Customer Reviews

Blue Blazes

5 star:		(4)
4 star:		(2)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

Generally speaking, I am not usually too big on super high speed harpists. Most of those I have heard have very little command of any technique other than speed and even their super fast runs tend to sound too choppy to catch my ear. Sugar Blue is different. Though speed is his main claim to fame, Sugar demonstrates an ability to use octives and some vibrato. Granted, he won't make you forget Sonny Boy, Walter or Wells, but he's got them. His speed is nothing short of astounding. Unlike everyone else who uses super fast runs for effect, Sugar is perfectly fluid and you never hear choppy transitions. On top of this, he is much faster then any of the competition.

Ahem. Now that I'm done catering to harp fanatics I will move on to the real review. This is Sugar's best album thanks to the fact that it is the only one I've heard where he doesn't perform wierd material that makes you raise your eyebrows. The music has a good funky edge to it which, though hardly conventional, is fun to listen to. I find it nice when I want to hear something that just makes me feel good.

Admittedly, the song line up is a bit on the familiar side. "Help Me" is a near omnipresence in a harp player's first CD, and I have heard more versions of "That's All Right" than I care to count. However, these complaints are easily ignored in the face Blue's awsome instrumental prowse and the different spins he puts to the tracks. Personal favorites are the remake of "Miss You" (which I like even better than the Stones' version), a horn enhanced version of Dixon's "Back Door Man," on which Blue plays some of his best harmonica on the CD, and the outstanding original, "Out "Till Dawn," a song which embodies the very essence of cynicism, both in terms of lyrics and also in the guitar riff.

Overall I would reccomend this album, especially is you want to hear speed harp done right. Be a little wary of the follow up, "In Your Eyes," though. While it is even more revolutionary than this one, it is much further removed from tradition, and thus may not appeal to purists.

Sugar Blue seems to be controversial in some blues circles, perhaps because his playing leaps from traditional blues into jazz and rock and whatever. There is no doubt in my mind that he is a talented blues musician, one of the best harmonica players, with a sound like no other. This album is a good representation of his great talent. Although the energy level never again matches that of the opening number ("I Ain't Got You"), his playing is deft and often amazing throughout, on his versions of blues classics such as "Help Me," and some original tunes. Sugar Blue is only fair as a singer. I was also a little disappointed in the lack of space given to other musicians in the band: the album is all Sugar Blue. If you ever get a chance to hear his music from the 1980s (There is a recording called "Cross Roads" from France, for example), you can hear the fine, jazzy give-and-take that he is capable of with other musicians. Overall, this is fine album for fans of contemporary electric blues.

In a world that craves novelty, Sugar Blue was that new flavor that caught the public's fancy. When controlled by outside forces, such as the Stones on 'Miss you', his chops can be fit into a musical form. On his own, SB seems more interested in dominating the instrument than making sure the music coming out of it is good. When did 'Miss you' come out, 1978?

Sugar blue is something out of this world. It just makes your blood cook the way he plays and it works with me for more than 2 years. It's like injecting happiness into my veins. I think everybody has some very special favourite musics - Sugar blue is definitely one of mine.

My interest in blues is recent as a result of taking up blues harmonica. I heard a Sugar Blue rendition of a Sonny Boy Williamson song - Help Me - and was blown away by his speed and accuracy while putting his own trademark on the song. HIs playing is hard to believe and the songs on this album are all winners for the most part. His singing is not always my cup of tea, but his playing is incredible. I'd buy it again.

Well - at first, this man can play the bluesharp very well and with expression, he is also a good singer. But as i am a fan for charly musselwhite and compare .. sugar blue has not the personality of the other bluesman. Saw him sev.times on stage, wondering he is for ex. using his handy during a song (when with louisiana Red). And at Zurich with G.K.Brothers Bluesband he is playing the harp such loud and instantly . so there was no space for the other (Czech) musicians. Sorry about, but i think, a real bluesmusician can work also a little on his personality - or am i wrong?
The blues must go on - anyway. Got bless you all Victor

I picked this album up after witnessing one of Sugar Blue's performances at Legend's. Expecting the same tense, heart-about-to-break blues I experienced at his show, I was disappointed to find that he carried none of his spirit into the studio with him. Sure, his skill is still there, but something was just missing. If you've seen him live on a good night, you'll know what I mean.

I DON'T REALLY LIKE SOUPED-UP RENDITIONS OF CLASSIC BLUES SONGS. SUGAR BLUE DOES JUST THAT...BUT IN SUCH A WAY THAT YOU CAN'T HELP BUT DIG IT. HIS STYLE IS UNIQUE. FIRST, WAY UP ON THE TOP END OF THE HARP SHRILL AND SCREAMIN'...AND THEN WAY BACK DOWN TO THE BOTTOM, BIG AN' FAT. HIS BREATH CONTROL IS ALMOST UNREAL. HIS VOICE IS GREAT. THE SONGS ON THIS CD ARE A LITTLE LONGWINDED WHEN IT COMES TO THE AVERAGE BLUESHARP SOLOS, BUT I THINK THAT'S JUST WHAT BLUE IS TRYIN' TO SAY: "YEAH,THAT'S RIGHT. BLUESHARPS CAN PLAY LONG SOLOS TOO". LOOKIN' FOR SOME AVANT-GARDE BLUESHARPIN'? YOU AIN'T GONNA FIND ANOTHER ONE LIKE SUGAR BLUE. JERSEY SLIM

I didn't really enjoy this CD, however, it is only a matter of personal preference. I know of others who give it high marks. Just didn't hit a chord with me. You'd probably like it!

Sugar Blue is one of most innovative harp players since Little Walter--nobody even comes close except perhaps Howard Levy. John Popper certainly wouldn't exist without Blue and, in spite of his speed, is a much more technically limited player than him, never venturing out of second position. Unfortunately, Sugar Blue's solo records are kind of flat and self-consciously eclectic. The whole production sounds oddly slick and forced--there is no chemistry with the band, his solos are often overlong, and his singing is cloying. Still, if you play harp ya gotta get his stuff and study it--nobody can blast in third position like this guy.