Customer Reviews

Rollin Stone: Golden Anniversary Collection

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And by putting onto a single disc the first fifty recordings he produced for what began as Aristocrat Records and soon enough became Chess, MCA/Universal has done an even stronger service than with that luminous "Chess 50th Anniversary Collection" of a couple of years ago. The moment Muddy Waters plugged his guitar in was the moment the blues graduated from merely American earth music to a universal feeling of the soul, though of course it took some time and tribute to bring material fact in line with actuality. To have heard these recordings in any context was revelatory enough; but to have them now, in just about the order in which the man produced them, is the music gift of the year and then some. The earliest and in many ways most revelatory exercises of his barely-urbanized, drawling vocal style, amplified Delta-cured guitar throb (Waters, almost alone among his disciples, never really left the Delta entirely behind, no matter how advanced or more polished he may have become as the years rolled by), and vivid, near-poetic songwriting get perhaps the most elemental hearing you will ever have at ready hand. If this were a court session, here would be the final argument to the jury that Muddy Waters was the most important bluesman to emerge in full flower after World War II. But you should not need a jury to tell you that he was, at least, the true father and, in only too many ways, the never-equaled godhead of Chicago blues.

Not counting his 1941-42 field recordings for the Library of Congress (available on The Complete Plantation Recordings) and a few tracks he recorded for Columbia in 1946, this two-disc collection represents the beginning of Muddy Waters' recorded legacy on the Aristocat (later to become Chess)label between 1947 and 1952.

Waters' powerful vocals and stinging slide guitar playing would become his trademarks on such singles as "I Can't Be Satisfied," "I Feel Like Going Home," "Mean Red Spider" and "Streamline Woman"--all released in 1948. On disc one (1947-1950) Waters is accompanied only by Ernest "Big" Crawford (bass) and Leroy Foster (second guitar on nearly half the tracks). The only exceptions are the addition of drum and piano on "Screamin' and Cryin'," "Where's My Woman Been" and Last Time I Fool Around with You."

On disc two (1950-1952) Waters has added Little Walter on harmonica and Jimmy Rogers is in the second-guitar seat. This disc features classic blues like "Rollin' Stone," "Louisiana Blues," "Long Distance Call," "Honey Bee" and "All Night Long."

This is powerful music and belongs in any serious music fan's library. You can't own too much Muddy Waters. And even if you bought the Chess Box Set, only a third of these tracks were included. ESSENTIAL

This excellently remastered MCA compilation presents every known track Muddy Waters recorded for the Aristocrat and Chess labels between 1947 to 1952, which means that "Rollin' Stone" is a find for serious Muddy scholars, but not a good choice for those who are just looking for a comprehensive career overview.

Most of Muddy Waters' best-known songs are missing...signature tunes like "Got My Mojo Working", "Hoochie Coochie Man", and "I Love The Life I Live" were all recorded after 1952, and some will certainly find that these fifty songs are too similar to be listened to in one long sitting. Most of the songs on disc one feature just Waters and bassist Ernest "Big" Crawford, and percussion doesn't show up until disc two has almost run out.

But these early tracks have a lot going for them as well. They show what a great slide guitarist Muddy Waters used to be, and songs like "Gypsy Woman", "I Can't Be Satisfied", "Country Boy", "Honey Bee", and Muddy's rendition of "Rollin' And Tumblin'" are essential parts of the bedrock of Chicago blues.
If you already have the electric stuff, this is where you go for the rest. If you don't, get "The Anthology 1947-1972" or "The Chess Box" first, and then come back to this fine collection.

not many Artists can say that the first time they Recorded that it was truly a Ground-Breaking Experience but then again not many can claim to having the Impact of Muddy Waters.His Guitar Playing&Tone have such a Strong Sonic force that you can't get it out of your system.His Vocals hit you as well without missing a beat."I Can't Be Satisfied"&"Rolling Stone are two Cuts that you will have buzzing in your Head for days&Nights easily.when the Blues is doen truly right you can feel the Whole World vibe of it&Muddy Waters gave you the World&thensome.once you hear these Songs you will be come Hooked on the Genius that is Muddy Waters.

Wonderfully remastered by Eric Labson (if his name is on it, it sounds great!), absolutely comprehensive from 1947-51, and beautifully annotated; this is everything you could ask for if you are already a Muddy Waters fan. If you are just getting into Muddy, you'd be much better off with "best of" compiliations. This period was a developmental period for both Aristocrat/Chess and Muddy Waters, and sometimes the development was quite slow. Though Muddy was recording in the clubs with a full band, he was limited in the studio to just several instruments for most of these recordings. This was largely due to the fact that his first big hit, I Can't Be Satisfied, featured just Muddy and an upright bass, and Leonard Chess did not want to mess around with a formula that made hits. Except for a couple of notable exceptions, it stayed that way until the addition of the incredible Little Walter in February of 1951 for You're Gonna Need My Help, then the pounding bass drum of Leonard Chess(!) in July '51 and finally the rudimentary drums of Elgin Evans appear appear on several of the last cuts on this collection. It's also interesting that when the drums appear, the upright bass goes away. Did Chess want to save money? A full combo, with bass AND drums would not appear until 1954 with I Just Want To Make Love To You (but that's another story, and another volume).

Just let the reader note that while this is comprehensive, it also shows that Muddy was a mining a fairly narrow style at this point. Many of the songs are in the same key, have the same tempo, and even sport exactly the same slide licks. Even if you like slow-tempo, down-home blues, this could wear a bit on the listener. On Volume 2: 1952-1958, there is much more variety, thanks to a full blues combo, Otis Spann's marvelous piano, and Willie Dixon's great songs. I'm not putting this set down, but it is very narrow and very samey. That said, it IS Muddy Waters, and if you are a true fan, you need this. 'Nuff said.

To me, this is the real "Muddy Waters". Not that I don't like his later recordings for Chess/MCA and Blue Sky (CBS), such as Folk Singer, Fathers and Sons, Hard Again, and Live at Newport. I just find these early Aristocrat and Chess sides more inspired and gritty (especially the takes with Sunnyland Slim on disc 1 and Little Walter and/or Jimmy Rogers on disc 2). But when you get down to it, Muddy never made a bad album (except Electric Mud and maybe a couple of others like King Bee that I'm not that fond of). If you like these recordings, you may want to check out his Alan Lomax produced Plantation Recordings from 1941-42 (with a young Chuck Berry accompanying on guitar on 3 songs). Also, Chess has released a Vol.2 of this set, which takes up where this one leaves off (1952) and takes you up to 1958. Hoochie Coochie Man: Complete Chess Masters, Vol. 2: 1952-1958 Basically, every Chess side is essential, and "Live at Newport" is one of the greatest live blues recordings ever made. You can decide for yourself whether you want the 70's Johnny Winter produced material (I happen to enjoy it on occasion), but definately start with the Chess stuff.