their innovative lyrics, mostly composed by Willie Dixon, who, as a member of the Chess house band, played bass on many of these numbers. The CD could almost be considered a tribute to Dixon's songwriting talents. The lyrics of 'Tail Dragger' are particularly interesting in that they describe how the prowling wolf would wipe his tracks out with his tail, a theme borrowed from the 1930 recording 'Howling Wolf Blues No.3' by J.T. 'Funny Paper' Smith, the original Howling Wolf, from whom Chester Burnett obtained his pseudonym.

The rich, dynamic sound of the original recordings is well captured on this reissue, with the stunning guitar of Hubert Sumlin well to the fore on most numbers, and Otis Spann's piano featured here and there, including 'Wang Dang Doodle' and the moody 'Evil'. If you don't already own these classic recordings then this is an excellent place to start.


A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

The main man., 25 Oct 2002
When the blues hit Chicago and got lectrified there were two competing champs for the heavyweight title.

Muddy Waters is the better known, and no slouch in my book, but this guy is the real king.

Listen in awe to that primal bellow. Hubert Sumlin was no slouch on guitar either. Truelly a giant of the blues, and with Willie Dixon penning most of the songs, how can you lose?

So turn your blues-lite Clapton cds into coasters and get your ears round the Wolf.

A good compilation with some cracking songs., 22 Feb 2002
This is a great compilation if Howlin Wolf's best known work and as such is not going to be of much use to die hard fans but as an introduction it works just fine. Howlin Wolf had one of the greatest blues voices, a kind of melodic growl, that was almost an instrument in its own right. It is in fine especiaaly on such songs as "Backdoor Man" (which is a classic) and "Smokestack Ligthning". The tunes are fine and great if you like delta blues but the whole compilation lacks depth (probably due to the fact it's a compilation)and so does not receive the full 5 stars. But this is defenitely worth purcahsing if your a fan of the blues, Beefheart or Zappa

the best 60s soul album!!, 16 Oct 2008
produced by phil spector need i say anymore love phil spector the wall of sound this album flopped in america but in britain it was successful see britain knows talent when it sees it!! tracks that i love on here are of course river deep mountain high,everyday i have to cry,fool in love,save the last dance for me the whole album is fab too be honest though but there the ones that stand out for me the sound quality isant the best but thats the whole idea to have that old sound it was made in the 60s classic buy it!!

Writing on the Wall of Sound, 27 Apr 2008
Phil Spector called in to produce what was called the TAMI Show first got the idea to reccord Tina Turner here and the Turners were licensed from their label Loma.
When you read how this song was recorded you think its a wonder everyone just didn't walk out.
Sppector was now seriously insane and he'd pissed off so many in the music business that the radio stations blacklisted him.
Which meant this disc failed to climb out of the 80s.
In the U K this sort of thing didn't make any difference-Spector was known to be eccentric but he was so angry over the failure of what he saw as his meisterwerk that Ike & Tina recordings on Philles were only available in the U K.
After a brief comeback with the Checkmates on A & M there would be no more major hits

A Truly Awesome Recording, 03 Apr 2002
This is a truly earth-moving, yet sublime record, and in my opinion is the greatest recording ever made. It is raw, powerful and takes no prisoners. The title track rumbles on, and Tina begins to ease into it. Spector's famed wall of sound is in full flow, a truly huge arrangement. However, Tina's voice is bigger. In her need to overcome the arrangment Tina ripped off her blouse, and in the process laid down one of the really great vocal performances of all time. She is hollering and screaming, the wall of sound is forever growing, until the earth shattering conclusion is reached. The other Spector produced tracks continue in a similar vein, including 'I'll never need more than this', another recording to showcase Tina's raw power. Packaged along with the all-consuming Spector numbers are some Ike and Tina standards, including a cracking version of 'A Fool in Love'. This album is simply a masterclass in delivery and power, and is genuinly amazing.

THE BEST ALBUM OF THE SIXTIES., 08 Feb 2001
what can i say about this that wasnt said at the time other than true class!(no that was said as well)all i can say is buy this and add a collection of some of the best ever recordings to your collection. It has the very original recording of 'river deep mountain high' and the passion it it makes this worth buying just for that! there are also 3 other songs on the album that are produced buy the legendary phil spector, 'a love like yours dont come knockin everyday','save the last dance for me' and 'i'll never need more than this'.apart from them there are a load of rare and popular ike and tina tracks such as ' a fool in love' and 'make em wait'i strongly suggest this album to any true music fan.

Eric Clapton and B.B. King first recorded together for one track on King's 1997 album Deuces Wild, an experience so satisfying that they decided they'd better do it again. Before long, Clapton announced on US television that one of his remaining ambitions was to make an entire album with King. Roping in producer Simon Climie, who had been such an integral part of Clapton's hugely successful Pilgrim album, the pair hunkered down in Los Angeles and set to work rejuvenating and re-interpreting a bunch of King's classics including "Ten Long Years", "Three O'Clock Blues", "Help The Poor" and "Days Of Old". They also take on a bunch of other goodies including a slow, bluesey reading of Sam & Dave's "Hold On I'm Coming" and, appropriately enough, a witty take on John Hiatt's "Riding With The King". They reach back to 1946 for the Johnny Mercer/Harold Arlen standard "Come Rain Or Come Shine", and even dip into the 1930s to resurrect Big Bill Broonzy's "Keys To The Highway", where their trading of tasty acoustic licks is a particular joy. Throughout Riding With The King, Climie has kept the production admirably simple, with King's voice and guitar in one stereo channel while Clapton's is in the other, helping create a vital intimacy, as if they're playing across a small room to each other. --Johnny Black

Essential Wolf, 27 Aug 2006
A welcome budget price collection by one of the most charismatic and influential blues artists of all time. Many of Wolf's best known numbers are here, commencing with 'How Many More Years' from his first session in 1951 in Sam Phillips' Memphis studio, and continuing through the 1954 to 1965 period with Chess Records. The material is licensed from MCA, and therefore in excellent sound quality, with stereo mixes being used on some of the later dates. Just reading the titles reveals that most of the essential tracks are present, including the ones that were to feature strongly in the white blues boom of the 1960s: 'The Little Red Rooster', 'Spoonful', 'Killing Floor', and the inevitable 'Smokestack Lightnin''.

Wolf's songs were notable for their innovative lyrics, mostly composed by Willie Dixon, who, as a member of the Chess house band, played bass on many of these numbers. The CD could almost be considered a tribute to Dixon's songwriting talents. The lyrics of 'Tail Dragger' are particularly interesting in that they describe how the prowling wolf would wipe his tracks out with his tail, a theme borrowed from the 1930 recording 'Howling Wolf Blues No.3' by J.T. 'Funny Paper' Smith, the original Howling Wolf, from whom Chester Burnett obtained his pseudonym.

The rich, dynamic sound of the original recordings is well captured on this reissue, with the stunning guitar of Hubert Sumlin well to the fore on most numbers, and Otis Spann's piano featured here and there, including 'Wang Dang Doodle' and the moody 'Evil'. If you don't already own these classic recordings then this is an excellent place to start.


A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

The main man., 25 Oct 2002
When the blues hit Chicago and got lectrified there were two competing champs for the heavyweight title.

Muddy Waters is the better known, and no slouch in my book, but this guy is the real king.

Listen in awe to that primal bellow. Hubert Sumlin was no slouch on guitar either. Truelly a giant of the blues, and with Willie Dixon penning most of the songs, how can you lose?

So turn your blues-lite Clapton cds into coasters and get your ears round the Wolf.

A good compilation with some cracking songs., 22 Feb 2002
This is a great compilation if Howlin Wolf's best known work and as such is not going to be of much use to die hard fans but as an introduction it works just fine. Howlin Wolf had one of the greatest blues voices, a kind of melodic growl, that was almost an instrument in its own right. It is in fine especiaaly on such songs as "Backdoor Man" (which is a classic) and "Smokestack Ligthning". The tunes are fine and great if you like delta blues but the whole compilation lacks depth (probably due to the fact it's a compilation)and so does not receive the full 5 stars. But this is defenitely worth purcahsing if your a fan of the blues, Beefheart or Zappa

the best 60s soul album!!, 16 Oct 2008
produced by phil spector need i say anymore love phil spector the wall of sound this album flopped in america but in britain it was successful see britain knows talent when it sees it!! tracks that i love on here are of course river deep mountain high,everyday i have to cry,fool in love,save the last dance for me the whole album is fab too be honest though but there the ones that stand out for me the sound quality isant the best but thats the whole idea to have that old sound it was made in the 60s classic buy it!!

