Canned Heat - Boogie with Canned Heat

The Tune for Today is:

Canned Heat - On the Road Again 

Well, I'm so tired of crying
But I'm out on the road again
I'm on the road again
Well, I'm so tired of crying
But I'm out on the road again
I'm on the road again
I ain't got no woman
Just to call my special friend

You know the first time I traveled
Out in the rain and snow 
In the rain and snow
You know the first time I traveled
Out in the rain and snow
In the rain and snow
I didn't have no payroll
Not even no place to go

And my dear mother left me
When I was quite young 
When I was quite young
And my dear mother left me
When I was quite young 
When I was quite young
She said "Lord, have mercy
On my wicked son"

Take a hint from me, mama
Please don't you cry no more 
Don't you cry no more
Take a hint from me, mama
Please don't you cry no more
Don't you cry no more
'Cause it's soon one morning
Down the road I'm going

But I ain't going down
That long old lonesome road
All by myself
But I ain't going down
That long old lonesome road
All by myself
I can't carry you, baby
Gonna carry somebody else

There can be only one... or two:

Review by  by Lindsay Planer (allmusic)

Canned Heat's second long-player, Boogie With Canned Heat (1968), pretty well sums up the bona fide blend of amplified late-'60s electric rhythm and blues, with an expressed emphasis on loose and limber boogie-woogie. The quintet -- consisting of Alan "Blind Owl" Wilson (guitar/harmonica/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Aldolfo "Fido" Dela Parra (drums), andBob "The Bear" Hite (vocals) -- follow up their debut effort with another batch of authentic interpretations, augmented by their own exceptional instrumentation. One development is their incorporation of strong original compositions. "On the Road Again" -- which became the combo's first, and arguably, most significant hit -- as well as the Albert King inspired anti-speed anthem, "Amphetamine Annie," were not only programmed on the then-burgeoning underground FM radio waves, but also on the more adventuresome AM Top 40 stations. Their love of authentic R&B informs "World in a Jug," the dark "Turpentine Blues," and Hite's update of Tommy McClennan's "Whiskey Headed Woman." The Creole anthem "Marie Laveau" is nothing like the more familiar cut by Bobby Bare, although similarities in content are most likely derived from a common source. The side, as rendered here, is arguably most notable for the driving interaction between guitarists Wilson and Vestineas they wail and moan over Hite's imposing leads. Saving the best for last, the Heat are at the height of their prowess during the lengthy audio biography on "Fried Hockey Boogie." Each member is introduced by Hite and given a chance to solo before they kick out the jams, culminating in Hite's crescendo of " ... Don't forget to boogie!" In 1999 the French label, Magic Records, issued an expanded edition of Boogie With Canned Heat supplemented by half-a-dozen sides, such as the 45 RPM edits of "On the Road Again," "Boogie Music" and "Goin' Up the Country." Also included are the once difficult-to-locate 45-only "One Kind Favor," as well as the seasonal offering "Christmas Blues" and "The Chipmunk Song" -- with guest shots from none other than Alvin, Simon, Theodore, and David Seville of the one and onlyChipmunks. For enthusiasts as well as listeners curious about the oft-overlooked combo, this is an essential, if not compulsory platter.

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Gary Clark Jr - Blak and Blu

The Tune for Today is: 

Gary Clark Jr - You Saved Me 

It's taken me a little while to bounce back
I've been falling from some thing good
People say I took a little too long
Oh I did, yeah, Oh baby oh

Till you came a long and you saved me,
you saved me, with that good love
You came a long and you saved me,
you saved me, oh, with that good love

It's taken me a little while to come back
I've been working on some thing good
Oh, so every now and then I tend to fall back
Oh lord, I've been misunderstood

Till you came along and you saved me
you saved me with that good love
oh yeah yeah
You came around and you saved me
you saved me, oh, with that good love

oh yeah, yeah 

You've got it all baby
I'm so addicted
I, I cant help but want it more and more and more

You've got it all baby
I'm so addicted
I, I can't help but want it more and more and more

