Customer Reviews

At the Gate of the Horn

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4 star:		(0)
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If you never own another blues album you would have it all just by possessing this masterpiece.
Apart from Memphis Slims wonderful presence, his exquisite piano style and the solid repertoire of classic blues songs, there is the unique guitar sound of Matt Murphy. The sound Murphy got here was never to be duplicated, even by himself, and since this recording i haven't heard any other blues guitarist obtain the same sound (and i've heard hundreds since) Listen to the track Lend Me Your Love and you'll know what i mean. The feel he creates is totally beyond words..it's spooky sounding and still sends shivers up my spine.
I first heard these tracks way back in 1968 when they came out on a Stateside l.p. called Preachin' The Blues. I was fascinated by Matt'guitar' Murphys sound and kept playing the album until it wore out.I had to search hard to find it on compact disc---- In honesty,every track is a masterpiece...Mother Earth was never done better than by Memphis Slim.
I have to agree fully with Mr. Anders from Denmark..this c.d should be rated as one of the best EVER blues albums.

Judged solely on merit, this magnificent blues record should be the best-known (and best-selling) Memphis Slim album.
So why isn't it?

He he...here's the catch, I have no idea. It makes no sense.
"Memphis Slim At The Gate Of Horn" has everything - rocking arrangements, great sound, great songs, and the deep, burnished voice and masterful playing of the 6'6" John L. "Memphis Slim" Chatman.
This is a better and more immediately accessible introduction to Slim than just about every available compilation. It features almost all of his very best songs: "The Come Back", "Blue And Lonesome" "Sassy Mae", "Mother Earth", "Messin' Around With The Blues" and a powerful "Rockin' The House". The only one missing is the endlessly covered "Nobody Loves Me" (which everybody besides Slim calls "Every Day I Have The Blues").

"Memphis Slim At The Gate Of Horn" is not a live album, despite the title. It's a 1959 studio recording, featuring Slim and a tough R&B unit with Matt "Guitar" Murphy and a couple of saxophones playing well-measured, punchy riffs.
It is also one of the best blues LPs of the 50s, and Slim rocks harder than on any other release. (And thanks to M le Faucheur for the compliment, by the way.)