Writing on the Wall of Sound, 27 Apr 2008
Phil Spector called in to produce what was called the TAMI Show first got the idea to reccord Tina Turner here and the Turners were licensed from their label Loma.
When you read how this song was recorded you think its a wonder everyone just didn't walk out.
Sppector was now seriously insane and he'd pissed off so many in the music business that the radio stations blacklisted him.
Which meant this disc failed to climb out of the 80s.
In the U K this sort of thing didn't make any difference-Spector was known to be eccentric but he was so angry over the failure of what he saw as his meisterwerk that Ike & Tina recordings on Philles were only available in the U K.
After a brief comeback with the Checkmates on A & M there would be no more major hits

A Truly Awesome Recording, 03 Apr 2002
This is a truly earth-moving, yet sublime record, and in my opinion is the greatest recording ever made. It is raw, powerful and takes no prisoners. The title track rumbles on, and Tina begins to ease into it. Spector's famed wall of sound is in full flow, a truly huge arrangement. However, Tina's voice is bigger. In her need to overcome the arrangment Tina ripped off her blouse, and in the process laid down one of the really great vocal performances of all time. She is hollering and screaming, the wall of sound is forever growing, until the earth shattering conclusion is reached. The other Spector produced tracks continue in a similar vein, including 'I'll never need more than this', another recording to showcase Tina's raw power. Packaged along with the all-consuming Spector numbers are some Ike and Tina standards, including a cracking version of 'A Fool in Love'. This album is simply a masterclass in delivery and power, and is genuinly amazing.

THE BEST ALBUM OF THE SIXTIES., 08 Feb 2001
what can i say about this that wasnt said at the time other than true class!(no that was said as well)all i can say is buy this and add a collection of some of the best ever recordings to your collection. It has the very original recording of 'river deep mountain high' and the passion it it makes this worth buying just for that! there are also 3 other songs on the album that are produced buy the legendary phil spector, 'a love like yours dont come knockin everyday','save the last dance for me' and 'i'll never need more than this'.apart from them there are a load of rare and popular ike and tina tracks such as ' a fool in love' and 'make em wait'i strongly suggest this album to any true music fan.

Riding with the King in a wheelchair, 21 Dec 2007
I really wanted to like this album. Two icons of R&B getting together again to cover some classic tracks. Unfortunately, this album is anaesthetic, tame and bland. Maybe 4 out of the 12 tracks are worth listening to. Clapton mumbles away in the background and spoils perfectly good music with muffled vocals and most of the track choice is at best uninspired.

Probably the notable exception is "Key to the Highway", which, along with "Riding with the King" is among the few highlights of this album. The musicianship is brilliant but it's so TAME!

What this pair need to to is get up on stage with George Thorogood and hammer it out instead of sitting in their rocking chairs telling everyone what fine guitarists they are while they pluck a few fine chords. BB King did it much better with U2. Shame that this isn't up to the same standard.

A frustrating album, could have been, should have been so much better.

More grit , 04 Aug 2007
This is somewhere between 3 & 4 stars for me, it has some great moments, but overall doesn't quite add up to the sum of its parts.

The good first:
There is some lovely blues on here and its all well played by Clapton and King with a supporting cast of top notch musicians. These includes Steve Gadd, Joe Sample, Nathan East, Jimmie Vaughan and Andy Fairweather Low. The best tracks are the two semi-acoustic tracks 'Key to the Highway' and 'Worried life Blues' and the romping 'Days Of Old'. This track in particular is reminisant of some B B Kings swinging earlier material. A great track.

The not so good:
For my taste, with exception of about five tracks, its a little over-produced. For what is a essentially a blues album its all just a little to clinical for me, and reading the credits for the tracks you will find that on 10 of the 12 Paul Waller is credited with 'Drum programming'. Now that I just don't understand. I have no doubt that Paul Waller is a talented man (you have to be to work in this company) but why do you need a 'drum programmer' (whatever that is) when you have Steve Gadd anyway?

So overall this is a good album, certainly worth getting, but there are better blues albums out there.


dissappointed russ, 11 Jan 2006
As this is sold as a DVD I expected some film footage as well. Unfortunately there is not a single second of video on this DVD? and no picture gallery either. Next time I'll have to read the label more carefully!

That's the ticket, 14 Dec 2004
What a great contrasting sound and style on this album, as BB and Clapton complement each other.

"Key to the Highway" swings along in country blues call & answer style and what about the soul standard of "Hold on I'm comin"?
The first time you listen to this, because of its low key start, takes you by surprise when the penny drops and you're listening to a classic being driven like a steam hammer.

A nice little blues/rock record, 25 Jun 2004
This album opens with a great rendition of John Hiatt's 1983 rocker "Riding With The King", which has very little to do with blues, but who cares...B.B. King is entitled to a bit of a break now and again, I suppose!

There is a lot of genuine blues here as well, however, and the eight-minute "Three O'Clock Blues" burns with long guitar solos from both men. Other highlights include a good rendition of Big Bill Broonzy's "Key To The Highway", a song which Clapton has recorded again and again for over 30 years, a nice, acoustic "Worried Life Blues", a seven-minute version of King's own "When My Heart Beats Like A Hammer", and the best song on the album, a delightfully swinging "Help The Poor", Charles Singleton's 60s classic.

There are a few clunkers here..."Marry You" and "I Wanna Be" are a ouple of bland, repetitive dime-a-dozen rock songs, and the novelty-like "Days Of Old" isn't destined for classic-status either, but most of the album works really well, although a handful of weak songs are a few too many.
It's not the grittiest blues record I've ever heard (or the bluesiest), but it's a nice listen while it lasts, even if it fails to live up to its enormous potential.
3 3/4 stars. Good enough.

Essential Wolf, 27 Aug 2006
A welcome budget price collection by one of the most charismatic and influential blues artists of all time. Many of Wolf's best known numbers are here, commencing with 'How Many More Years' from his first session in 1951 in Sam Phillips' Memphis studio, and continuing through the 1954 to 1965 period with Chess Records. The material is licensed from MCA, and therefore in excellent sound quality, with stereo mixes being used on some of the later dates. Just reading the titles reveals that most of the essential tracks are present, including the ones that were to feature strongly in the white blues boom of the 1960s: 'The Little Red Rooster', 'Spoonful', 'Killing Floor', and the inevitable 'Smokestack Lightnin''.

Wolf's songs were notable for their innovative lyrics, mostly composed by Willie Dixon, who, as a member of the Chess house band, played bass on many of these numbers. The CD could almost be considered a tribute to Dixon's songwriting talents. The lyrics of 'Tail Dragger' are particularly interesting in that they describe how the prowling wolf would wipe his tracks out with his tail, a theme borrowed from the 1930 recording 'Howling Wolf Blues No.3' by J.T. 'Funny Paper' Smith, the original Howling Wolf, from whom Chester Burnett obtained his pseudonym.

The rich, dynamic sound of the original recordings is well captured on this reissue, with the stunning guitar of Hubert Sumlin well to the fore on most numbers, and Otis Spann's piano featured here and there, including 'Wang Dang Doodle' and the moody 'Evil'. If you don't already own these classic recordings then this is an excellent place to start.


A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

The main man., 25 Oct 2002
When the blues hit Chicago and got lectrified there were two competing champs for the heavyweight title.

Muddy Waters is the better known, and no slouch in my book, but this guy is the real king.

Listen in awe to that primal bellow. Hubert Sumlin was no slouch on guitar either. Truelly a giant of the blues, and with Willie Dixon penning most of the songs, how can you lose?

So turn your blues-lite Clapton cds into coasters and get your ears round the Wolf.

A good compilation with some cracking songs., 22 Feb 2002
This is a great compilation if Howlin Wolf's best known work and as such is not going to be of much use to die hard fans but as an introduction it works just fine. Howlin Wolf had one of the greatest blues voices, a kind of melodic growl, that was almost an instrument in its own right. It is in fine especiaaly on such songs as "Backdoor Man" (which is a classic) and "Smokestack Ligthning". The tunes are fine and great if you like delta blues but the whole compilation lacks depth (probably due to the fact it's a compilation)and so does not receive the full 5 stars. But this is defenitely worth purcahsing if your a fan of the blues, Beefheart or Zappa

the best 60s soul album!!, 16 Oct 2008
produced by phil spector need i say anymore love phil spector the wall of sound this album flopped in america but in britain it was successful see britain knows talent when it sees it!! tracks that i love on here are of course river deep mountain high,everyday i have to cry,fool in love,save the last dance for me the whole album is fab too be honest though but there the ones that stand out for me the sound quality isant the best but thats the whole idea to have that old sound it was made in the 60s classic buy it!!

Writing on the Wall of Sound, 27 Apr 2008
Phil Spector called in to produce what was called the TAMI Show first got the idea to reccord Tina Turner here and the Turners were licensed from their label Loma.
When you read how this song was recorded you think its a wonder everyone just didn't walk out.
Sppector was now seriously insane and he'd pissed off so many in the music business that the radio stations blacklisted him.
Which meant this disc failed to climb out of the 80s.
In the U K this sort of thing didn't make any difference-Spector was known to be eccentric but he was so angry over the failure of what he saw as his meisterwerk that Ike & Tina recordings on Philles were only available in the U K.
After a brief comeback with the Checkmates on A & M there would be no more major hits

A Truly Awesome Recording, 03 Apr 2002
This is a truly earth-moving, yet sublime record, and in my opinion is the greatest recording ever made. It is raw, powerful and takes no prisoners. The title track rumbles on, and Tina begins to ease into it. Spector's famed wall of sound is in full flow, a truly huge arrangement. However, Tina's voice is bigger. In her need to overcome the arrangment Tina ripped off her blouse, and in the process laid down one of the really great vocal performances of all time. She is hollering and screaming, the wall of sound is forever growing, until the earth shattering conclusion is reached. The other Spector produced tracks continue in a similar vein, including 'I'll never need more than this', another recording to showcase Tina's raw power. Packaged along with the all-consuming Spector numbers are some Ike and Tina standards, including a cracking version of 'A Fool in Love'. This album is simply a masterclass in delivery and power, and is genuinly amazing.

