Customer Reviews

Hot Tuna

5 star:		(35)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

When I was just a young High School student (and future statements will give away my age), I got this album (minus bonus tracks) on Q8 quadrophonic 8 track (the album really didn't show off the surrounded capabilities that other Q8's were showing at the time , but the music was real good). When I was sick one day, I just laid in my bed, and let this Hot Tuna album play over, and over, and over again. This was back then a 5 star album. Now, I find (30 years later) a copy with a more complete show. The extra songs are excellent (2 of them worth the price of the album alone). The extra songs "Candy Man", and "Come Back Baby" are masterpieces. The entire album is not only excellent to me, but to other people that I play it for. I've had comments ranging from "I had the album before, but never heard the complete show", to "this album is absolutely awesome" (from a younger co-worker). If you're not use to the finger picking style of Jorma, it'll take a few listens to get use to (it's all acoustic with no drums - you really don't need them) but you'll soon realize that this is one of the best albums in your collection. If you're a lone time fan of Hot Tuna (or Leo kottke, or Mason Williams, or Jerry Garcia, or even Chet Atkins) you'll find this album very easy to get in to. If you had the old copy of the album, you'll find this new version (and CD notes) a very pleasant surprise. Just don't break any glasses during Uncle Sam Blues (It disturbs the neighbors).

Addendum: (as of 4/30/09) Jorma's come out with some great solo stuff (with and without Jack), and Jack has (finally) come out with a great solo album (with and without Jorma). They both have music lesson discs on Homespun videos (you can get the best price right here at amazon).

A bunch of simple old tunes on just acoustic guitar and bass, yet it's magical. It was recorded live at a small venue and the sense of presence is such that I still look round when a glass drops and breaks in the middle of one track.

Jorma's vocals are a bit thin but work fine and his finger-style country blues lets the music come through without overdosing on aren't-I-smart technique. In fact you pretty soon feel like playing along - several of these tracks came to form the basis of my own modest repertoire for high days and holidays.

But the true delight of the set is the mighty bass playing of Jack Casady. Without being Stanley Clark flashy he provides rhythmic drive and swing, thunderous foundations and nimble melodic counterpoint. The price of the album would be worth it for the bass alone.

To his eternal credit, Jorma has been a great champion of music in general and the acoustic guitar in particular, but couldn't really be counted as sublime on the instrument. Whereas on this and numerous other outings, his more retiring partner Jack Casady makes you wonder: could anybody else ever play bass as great as this? Fellow music lovers, I'd be delighted to hear of candidates.

Hot Tuna is really four or five different bands comprised of a variety of personnel over the years including Pete Sears, Harvey Sorgen, Sammy Piazza, Michael Falzarano, Papa John Creach and even Marty Balin for a brief moment. But the core elements behind Hot Tuna are Jorma Kaukonen on guitar and Jack Casady on bass, both members of The Jefferson Airplane. I analogize Hot Tuna with the old story of the blind men describing an elephant. Each has entirely conflicting descriptions depending upon which area of the elephant they examine. Describing Hot Tuna (Jorma, et al) produces the same effect depending on which Hot Tuna you listen to. One person will tell you that Hot Tuna is a traditional, acoustic blues band. Another will describe a highly electrified, acid rock band. Yet another may describe an old timey, coffee house folky/bluegrass band. I would categorize this recording under the bluesy Hot Tuna, although there are folky elements as well. This was the first Tuna album I purchased (back in the vinyl days). I was in the eighth grade when I first heard Tuna on the radio. The song was "Watch the North Wind Rise" which is a rock ballad of sorts and I fell in love. Not knowing the title of the song, let alone album, I began purchasing albums searching for that song. This was my first purchase and to my surprise was not the Hot Tuna I heard on the radio. I think "Burgers" was my next purchase, then "Final Vinyl", then "Hopkorv" where I finally found "North Wind". By this time, however, I've become completely envoloped by acoustic Tuna. This is probably my favorite acoustic live recording. Still young, fresh and clean. The "Sweetwater" series would be next if not equal, which includes appearances by Bobby Weir and Maria Muldaur. If you're not into the acoustic sound and prefer a more high energy electrified taste, don't give up on Tuna yet. Give their electric recordings a test ride. Double Dose and more recently Furthurmore are good live recordings with crazy guitar solos and powerful bass reminiscent of the Airplane days, but a tad heavier. Good studio recordings include Phosforescent Rat, America's Choice, Yellow Fever, and Burgers. It's difficult to recommend an individual recording by Tuna as each is so unique. You really have to get them all and decide for yourself!!! I love them all!!! In any event, Jorma's finger picking style produces the sound of a dozen guitars, while Jack delivers a powerful bass line like a lead guitar. Absolutely my all time favorite band. Jorma's solo album "Quah" is a must have. I would recommend seeing Tuna or Jorma live whenever the opportunity arises...