THE BEST ALBUM OF THE SIXTIES., 08 Feb 2001
what can i say about this that wasnt said at the time other than true class!(no that was said as well)all i can say is buy this and add a collection of some of the best ever recordings to your collection. It has the very original recording of 'river deep mountain high' and the passion it it makes this worth buying just for that! there are also 3 other songs on the album that are produced buy the legendary phil spector, 'a love like yours dont come knockin everyday','save the last dance for me' and 'i'll never need more than this'.apart from them there are a load of rare and popular ike and tina tracks such as ' a fool in love' and 'make em wait'i strongly suggest this album to any true music fan.

Riding with the King in a wheelchair, 21 Dec 2007
I really wanted to like this album. Two icons of R&B getting together again to cover some classic tracks. Unfortunately, this album is anaesthetic, tame and bland. Maybe 4 out of the 12 tracks are worth listening to. Clapton mumbles away in the background and spoils perfectly good music with muffled vocals and most of the track choice is at best uninspired.

Probably the notable exception is "Key to the Highway", which, along with "Riding with the King" is among the few highlights of this album. The musicianship is brilliant but it's so TAME!

What this pair need to to is get up on stage with George Thorogood and hammer it out instead of sitting in their rocking chairs telling everyone what fine guitarists they are while they pluck a few fine chords. BB King did it much better with U2. Shame that this isn't up to the same standard.

A frustrating album, could have been, should have been so much better.

More grit , 04 Aug 2007
This is somewhere between 3 & 4 stars for me, it has some great moments, but overall doesn't quite add up to the sum of its parts.

The good first:
There is some lovely blues on here and its all well played by Clapton and King with a supporting cast of top notch musicians. These includes Steve Gadd, Joe Sample, Nathan East, Jimmie Vaughan and Andy Fairweather Low. The best tracks are the two semi-acoustic tracks 'Key to the Highway' and 'Worried life Blues' and the romping 'Days Of Old'. This track in particular is reminisant of some B B Kings swinging earlier material. A great track.

The not so good:
For my taste, with exception of about five tracks, its a little over-produced. For what is a essentially a blues album its all just a little to clinical for me, and reading the credits for the tracks you will find that on 10 of the 12 Paul Waller is credited with 'Drum programming'. Now that I just don't understand. I have no doubt that Paul Waller is a talented man (you have to be to work in this company) but why do you need a 'drum programmer' (whatever that is) when you have Steve Gadd anyway?

So overall this is a good album, certainly worth getting, but there are better blues albums out there.


dissappointed russ, 11 Jan 2006
As this is sold as a DVD I expected some film footage as well. Unfortunately there is not a single second of video on this DVD? and no picture gallery either. Next time I'll have to read the label more carefully!

That's the ticket, 14 Dec 2004
What a great contrasting sound and style on this album, as BB and Clapton complement each other.

"Key to the Highway" swings along in country blues call & answer style and what about the soul standard of "Hold on I'm comin"?
The first time you listen to this, because of its low key start, takes you by surprise when the penny drops and you're listening to a classic being driven like a steam hammer.

A nice little blues/rock record, 25 Jun 2004
This album opens with a great rendition of John Hiatt's 1983 rocker "Riding With The King", which has very little to do with blues, but who cares...B.B. King is entitled to a bit of a break now and again, I suppose!

There is a lot of genuine blues here as well, however, and the eight-minute "Three O'Clock Blues" burns with long guitar solos from both men. Other highlights include a good rendition of Big Bill Broonzy's "Key To The Highway", a song which Clapton has recorded again and again for over 30 years, a nice, acoustic "Worried Life Blues", a seven-minute version of King's own "When My Heart Beats Like A Hammer", and the best song on the album, a delightfully swinging "Help The Poor", Charles Singleton's 60s classic.

There are a few clunkers here..."Marry You" and "I Wanna Be" are a ouple of bland, repetitive dime-a-dozen rock songs, and the novelty-like "Days Of Old" isn't destined for classic-status either, but most of the album works really well, although a handful of weak songs are a few too many.
It's not the grittiest blues record I've ever heard (or the bluesiest), but it's a nice listen while it lasts, even if it fails to live up to its enormous potential.
3 3/4 stars. Good enough.

Some very fine music here, 19 Jun 2008
This is a wonderful album and has a lot to recommend it. It's a builder, and the more you hear it, the more you realise is there. I would just suggest you get a copy, you won't be disappointed. Great stuff.

Before "superstar sessions" had become a cliché..., 18 Jun 2004
...producer Norman Dayron asked guitarist Eric Clapton if he would like to do an album with Howlin' Wolf.
Clapton jumped at the idea, Wolf was flown over from Chicago with his lead guitarist Hubert Sumlin, young harmonica ace Jeffrey Carp was called in, and bassist Bill Wyman and drummer Charlie Watts from the Rolling Stones made up the rhythm section.

After the first day, Eric Clapton almost walked out, seriously intimidated by a sceptical Howlin' Wolf who had little faith in the abilities of the young Englishmen.
But then Clapton made a gesture which seemingly made Wolf thaw a little: Feeling (or maybe just pretending) that he and the band couldn't get the right sound on "The Red Rooster", he convinced Wolf to play the instantly recognizable main riff for them. The tape was running, and you can hear the resulting "practice session" on disc one...Howlin' Wolf reluctantly agrees to play the guitar, and, refusing the one which is offered to him, he picks up his own instrument, puts on a glass bottleneck, and plays the classic, muscular slide guitar riff which he first recorded in 1961.

That song is one of the highlights of this album, and one of the few of these sixteen re-recordings which truly matches the original.
Wolf was a sick man in 1970, suffering from heart problems and kidney disorder, and the often presented claim that these recordings lack the gritty power of his original Chess sides certainly has some truth to it. But that doesn't mean that "The London Sessions" is a waste of time...Bill Wyman and Charlie Watts form a very convincing bluesy rhythm section, 19-year-old Jeffrey Carp was a tremendous harmonica player, and Eric Clapton refrains from any kind of psychedelic blues-rock excesses like the ones that irreparably destroyed Muddy Waters' completely superflous "Electric Mud" album (and Wolf's own "This Is Howlin' Wolf's New Album", which he himself detested with a vengeance).

Disc I consists of the original London Sessions album plus three cuts from the same session which were left off the 1971 LP, and later released on 1974's weird throwoff "London Revisited".
Among those three are a pretty good "Going Down Slow" (Wolf does all the vocals, unlike the Chess version which had Willie Dixon speaking the first verse), and a rendition of "Killing Floor" which doesn't quite match the awesome original from 1964.
It's still good, though.

Disc I's "Who's Been Talking" is marred by a hideous organ solo, but the arrangements are generally very good, sticking close to the originals, and Steve Winwood stays away from the organ on the rest of the album, playing some good piano parts instead. He shares piano duties with Stones keyboardist Ian Stewart, and Chicago great Lafayette Leake shows up as well, rolling the ivories on "The Red Rooster", "Worried About My Baby", and "Sittin' On Top Of The World".

Also on disc I, Ringo Starr (billed as "Richie") plays drums on a good "I Ain't Superstitious" with a beefy horn arrangement, and the band lay down a really tough, powerful version of "Highway 49", and a slow, grittier-than-usual "Wang Dang Doodle".

Disc II opens with a lean, bare-bones rehearsal take of "Worried About My Baby", followed by a great, swaggering "The Red Rooster" which is at least as good as the one originally chosen.
"What A Woman" (better known as "Commit A Crime") is here in a really good, tough alternate version, and a completely superflous one with an artificial-sounding organ part overdubbed. "I Ain't Superstitious" is included in a horn-less rendition (as well as an alternate mix), and there is a great alternate take of "Highway 49" as well, a muscular alternate take of "Worried About You" (apart from the rehearsal), and a very good, significantly different version of "Poor Boy".

But the highlight on disc II has to be the tough, syncopated "Who's Been Talking" in an organ-free rendition which opens with two minutes of dialogue...Wolf is directing drummer Charlie Watts, and once Watts and bassist Wyman get on the beat, the result is magnificent. Too bad that it ends rather abruptly.

Howlin' Wolf's hoarse voice doesn't quite have the power it did just a few years earlier, but he still sings with conviction and lots of authority, and while this deluxe edition is probably too much for the casual fan, it does have lot of stuff which should interest serious Wolf fans. And the band actually do play the blues...a lot of rock drummers just can't do that, but Charlie Watts in totally convincing, as is the young harpist Carp and of course Wolf's own right hand man, the great Hubert Sumlin.

Not the place to start your Wolf collection (always start with the Chess stuff!), but certainly not one to shy away from, either. Not everybody need to own this two-disc edition, but the London Sessions are definitely worth a listen. This 2003 reissue comes with an interesting essay by Bill Dahl, and the fidelity is excellent, notably better than on the original CD reissue.

4 1/4 - a really fine document for Wolf fans.

An oustanding Deluxe Blues reissue in all ways, 04 Mar 2004
The original LP when it came out in the early 1970s made it largely on the back of the various UK superstars who particpiated (Clapton, Watts, Wyman, and an uncredited Starr together with Wolf and his long time guitarist Hubert Sumlin - Winwood per the notes having been added later and not very succesfully it seems).

This reissue with a full CD of out-takes none of which are filler, an outstanding sound remix and thoughtful notes by the original producer Norman Dayron epitomises just what excellence a special edition CD can achieve where the basic material is so good. The vocals by Howlin' Wolf, given he was not in the best of health at this age in his life and was it seems initially uncomfortable in the different London recording environment to the one he knew at Chess in Chicago, show his true prowess as a blues legend.

While Dayron's extensive notes are very honest in telling how he had to add keyboards esp. by Chess stalwart session man Lafayette Leake in getting to the final release mix, also underline that this was a very rare opportunity for certain British blues superstars to pay true homage to one of their main heroes by providing such stalwart support on these recordings.

Compared with the lacklustre recordings other US bluesmen made with UK musicians around this time(Sonny Boy Williamson with the Animals, John Lee Hooker with the Groundhogs, Muddy Waters in London and the original Fleetwood Mac sessions recorded at Chess in Chicago) this is the true masterpiece that will beat them all.

Essential Sessions CD, 09 Jul 2003
Included many top session musicans for 'the voice' of the 50s.

Featuring most of his famous hits (where is smokestack lightning? - actually, i dont think he had recorded it buy the time of these recordings)

I doubt there has been a better voice in the history of blues to really scream out those desperate lyrics - except maybe screaming jay hawkins who was let down by his stupid pig type noises.

Standout is 'Killing Floor' - brilliant riff.

Heralded as one of the greatest live blues albums ever recorded, this set catches the singer-guitarist as his star was in ascent: in 1964 playing Chicago's answer to Harlem's Apollo Theatre--the Regal. King's performance is visceral: he sings so hard that gravel flies even in his clearest high notes. And his trademark single-note guitar lines are sharp and steely, matching his voice with trembling vigour. He offers early hits like "How Blue Can You Get", "Worry, Worry" and "You Upset Me Baby" to what's essentially his adopted hometown crowd (by his own account, King had already played the theatre hundreds of times). They give him a hero's welcome; in fact, the audience's screaming enthusiasm is distracting. But rarely has a love-fest of this magnitude between a performer and fans been documented. --Ted Drozdowski

Essential Wolf, 27 Aug 2006
A welcome budget price collection by one of the most charismatic and influential blues artists of all time. Many of Wolf's best known numbers are here, commencing with 'How Many More Years' from his first session in 1951 in Sam Phillips' Memphis studio, and continuing through the 1954 to 1965 period with Chess Records. The material is licensed from MCA, and therefore in excellent sound quality, with stereo mixes being used on some of the later dates. Just reading the titles reveals that most of the essential tracks are present, including the ones that were to feature strongly in the white blues boom of the 1960s: 'The Little Red Rooster', 'Spoonful', 'Killing Floor', and the inevitable 'Smokestack Lightnin''.

Wolf's songs were notable for their innovative lyrics, mostly composed by Willie Dixon, who, as a member of the Chess house band, played bass on many of these numbers. The CD could almost be considered a tribute to Dixon's songwriting talents. The lyrics of 'Tail Dragger' are particularly interesting in that they describe how the prowling wolf would wipe his tracks out with his tail, a theme borrowed from the 1930 recording 'Howling Wolf Blues No.3' by J.T. 'Funny Paper' Smith, the original Howling Wolf, from whom Chester Burnett obtained his pseudonym.

The rich, dynamic sound of the original recordings is well captured on this reissue, with the stunning guitar of Hubert Sumlin well to the fore on most numbers, and Otis Spann's piano featured here and there, including 'Wang Dang Doodle' and the moody 'Evil'. If you don't already own these classic recordings then this is an excellent place to start.


A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

The main man., 25 Oct 2002
When the blues hit Chicago and got lectrified there were two competing champs for the heavyweight title.

Muddy Waters is the better known, and no slouch in my book, but this guy is the real king.

Listen in awe to that primal bellow. Hubert Sumlin was no slouch on guitar either. Truelly a giant of the blues, and with Willie Dixon penning most of the songs, how can you lose?

So turn your blues-lite Clapton cds into coasters and get your ears round the Wolf.

A good compilation with some cracking songs., 22 Feb 2002
This is a great compilation if Howlin Wolf's best known work and as such is not going to be of much use to die hard fans but as an introduction it works just fine. Howlin Wolf had one of the greatest blues voices, a kind of melodic growl, that was almost an instrument in its own right. It is in fine especiaaly on such songs as "Backdoor Man" (which is a classic) and "Smokestack Ligthning". The tunes are fine and great if you like delta blues but the whole compilation lacks depth (probably due to the fact it's a compilation)and so does not receive the full 5 stars. But this is defenitely worth purcahsing if your a fan of the blues, Beefheart or Zappa

the best 60s soul album!!, 16 Oct 2008
produced by phil spector need i say anymore love phil spector the wall of sound this album flopped in america but in britain it was successful see britain knows talent when it sees it!! tracks that i love on here are of course river deep mountain high,everyday i have to cry,fool in love,save the last dance for me the whole album is fab too be honest though but there the ones that stand out for me the sound quality isant the best but thats the whole idea to have that old sound it was made in the 60s classic buy it!!

Writing on the Wall of Sound, 27 Apr 2008
Phil Spector called in to produce what was called the TAMI Show first got the idea to reccord Tina Turner here and the Turners were licensed from their label Loma.
When you read how this song was recorded you think its a wonder everyone just didn't walk out.
Sppector was now seriously insane and he'd pissed off so many in the music business that the radio stations blacklisted him.
Which meant this disc failed to climb out of the 80s.
In the U K this sort of thing didn't make any difference-Spector was known to be eccentric but he was so angry over the failure of what he saw as his meisterwerk that Ike & Tina recordings on Philles were only available in the U K.
After a brief comeback with the Checkmates on A & M there would be no more major hits

A Truly Awesome Recording, 03 Apr 2002
This is a truly earth-moving, yet sublime record, and in my opinion is the greatest recording ever made. It is raw, powerful and takes no prisoners. The title track rumbles on, and Tina begins to ease into it. Spector's famed wall of sound is in full flow, a truly huge arrangement. However, Tina's voice is bigger. In her need to overcome the arrangment Tina ripped off her blouse, and in the process laid down one of the really great vocal performances of all time. She is hollering and screaming, the wall of sound is forever growing, until the earth shattering conclusion is reached. The other Spector produced tracks continue in a similar vein, including 'I'll never need more than this', another recording to showcase Tina's raw power. Packaged along with the all-consuming Spector numbers are some Ike and Tina standards, including a cracking version of 'A Fool in Love'. This album is simply a masterclass in delivery and power, and is genuinly amazing.

THE BEST ALBUM OF THE SIXTIES., 08 Feb 2001
what can i say about this that wasnt said at the time other than true class!(no that was said as well)all i can say is buy this and add a collection of some of the best ever recordings to your collection. It has the very original recording of 'river deep mountain high' and the passion it it makes this worth buying just for that! there are also 3 other songs on the album that are produced buy the legendary phil spector, 'a love like yours dont come knockin everyday','save the last dance for me' and 'i'll never need more than this'.apart from them there are a load of rare and popular ike and tina tracks such as ' a fool in love' and 'make em wait'i strongly suggest this album to any true music fan.

Riding with the King in a wheelchair, 21 Dec 2007
I really wanted to like this album. Two icons of R&B getting together again to cover some classic tracks. Unfortunately, this album is anaesthetic, tame and bland. Maybe 4 out of the 12 tracks are worth listening to. Clapton mumbles away in the background and spoils perfectly good music with muffled vocals and most of the track choice is at best uninspired.

Probably the notable exception is "Key to the Highway", which, along with "Riding with the King" is among the few highlights of this album. The musicianship is brilliant but it's so TAME!

What this pair need to to is get up on stage with George Thorogood and hammer it out instead of sitting in their rocking chairs telling everyone what fine guitarists they are while they pluck a few fine chords. BB King did it much better with U2. Shame that this isn't up to the same standard.

A frustrating album, could have been, should have been so much better.

More grit , 04 Aug 2007
This is somewhere between 3 & 4 stars for me, it has some great moments, but overall doesn't quite add up to the sum of its parts.

The good first:
There is some lovely blues on here and its all well played by Clapton and King with a supporting cast of top notch musicians. These includes Steve Gadd, Joe Sample, Nathan East, Jimmie Vaughan and Andy Fairweather Low. The best tracks are the two semi-acoustic tracks 'Key to the Highway' and 'Worried life Blues' and the romping 'Days Of Old'. This track in particular is reminisant of some B B Kings swinging earlier material. A great track.

The not so good:
For my taste, with exception of about five tracks, its a little over-produced. For what is a essentially a blues album its all just a little to clinical for me, and reading the credits for the tracks you will find that on 10 of the 12 Paul Waller is credited with 'Drum programming'. Now that I just don't understand. I have no doubt that Paul Waller is a talented man (you have to be to work in this company) but why do you need a 'drum programmer' (whatever that is) when you have Steve Gadd anyway?

So overall this is a good album, certainly worth getting, but there are better blues albums out there.


dissappointed russ, 11 Jan 2006
As this is sold as a DVD I expected some film footage as well. Unfortunately there is not a single second of video on this DVD? and no picture gallery either. Next time I'll have to read the label more carefully!