My introduction to some of these old folk blues classics was from hearing Hot Tuna when I was back in high school. My musical tastes have changed over the years but I still find myself humming Death Don't Have No Mercy and Hesitation Blues 30 years later. Jorma and Jack did an amazing job of bringing these old chestnuts to life and the recordings hold up really well over time. One of the great records from that era still sounds great today.

I bought my first copy of this album in 1972, my second one in 1976 (the first was completely ruined by the many times I had listened to this album), the third (CD) in the early nineties and the fourth (the remastered version with some bonus tracks) a couple of years ago.
Music with a timeless quality as far as I am concerned! Beautiful songs like the well-known 'Hesitation Blues' with the astounding middle-section, 'Death don't have no mercy' (beautiful song written by Rev. Gary Davis), 'Don't you leave me here' (written by Jelly Roll Morton), the trad. blues 'Know you rider', etc.
Tasteful interplay between guitar (Jorma kaukonen) and bass guitar (Jack Casady)! And don't forget the harmonica played by Will Scarlet. An album without any weak moments at all.
Americans, be proud of this album with all those golden musical treasures!!

This debut live album set the course for the embryonic Hot Tuna's fantastic journey. Since then the group has sometimes played electric, sometimes acoustic (as on this album), but always according to their unique folk-blues-jam Zen.

See them live if you can; on a good night they still hit some of these same peaks, even if their recorded output hasn't always measured up to this classic debut recorded at San Francisco's New Orleans House thirty some odd years ago.

Sound quality note: the original CD release of this album was absolutely and inexcusably awful, with tape hiss as a virtual additional instrument. Not only is the reissue much cleaner, but a number of added tracks from the original shows appear, giving some previews of future albums. These include "Candy Man," "True Relgion," and "Keep Your Lamps Trimmed and Burning."

If you're looking to purchase your first Hot Tuna album, this is (hands down) the one, followed by the excellent British compilation ( mostly electric stuff) "Trimmed and Burning" (Edsel). If however, you've acquired other Tuna albums and missed this one, you've still time to remedy the mistake. Go back to the beginning and listen to an amazingly detoxifying and enlightening experience. I'm glad somebody thought to run a tape recorder...

Hot Tuna was an off-shoot of the band, Jefferson Airplane, designed to showcase the amazing talent of guitarist Jorma Kaukonen. This recording features Kaukonen playing a solid acoustic set with Jefferson Airplane Bass player Jack Cassidy and harmonica legend Will Scarlett.

The result is one solid masterpiece after another. Jorma's guitar playing is flawless and Will Scarlett's playing is nothing short of miraculous. Loaded with overblows and other advanced techniques, Scarlett's harmonica playing is a textbook on how to work with other musician's without overpowering them.

Every fan of acoustic music, every self-respecting harmonica player needs to have a copy of this album in their collection.

This was recorded at the New Orleans House in Berkeley Ca. (where it ALL began!) It has some rather poor quality audio aspects, as if it were recorded from a hidden tape player, but the transmission of a live experience is absolutely full feature. This is Jorma and Jack at there best as far as I can see. Later they teamed up with Poppa John Creech, but this is pure guitar blues! "Death got no mercy" is pure and essential early blues, played in S.F. style Worthy of any blues collection

This is Hot Tuna's first release; an acoustical adventure in the blues. Hot Tuna started as a side project by the lead guitarist of the Jefferson Airplane, Jorma Kaukonen. This recording proved how really incredible Jorma was (and still is) as a guitarist. This so influenced me that I learned to play blues harmonica with this album. The new CD version here with the extra tracks is fantastic and just an extension of an already great live set. If you are into the blues this is a must have!

The interplay between Jorma and Jack is something every musician who plays with others strives for. Good thing this is not listed as a solo album by either artist because it couldn't be. Jorma and Jack may be telepathic or simply think with one mind. They are so in sync with each other you could picture one musician with four hands. Fortunately, they are two people who bring out the best in each others playing and that is what makes this album so special.