That's the ticket, 14 Dec 2004
What a great contrasting sound and style on this album, as BB and Clapton complement each other.

"Key to the Highway" swings along in country blues call & answer style and what about the soul standard of "Hold on I'm comin"?
The first time you listen to this, because of its low key start, takes you by surprise when the penny drops and you're listening to a classic being driven like a steam hammer.

A nice little blues/rock record, 25 Jun 2004
This album opens with a great rendition of John Hiatt's 1983 rocker "Riding With The King", which has very little to do with blues, but who cares...B.B. King is entitled to a bit of a break now and again, I suppose!

There is a lot of genuine blues here as well, however, and the eight-minute "Three O'Clock Blues" burns with long guitar solos from both men. Other highlights include a good rendition of Big Bill Broonzy's "Key To The Highway", a song which Clapton has recorded again and again for over 30 years, a nice, acoustic "Worried Life Blues", a seven-minute version of King's own "When My Heart Beats Like A Hammer", and the best song on the album, a delightfully swinging "Help The Poor", Charles Singleton's 60s classic.

There are a few clunkers here..."Marry You" and "I Wanna Be" are a ouple of bland, repetitive dime-a-dozen rock songs, and the novelty-like "Days Of Old" isn't destined for classic-status either, but most of the album works really well, although a handful of weak songs are a few too many.
It's not the grittiest blues record I've ever heard (or the bluesiest), but it's a nice listen while it lasts, even if it fails to live up to its enormous potential.
3 3/4 stars. Good enough.

Some very fine music here, 19 Jun 2008
This is a wonderful album and has a lot to recommend it. It's a builder, and the more you hear it, the more you realise is there. I would just suggest you get a copy, you won't be disappointed. Great stuff.

Before "superstar sessions" had become a cliché..., 18 Jun 2004
...producer Norman Dayron asked guitarist Eric Clapton if he would like to do an album with Howlin' Wolf.
Clapton jumped at the idea, Wolf was flown over from Chicago with his lead guitarist Hubert Sumlin, young harmonica ace Jeffrey Carp was called in, and bassist Bill Wyman and drummer Charlie Watts from the Rolling Stones made up the rhythm section.

After the first day, Eric Clapton almost walked out, seriously intimidated by a sceptical Howlin' Wolf who had little faith in the abilities of the young Englishmen.
But then Clapton made a gesture which seemingly made Wolf thaw a little: Feeling (or maybe just pretending) that he and the band couldn't get the right sound on "The Red Rooster", he convinced Wolf to play the instantly recognizable main riff for them. The tape was running, and you can hear the resulting "practice session" on disc one...Howlin' Wolf reluctantly agrees to play the guitar, and, refusing the one which is offered to him, he picks up his own instrument, puts on a glass bottleneck, and plays the classic, muscular slide guitar riff which he first recorded in 1961.

That song is one of the highlights of this album, and one of the few of these sixteen re-recordings which truly matches the original.
Wolf was a sick man in 1970, suffering from heart problems and kidney disorder, and the often presented claim that these recordings lack the gritty power of his original Chess sides certainly has some truth to it. But that doesn't mean that "The London Sessions" is a waste of time...Bill Wyman and Charlie Watts form a very convincing bluesy rhythm section, 19-year-old Jeffrey Carp was a tremendous harmonica player, and Eric Clapton refrains from any kind of psychedelic blues-rock excesses like the ones that irreparably destroyed Muddy Waters' completely superflous "Electric Mud" album (and Wolf's own "This Is Howlin' Wolf's New Album", which he himself detested with a vengeance).

Disc I consists of the original London Sessions album plus three cuts from the same session which were left off the 1971 LP, and later released on 1974's weird throwoff "London Revisited".
Among those three are a pretty good "Going Down Slow" (Wolf does all the vocals, unlike the Chess version which had Willie Dixon speaking the first verse), and a rendition of "Killing Floor" which doesn't quite match the awesome original from 1964.
It's still good, though.

Disc I's "Who's Been Talking" is marred by a hideous organ solo, but the arrangements are generally very good, sticking close to the originals, and Steve Winwood stays away from the organ on the rest of the album, playing some good piano parts instead. He shares piano duties with Stones keyboardist Ian Stewart, and Chicago great Lafayette Leake shows up as well, rolling the ivories on "The Red Rooster", "Worried About My Baby", and "Sittin' On Top Of The World".

Also on disc I, Ringo Starr (billed as "Richie") plays drums on a good "I Ain't Superstitious" with a beefy horn arrangement, and the band lay down a really tough, powerful version of "Highway 49", and a slow, grittier-than-usual "Wang Dang Doodle".

Disc II opens with a lean, bare-bones rehearsal take of "Worried About My Baby", followed by a great, swaggering "The Red Rooster" which is at least as good as the one originally chosen.
"What A Woman" (better known as "Commit A Crime") is here in a really good, tough alternate version, and a completely superflous one with an artificial-sounding organ part overdubbed. "I Ain't Superstitious" is included in a horn-less rendition (as well as an alternate mix), and there is a great alternate take of "Highway 49" as well, a muscular alternate take of "Worried About You" (apart from the rehearsal), and a very good, significantly different version of "Poor Boy".

But the highlight on disc II has to be the tough, syncopated "Who's Been Talking" in an organ-free rendition which opens with two minutes of dialogue...Wolf is directing drummer Charlie Watts, and once Watts and bassist Wyman get on the beat, the result is magnificent. Too bad that it ends rather abruptly.

Howlin' Wolf's hoarse voice doesn't quite have the power it did just a few years earlier, but he still sings with conviction and lots of authority, and while this deluxe edition is probably too much for the casual fan, it does have lot of stuff which should interest serious Wolf fans. And the band actually do play the blues...a lot of rock drummers just can't do that, but Charlie Watts in totally convincing, as is the young harpist Carp and of course Wolf's own right hand man, the great Hubert Sumlin.

Not the place to start your Wolf collection (always start with the Chess stuff!), but certainly not one to shy away from, either. Not everybody need to own this two-disc edition, but the London Sessions are definitely worth a listen. This 2003 reissue comes with an interesting essay by Bill Dahl, and the fidelity is excellent, notably better than on the original CD reissue.

4 1/4 - a really fine document for Wolf fans.

An oustanding Deluxe Blues reissue in all ways, 04 Mar 2004
The original LP when it came out in the early 1970s made it largely on the back of the various UK superstars who particpiated (Clapton, Watts, Wyman, and an uncredited Starr together with Wolf and his long time guitarist Hubert Sumlin - Winwood per the notes having been added later and not very succesfully it seems).

This reissue with a full CD of out-takes none of which are filler, an outstanding sound remix and thoughtful notes by the original producer Norman Dayron epitomises just what excellence a special edition CD can achieve where the basic material is so good. The vocals by Howlin' Wolf, given he was not in the best of health at this age in his life and was it seems initially uncomfortable in the different London recording environment to the one he knew at Chess in Chicago, show his true prowess as a blues legend.

While Dayron's extensive notes are very honest in telling how he had to add keyboards esp. by Chess stalwart session man Lafayette Leake in getting to the final release mix, also underline that this was a very rare opportunity for certain British blues superstars to pay true homage to one of their main heroes by providing such stalwart support on these recordings.

Compared with the lacklustre recordings other US bluesmen made with UK musicians around this time(Sonny Boy Williamson with the Animals, John Lee Hooker with the Groundhogs, Muddy Waters in London and the original Fleetwood Mac sessions recorded at Chess in Chicago) this is the true masterpiece that will beat them all.

Essential Sessions CD, 09 Jul 2003
Included many top session musicans for 'the voice' of the 50s.

Featuring most of his famous hits (where is smokestack lightning? - actually, i dont think he had recorded it buy the time of these recordings)

I doubt there has been a better voice in the history of blues to really scream out those desperate lyrics - except maybe screaming jay hawkins who was let down by his stupid pig type noises.

Standout is 'Killing Floor' - brilliant riff.

As it was, 22 Jun 2007
This is the real thing. One of the great live recordings in any genre, it really is "live" with all the imperfections and crowd intrusions of the gig as it happened. BB King was always at the soul end of the blues styles, and this concert was recorded at the time that soul music was really taking off in BBs heartland. That fact is reflected in the performance - brash, noisy and above all entertaining.


It is that good, 06 Sep 2006
I think this is one of the best live albums of any type, in the sense that you get the real feeling of the audience hysteria. In a similar way to James Brown "Live At The Apollo" it's not note perfect and there's been no tarting up in the studio.

"Sweet Little Angel" is a fabulous version with a great vocal and good audience involvement, alongside "How Blue Can You Get".

It's a long way from the polished studio albums released recently but essential nontheless.

King of the Blues, 05 Feb 2006
This albums just shows how great BB is live. His singing is epic and his lead guitar perfect. As a guitarist myself i can say that this is nowhere near as natural and easy as BB makes it sound. His tone compares well with any of the more flash blues players. Fantastic!

The best live blues album you will ever hear, 09 Jan 2006
This is one amazing album.If you can get it on vinyl instead of CD, do so......it will only add to the raw and powerful sound of B B King at his best. His guitar playing is at it's peak and his vocals have never been better..........the crowd really add to the overall impact of this live masterpiece. If you only ever buy one blues album...make it this one!

Good - Not THAT Good Though, 19 Nov 2004
Sure, Blues Boy lives up to his nickname, but the band is at another venue altogether, that is, until toward the end, when they appear to realise where they are...

I would not rate this CD to be BB King's best live recording, not by a long chalk - he certainly doesn't. Although the guitar licks are typically his, there is far more mature playing available for the discerning listener on more recent CDs of his. And he's in better voice, too.

So the crowd was boisterous that night, so what? It is the performance that counts.

This two-disc set's jewel-case comes embossed with King's gold-inked signature, presumably a seal of approval for this bountiful summation of his MCA years. Beginning with B.B.'s work for ABC in the mid-1960s (the label was later swallowed up by MCA), the compilation moves through B.B.'s cream-flared 70s output, then proceeds to sew up the 1980s. The title's promise is fulfilled within this given time-period, but King's first 15 recording years are missing, as are examples of his very successful 90s work. Massed strings add drama to "The Thrill Is Gone", "Paying The Cost To Be The Boss" swaggers with crisp horn feints, "Why I Sing The Blues" is a prime example of the extended funky vamp, these 60s cuts invariably swamped with eerie guitar reverb. The 70s provided an evocative canvas for exaggerated gesture, strings and electric piano infusing the moody "Chains & Things", B.B. picking funky figures throughout "Ghetto Woman". The synthesised piano and rock-ballad melody of "Into The Night" typify his 80s flirtations with the mainstream, while 1974's collaboration with Bobby Bland set a precedent for later collaboration with U2 and Gary Moore. Tracks are chronologically jumbled, but the closing six-song run of live numbers provides a flaming finish. --Martin Longley

Essential Wolf, 27 Aug 2006
A welcome budget price collection by one of the most charismatic and influential blues artists of all time. Many of Wolf's best known numbers are here, commencing with 'How Many More Years' from his first session in 1951 in Sam Phillips' Memphis studio, and continuing through the 1954 to 1965 period with Chess Records. The material is licensed from MCA, and therefore in excellent sound quality, with stereo mixes being used on some of the later dates. Just reading the titles reveals that most of the essential tracks are present, including the ones that were to feature strongly in the white blues boom of the 1960s: 'The Little Red Rooster', 'Spoonful', 'Killing Floor', and the inevitable 'Smokestack Lightnin''.

Wolf's songs were notable for their innovative lyrics, mostly composed by Willie Dixon, who, as a member of the Chess house band, played bass on many of these numbers. The CD could almost be considered a tribute to Dixon's songwriting talents. The lyrics of 'Tail Dragger' are particularly interesting in that they describe how the prowling wolf would wipe his tracks out with his tail, a theme borrowed from the 1930 recording 'Howling Wolf Blues No.3' by J.T. 'Funny Paper' Smith, the original Howling Wolf, from whom Chester Burnett obtained his pseudonym.

The rich, dynamic sound of the original recordings is well captured on this reissue, with the stunning guitar of Hubert Sumlin well to the fore on most numbers, and Otis Spann's piano featured here and there, including 'Wang Dang Doodle' and the moody 'Evil'. If you don't already own these classic recordings then this is an excellent place to start.


A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

The main man., 25 Oct 2002
When the blues hit Chicago and got lectrified there were two competing champs for the heavyweight title.

Muddy Waters is the better known, and no slouch in my book, but this guy is the real king.

Listen in awe to that primal bellow. Hubert Sumlin was no slouch on guitar either. Truelly a giant of the blues, and with Willie Dixon penning most of the songs, how can you lose?

So turn your blues-lite Clapton cds into coasters and get your ears round the Wolf.

A good compilation with some cracking songs., 22 Feb 2002
This is a great compilation if Howlin Wolf's best known work and as such is not going to be of much use to die hard fans but as an introduction it works just fine. Howlin Wolf had one of the greatest blues voices, a kind of melodic growl, that was almost an instrument in its own right. It is in fine especiaaly on such songs as "Backdoor Man" (which is a classic) and "Smokestack Ligthning". The tunes are fine and great if you like delta blues but the whole compilation lacks depth (probably due to the fact it's a compilation)and so does not receive the full 5 stars. But this is defenitely worth purcahsing if your a fan of the blues, Beefheart or Zappa

the best 60s soul album!!, 16 Oct 2008
produced by phil spector need i say anymore love phil spector the wall of sound this album flopped in america but in britain it was successful see britain knows talent when it sees it!! tracks that i love on here are of course river deep mountain high,everyday i have to cry,fool in love,save the last dance for me the whole album is fab too be honest though but there the ones that stand out for me the sound quality isant the best but thats the whole idea to have that old sound it was made in the 60s classic buy it!!

Writing on the Wall of Sound, 27 Apr 2008
Phil Spector called in to produce what was called the TAMI Show first got the idea to reccord Tina Turner here and the Turners were licensed from their label Loma.
When you read how this song was recorded you think its a wonder everyone just didn't walk out.
Sppector was now seriously insane and he'd pissed off so many in the music business that the radio stations blacklisted him.
Which meant this disc failed to climb out of the 80s.
In the U K this sort of thing didn't make any difference-Spector was known to be eccentric but he was so angry over the failure of what he saw as his meisterwerk that Ike & Tina recordings on Philles were only available in the U K.
After a brief comeback with the Checkmates on A & M there would be no more major hits

A Truly Awesome Recording, 03 Apr 2002
This is a truly earth-moving, yet sublime record, and in my opinion is the greatest recording ever made. It is raw, powerful and takes no prisoners. The title track rumbles on, and Tina begins to ease into it. Spector's famed wall of sound is in full flow, a truly huge arrangement. However, Tina's voice is bigger. In her need to overcome the arrangment Tina ripped off her blouse, and in the process laid down one of the really great vocal performances of all time. She is hollering and screaming, the wall of sound is forever growing, until the earth shattering conclusion is reached. The other Spector produced tracks continue in a similar vein, including 'I'll never need more than this', another recording to showcase Tina's raw power. Packaged along with the all-consuming Spector numbers are some Ike and Tina standards, including a cracking version of 'A Fool in Love'. This album is simply a masterclass in delivery and power, and is genuinly amazing.

THE BEST ALBUM OF THE SIXTIES., 08 Feb 2001
what can i say about this that wasnt said at the time other than true class!(no that was said as well)all i can say is buy this and add a collection of some of the best ever recordings to your collection. It has the very original recording of 'river deep mountain high' and the passion it it makes this worth buying just for that! there are also 3 other songs on the album that are produced buy the legendary phil spector, 'a love like yours dont come knockin everyday','save the last dance for me' and 'i'll never need more than this'.apart from them there are a load of rare and popular ike and tina tracks such as ' a fool in love' and 'make em wait'i strongly suggest this album to any true music fan.

Riding with the King in a wheelchair, 21 Dec 2007
I really wanted to like this album. Two icons of R&B getting together again to cover some classic tracks. Unfortunately, this album is anaesthetic, tame and bland. Maybe 4 out of the 12 tracks are worth listening to. Clapton mumbles away in the background and spoils perfectly good music with muffled vocals and most of the track choice is at best uninspired.

Probably the notable exception is "Key to the Highway", which, along with "Riding with the King" is among the few highlights of this album. The musicianship is brilliant but it's so TAME!

What this pair need to to is get up on stage with George Thorogood and hammer it out instead of sitting in their rocking chairs telling everyone what fine guitarists they are while they pluck a few fine chords. BB King did it much better with U2. Shame that this isn't up to the same standard.

A frustrating album, could have been, should have been so much better.

More grit , 04 Aug 2007
This is somewhere between 3 & 4 stars for me, it has some great moments, but overall doesn't quite add up to the sum of its parts.

The good first:
There is some lovely blues on here and its all well played by Clapton and King with a supporting cast of top notch musicians. These includes Steve Gadd, Joe Sample, Nathan East, Jimmie Vaughan and Andy Fairweather Low. The best tracks are the two semi-acoustic tracks 'Key to the Highway' and 'Worried life Blues' and the romping 'Days Of Old'. This track in particular is reminisant of some B B Kings swinging earlier material. A great track.

The not so good:
For my taste, with exception of about five tracks, its a little over-produced. For what is a essentially a blues album its all just a little to clinical for me, and reading the credits for the tracks you will find that on 10 of the 12 Paul Waller is credited with 'Drum programming'. Now that I just don't understand. I have no doubt that Paul Waller is a talented man (you have to be to work in this company) but why do you need a 'drum programmer' (whatever that is) when you have Steve Gadd anyway?

So overall this is a good album, certainly worth getting, but there are better blues albums out there.


dissappointed russ, 11 Jan 2006
As this is sold as a DVD I expected some film footage as well. Unfortunately there is not a single second of video on this DVD? and no picture gallery either. Next time I'll have to read the label more carefully!

That's the ticket, 14 Dec 2004
What a great contrasting sound and style on this album, as BB and Clapton complement each other.

"Key to the Highway" swings along in country blues call & answer style and what about the soul standard of "Hold on I'm comin"?
The first time you listen to this, because of its low key start, takes you by surprise when the penny drops and you're listening to a classic being driven like a steam hammer.

A nice little blues/rock record, 25 Jun 2004
This album opens with a great rendition of John Hiatt's 1983 rocker "Riding With The King", which has very little to do with blues, but who cares...B.B. King is entitled to a bit of a break now and again, I suppose!

There is a lot of genuine blues here as well, however, and the eight-minute "Three O'Clock Blues" burns with long guitar solos from both men. Other highlights include a good rendition of Big Bill Broonzy's "Key To The Highway", a song which Clapton has recorded again and again for over 30 years, a nice, acoustic "Worried Life Blues", a seven-minute version of King's own "When My Heart Beats Like A Hammer", and the best song on the album, a delightfully swinging "Help The Poor", Charles Singleton's 60s classic.

There are a few clunkers here..."Marry You" and "I Wanna Be" are a ouple of bland, repetitive dime-a-dozen rock songs, and the novelty-like "Days Of Old" isn't destined for classic-status either, but most of the album works really well, although a handful of weak songs are a few too many.
It's not the grittiest blues record I've ever heard (or the bluesiest), but it's a nice listen while it lasts, even if it fails to live up to its enormous potential.
3 3/4 stars. Good enough.

Some very fine music here, 19 Jun 2008
This is a wonderful album and has a lot to recommend it. It's a builder, and the more you hear it, the more you realise is there. I would just suggest you get a copy, you won't be disappointed. Great stuff.

Before "superstar sessions" had become a cliché..., 18 Jun 2004
...producer Norman Dayron asked guitarist Eric Clapton if he would like to do an album with Howlin' Wolf.
Clapton jumped at the idea, Wolf was flown over from Chicago with his lead guitarist Hubert Sumlin, young harmonica ace Jeffrey Carp was called in, and bassist Bill Wyman and drummer Charlie Watts from the Rolling Stones made up the rhythm section.

After the first day, Eric Clapton almost walked out, seriously intimidated by a sceptical Howlin' Wolf who had little faith in the abilities of the young Englishmen.
But then Clapton made a gesture which seemingly made Wolf thaw a little: Feeling (or maybe just pretending) that he and the band couldn't get the right sound on "The Red Rooster", he convinced Wolf to play the instantly recognizable main riff for them. The tape was running, and you can hear the resulting "practice session" on disc one...Howlin' Wolf reluctantly agrees to play the guitar, and, refusing the one which is offered to him, he picks up his own instrument, puts on a glass bottleneck, and plays the classic, muscular slide guitar riff which he first recorded in 1961.

That song is one of the highlights of this album, and one of the few of these sixteen re-recordings which truly matches the original.
Wolf was a sick man in 1970, suffering from heart problems and kidney disorder, and the often presented claim that these recordings lack the gritty power of his original Chess sides certainly has some truth to it. But that doesn't mean that "The London Sessions" is a waste of time...Bill Wyman and Charlie Watts form a very convincing bluesy rhythm section, 19-year-old Jeffrey Carp was a tremendous harmonica player, and Eric Clapton refrains from any kind of psychedelic blues-rock excesses like the ones that irreparably destroyed Muddy Waters' completely superflous "Electric Mud" album (and Wolf's own "This Is Howlin' Wolf's New Album", which he himself detested with a vengeance).

Disc I consists of the original London Sessions album plus three cuts from the same session which were left off the 1971 LP, and later released on 1974's weird throwoff "London Revisited".
Among those three are a pretty good "Going Down Slow" (Wolf does all the vocals, unlike the Chess version which had Willie Dixon speaking the first verse), and a rendition of "Killing Floor" which doesn't quite match the awesome original from 1964.
It's still good, though.

Disc I's "Who's Been Talking" is marred by a hideous organ solo, but the arrangements are generally very good, sticking close to the originals, and Steve Winwood stays away from the organ on the rest of the album, playing some good piano parts instead. He shares piano duties with Stones keyboardist Ian Stewart, and Chicago great Lafayette Leake shows up as well, rolling the ivories on "The Red Rooster", "Worried About My Baby", and "Sittin' On Top Of The World".

Also on disc I, Ringo Starr (billed as "Richie") plays drums on a good "I Ain't Superstitious" with a beefy horn arrangement, and the band lay down a really tough, powerful version of "Highway 49", and a slow, grittier-than-usual "Wang Dang Doodle".

Disc II opens with a lean, bare-bones rehearsal take of "Worried About My Baby", followed by a great, swaggering "The Red Rooster" which is at least as good as the one originally chosen.
"What A Woman" (better known as "Commit A Crime") is here in a really good, tough alternate version, and a completely superflous one with an artificial-sounding organ part overdubbed. "I Ain't Superstitious" is included in a horn-less rendition (as well as an alternate mix), and there is a great alternate take of "Highway 49" as well, a muscular alternate take of "Worried About You" (apart from the rehearsal), and a very good, significantly different version of "Poor Boy".

But the highlight on disc II has to be the tough, syncopated "Who's Been Talking" in an organ-free rendition which opens with two minutes of dialogue...Wolf is directing drummer Charlie Watts, and once Watts and bassist Wyman get on the beat, the result is magnificent. Too bad that it ends rather abruptly.

Howlin' Wolf's hoarse voice doesn't quite have the power it did just a few years earlier, but he still sings with conviction and lots of authority, and while this deluxe edition is probably too much for the casual fan, it does have lot of stuff which should interest serious Wolf fans. And the band actually do play the blues...a lot of rock drummers just can't do that, but Charlie Watts in totally convincing, as is the young harpist Carp and of course Wolf's own right hand man, the great Hubert Sumlin.

Not the place to start your Wolf collection (always start with the Chess stuff!), but certainly not one to shy away from, either. Not everybody need to own this two-disc edition, but the London Sessions are definitely worth a listen. This 2003 reissue comes with an interesting essay by Bill Dahl, and the fidelity is excellent, notably better than on the original CD reissue.

4 1/4 - a really fine document for Wolf fans.

An oustanding Deluxe Blues reissue in all ways, 04 Mar 2004
The original LP when it came out in the early 1970s made it largely on the back of the various UK superstars who particpiated (Clapton, Watts, Wyman, and an uncredited Starr together with Wolf and his long time guitarist Hubert Sumlin - Winwood per the notes having been added later and not very succesfully it seems).

This reissue with a full CD of out-takes none of which are filler, an outstanding sound remix and thoughtful notes by the original producer Norman Dayron epitomises just what excellence a special edition CD can achieve where the basic material is so good. The vocals by Howlin' Wolf, given he was not in the best of health at this age in his life and was it seems initially uncomfortable in the different London recording environment to the one he knew at Chess in Chicago, show his true prowess as a blues legend.

While Dayron's extensive notes are very honest in telling how he had to add keyboards esp. by Chess stalwart session man Lafayette Leake in getting to the final release mix, also underline that this was a very rare opportunity for certain British blues superstars to pay true homage to one of their main heroes by providing such stalwart support on these recordings.

Compared with the lacklustre recordings other US bluesmen made with UK musicians around this time(Sonny Boy Williamson with the Animals, John Lee Hooker with the Groundhogs, Muddy Waters in London and the original Fleetwood Mac sessions recorded at Chess in Chicago) this is the true masterpiece that will beat them all.

Essential Sessions CD, 09 Jul 2003
Included many top session musicans for 'the voice' of the 50s.

Featuring most of his famous hits (where is smokestack lightning? - actually, i dont think he had recorded it buy the time of these recordings)

I doubt there has been a better voice in the history of blues to really scream out those desperate lyrics - except maybe screaming jay hawkins who was let down by his stupid pig type noises.

Standout is 'Killing Floor' - brilliant riff.

As it was, 22 Jun 2007
This is the real thing. One of the great live recordings in any genre, it really is "live" with all the imperfections and crowd intrusions of the gig as it happened. BB King was always at the soul end of the blues styles, and this concert was recorded at the time that soul music was really taking off in BBs heartland. That fact is reflected in the performance - brash, noisy and above all entertaining.


It is that good, 06 Sep 2006
I think this is one of the best live albums of any type, in the sense that you get the real feeling of the audience hysteria. In a similar way to James Brown "Live At The Apollo" it's not note perfect and there's been no tarting up in the studio.

"Sweet Little Angel" is a fabulous version with a great vocal and good audience involvement, alongside "How Blue Can You Get".

It's a long way from the polished studio albums released recently but essential nontheless.

King of the Blues, 05 Feb 2006
This albums just shows how great BB is live. His singing is epic and his lead guitar perfect. As a guitarist myself i can say that this is nowhere near as natural and easy as BB makes it sound. His tone compares well with any of the more flash blues players. Fantastic!

The best live blues album you will ever hear, 09 Jan 2006
This is one amazing album.If you can get it on vinyl instead of CD, do so......it will only add to the raw and powerful sound of B B King at his best. His guitar playing is at it's peak and his vocals have never been better..........the crowd really add to the overall impact of this live masterpiece. If you only ever buy one blues album...make it this one!

Good - Not THAT Good Though, 19 Nov 2004
Sure, Blues Boy lives up to his nickname, but the band is at another venue altogether, that is, until toward the end, when they appear to realise where they are...

I would not rate this CD to be BB King's best live recording, not by a long chalk - he certainly doesn't. Although the guitar licks are typically his, there is far more mature playing available for the discerning listener on more recent CDs of his. And he's in better voice, too.

So the crowd was boisterous that night, so what? It is the performance that counts.

The Best., 02 Jul 2007
This is simply the best value BB King cd on the market. Brilliant!

Brilliant Album, 08 Jan 2005
I bought this at the request of my teenage son - I was somewhat surprised as it is not his usual taste, but he absolutely loves it, telling me it is a brilliant album, he now wants more of this type of album. This is good news for my ears as up to now he has been into very heavy metal.

Fair Summation Of His ABC/MCA Period, 19 Nov 2004
As this collection of previously-released material does not go back beyond 1964, and BB King's first single came out in 1949, the claim that this represents his definitive greatest hits is a little contentious.
However, although BB King featured heavily in the R&B charts throughout his highly successful early years, it is a surprising fact that, apart from two appearances at the bottom end of the US Top 100 in 1957, he had not been troubled by the hit parade before 1964.
In 1962 BB King signed with ABC and appeared thereafter on their ABC Paramount, Bluesway and ABC labels. After they were taken over by MCA, his records appeared on that label, and these recordings are all taken from these periods, the most recent being Playin' With My Friends, with Robert Cray, taken from 1993's Blues Summit album. He had released little after that at the time of this compilation's release in 1999, instead concentrating on touring and performing.
Most of the songs chosen here were A-sides of singles, although some of these are in their lengthier album format. Quite a few others are taken from live performances, thus representing some earlier material recorded for other labels as well as showcasing contemporary material in an electric live setting.
BB King achieved his greatest mainstream success during this period and the price we have to pay is that alongside genuinely thrilling and innovative pieces such as The Thrill Is Gone there are a few too many bland-outs and celebrity guest appearances from Gary Moore, Leon Russell, Bobby "Blue" Bland and Dr John, which perhaps are not needed on a "best of" from an artist of the statuure of BB King. The U2 collaboration When Love Comes To Town was a Top Ten single in the UK and so its inclusion was mandatory, and it is a great record.
Now nearing eighty years of age, BB King is the greatest living blues legend, and this is a fair summation of his ABC/MCA years, if such a mighty output can be reduced to just two discs (it can't). If you enjoy this you owe it to yourself to go on to buy at least one companion piece representing his earlier years on the RPM and Kent/Crown labels

He really is the king of the blues!, 16 Mar 2000
Having been fortunate enough to attend many of BB Kings concerts in Glasgow and Edinburgh, I always wished that he would do an album such as this one.I have numerous King albums containing different songs, but this really is one single collection of his lifes work. The album has his signature on the front under the words "this is music I enjoyed playing" and I can assure you it is music you cannot fail to enjoy hearing. From track 1on disc 1 "The Thrill is gone" to track 18 on disc 2 "Rock me baby" I was enthralled by this ageless masters talents. The album features Bobby Bland, U2, Bob Cray and Gary Moore and includes a number of live recordings of his best work. I cannot commend this album highly enough, it will become a collectors item I'm sure.

Essential Wolf, 27 Aug 2006
A welcome budget price collection by one of the most charismatic and influential blues artists of all time. Many of Wolf's best known numbers are here, commencing with 'How Many More Years' from his first session in 1951 in Sam Phillips' Memphis studio, and continuing through the 1954 to 1965 period with Chess Records. The material is licensed from MCA, and therefore in excellent sound quality, with stereo mixes being used on some of the later dates. Just reading the titles reveals that most of the essential tracks are present, including the ones that were to feature strongly in the white blues boom of the 1960s: 'The Little Red Rooster', 'Spoonful', 'Killing Floor', and the inevitable 'Smokestack Lightnin''.

Wolf's songs were notable for their innovative lyrics, mostly composed by Willie Dixon, who, as a member of the Chess house band, played bass on many of these numbers. The CD could almost be considered a tribute to Dixon's songwriting talents. The lyrics of 'Tail Dragger' are particularly interesting in that they describe how the prowling wolf would wipe his tracks out with his tail, a theme borrowed from the 1930 recording 'Howling Wolf Blues No.3' by J.T. 'Funny Paper' Smith, the original Howling Wolf, from whom Chester Burnett obtained his pseudonym.

The rich, dynamic sound of the original recordings is well captured on this reissue, with the stunning guitar of Hubert Sumlin well to the fore on most numbers, and Otis Spann's piano featured here and there, including 'Wang Dang Doodle' and the moody 'Evil'. If you don't already own these classic recordings then this is an excellent place to start.


A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

A good place to start, 04 May 2003
This is actually a pretty good compilation. It has most of Wolf's best-known songs, the fidelity is good, and the price is reasonable. It doesn't quite measure up to MCA/Chess' "His Best", however, and if you're into Howlin' Wolf, "His Best" and "His Best, vol. II" are an ultimately more satisfying purchase.

The main man., 25 Oct 2002
When the blues hit Chicago and got lectrified there were two competing champs for the heavyweight title.

Muddy Waters is the better known, and no slouch in my book, but this guy is the real king.

Listen in awe to that primal bellow. Hubert Sumlin was no slouch on guitar either. Truelly a giant of the blues, and with Willie Dixon penning most of the songs, how can you lose?

So turn your blues-lite Clapton cds into coasters and get your ears round the Wolf.

A good compilation with some cracking songs., 22 Feb 2002
This is a great compilation if Howlin Wolf's best known work and as such is not going to be of much use to die hard fans but as an introduction it works just fine. Howlin Wolf had one of the greatest blues voices, a kind of melodic growl, that was almost an instrument in its own right. It is in fine especiaaly on such songs as "Backdoor Man" (which is a classic) and "Smokestack Ligthning". The tunes are fine and great if you like delta blues but the whole compilation lacks depth (probably due to the fact it's a compilation)and so does not receive the full 5 stars. But this is defenitely worth purcahsing if your a fan of the blues, Beefheart or Zappa

the best 60s soul album!!, 16 Oct 2008
produced by phil spector need i say anymore love phil spector the wall of sound this album flopped in america but in britain it was successful see britain knows talent when it sees it!! tracks that i love on here are of course river deep mountain high,everyday i have to cry,fool in love,save the last dance for me the whole album is fab too be honest though but there the ones that stand out for me the sound quality isant the best but thats the whole idea to have that old sound it was made in the 60s classic buy it!!

Writing on the Wall of Sound, 27 Apr 2008
Phil Spector called in to produce what was called the TAMI Show first got the idea to reccord Tina Turner here and the Turners were licensed from their label Loma.
When you read how this song was recorded you think its a wonder everyone just didn't walk out.
Sppector was now seriously insane and he'd pissed off so many in the music business that the radio stations blacklisted him.
Which meant this disc failed to climb out of the 80s.
In the U K this sort of thing didn't make any difference-Spector was known to be eccentric but he was so angry over the failure of what he saw as his meisterwerk that Ike & Tina recordings on Philles were only available in the U K.
After a brief comeback with the Checkmates on A & M there would be no more major hits

A Truly Awesome Recording, 03 Apr 2002
This is a truly earth-moving, yet sublime record, and in my opinion is the greatest recording ever made. It is raw, powerful and takes no prisoners. The title track rumbles on, and Tina begins to ease into it. Spector's famed wall of sound is in full flow, a truly huge arrangement. However, Tina's voice is bigger. In her need to overcome the arrangment Tina ripped off her blouse, and in the process laid down one of the really great vocal performances of all time. She is hollering and screaming, the wall of sound is forever growing, until the earth shattering conclusion is reached. The other Spector produced tracks continue in a similar vein, including 'I'll never need more than this', another recording to showcase Tina's raw power. Packaged along with the all-consuming Spector numbers are some Ike and Tina standards, including a cracking version of 'A Fool in Love'. This album is simply a masterclass in delivery and power, and is genuinly amazing.

THE BEST ALBUM OF THE SIXTIES., 08 Feb 2001
what can i say about this that wasnt said at the time other than true class!(no that was said as well)all i can say is buy this and add a collection of some of the best ever recordings to your collection. It has the very original recording of 'river deep mountain high' and the passion it it makes this worth buying just for that! there are also 3 other songs on the album that are produced buy the legendary phil spector, 'a love like yours dont come knockin everyday','save the last dance for me' and 'i'll never need more than this'.apart from them there are a load of rare and popular ike and tina tracks such as ' a fool in love' and 'make em wait'i strongly suggest this album to any true music fan.

Riding with the King in a wheelchair, 21 Dec 2007
I really wanted to like this album. Two icons of R&B getting together again to cover some classic tracks. Unfortunately, this album is anaesthetic, tame and bland. Maybe 4 out of the 12 tracks are worth listening to. Clapton mumbles away in the background and spoils perfectly good music with muffled vocals and most of the track choice is at best uninspired.

Probably the notable exception is "Key to the Highway", which, along with "Riding with the King" is among the few highlights of this album. The musicianship is brilliant but it's so TAME!

What this pair need to to is get up on stage with George Thorogood and hammer it out instead of sitting in their rocking chairs telling everyone what fine guitarists they are while they pluck a few fine chords. BB King did it much better with U2. Shame that this isn't up to the same standard.

A frustrating album, could have been, should have been so much better.

More grit , 04 Aug 2007
This is somewhere between 3 & 4 stars for me, it has some great moments, but overall doesn't quite add up to the sum of its parts.

The good first:
There is some lovely blues on here and its all well played by Clapton and King with a supporting cast of top notch musicians. These includes Steve Gadd, Joe Sample, Nathan East, Jimmie Vaughan and Andy Fa