You saved me, oh 

Till you came along and you saved me
you saved me, with that good love

You came a long and you saved me
you saved me, oh, with that good love
oh yeah, oh yeah
Till you came along and you saved me
you saved me with that good love

ohh you came along and you saved me
you saved me, oh, with that good love

You came a long
You saved me
you saved me

Review by Mark Deming 

Gary Clark, Jr. has been hailed by a number of critics as "the New Hendrix," which seems to be the fate of any guitarist who combines blues and rock styles at a considerable volume (particularly if they cover "Third Stone from the Sun"). While that's a blurb that may look good in Clark's press kit, it rather misses the point; Clark isn't a visionary, game-changing artist like Hendrix, but instead he's a canny singer, songwriter, and instrumentalist who has learned from the past and present, fusing them into a style that's distinctive and exciting if not necessarily revolutionary. Warner Bros. is also pitching Blak and Bluas Clark's "groundbreaking debut album," when in fact it's just his major-label debut, with four indie releases preceding it, making the confidence and ambition of this set a bit less remarkable. But if Gary Clark, Jr. isn't likely to change the way we look at rock & roll or rewrite the aesthetic of the electric guitar, he is one of the most interesting talents to come out of the contemporary blues scene in quite some time. On Blak and Blu, most of Clark's tunes are solidly rooted in the blues, but he's also folded in hearty servings of hard rock, funk, retro-soul, and even a dash of hip-hop, and the way he lets the flavors mix is a big part of what makes this album work so well. There's an undertow of Northern Soul on the dance-friendly opener "Ain't Messin' Round," "Travis County" is a no-frills rocker that recalls the Stonesin fifth gear, "The Life" finds Clark moving back and forth between singing and rapping in a streetwise tale of drug addiction, "Numb" recalls the punk blues attack of the Black Keys and the White Stripes in its fuzzed-out blast, and the title cut samples both Gil Scott-Heron and Albert King as Clark melds conscious themes with blues backdrops. While the typical modern-day guitar hero goes out of his way to throw his dexterity in your face at every turn, here Clark shows off a tougher and more primal style, and though his chops are certainly good, he keep his solos concise and his attack muscular throughout. And if his songwriting is a bit uneven, he has an inarguable talent with both lyrics and melodies, and he's a good-to-great singer, sounding soulful and honest on every cut. Blak and Blu's production (by Rob Cavallo andMike Elizondo in collaboration with Clark) is too polished and processed for its own good, but if this album isn't likely to change your life, it will make an hour of it a lot more interesting, and there's no arguing that Gary Clark, Jr. is a talent strong enough to match his record company's hype.

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Gary Clark Jr, Track By Track:

Willie Dixon - Chess Box

The Tune for Today is:

Willie Dixon - Walking the Blues

Man,slow down.
we'll get there,take your time,dont walk so fast
stay on your roller
i don't blame pepole
saying "rocking the blues"
walking the blues
'cause man,this is it.
Now i think i'll relax,
that's the way to relax..

Now watch this,
boy,is it hot today!
All you gotta do is put 
one foot in the ????
And keep on walking,
Walking the blues.

That's what i call ????
I hope my old lady is home,
when i get there.
All this walking,
i don't need my mother-in-law,
i mean my wife,my mother-in-law,
she's allways there.
so we'll just keep walking on.

Review by Heather Phares (allmusic)

At the time of its release, much was made of the fact that Franz Ferdinand's Alex Kapranos producedCitizens!' debut album Here We Are. While his sleek aesthetic helps make the album as stylish as a Kitsune release should be, these songs show that this band is not a clone of Kapranos' group. For starters, singer Tom Burke's tremulous tenor is worlds away from Kapranos' baritone, and the character of his voice helps Citizens! channel Bowie, Suede, and Sparks over the course of Here We Are. Granted, "Reptile"'s propulsive thrust bears a passing resemblance to Franz Ferdinand's drama-laden dance-punk, but Burke and company are much more of a pop band than that outfit, and proud of it. Fittingly, Here We Are's most memorable moments are its singles, especially "True Romance," which grows from a jaunty keyboard riff into something fairly momentous, and "Caroline," with its rushing keyboards and infectious refrain "we started making sense/we never made any sense." Other standouts include the melodramatic sweep of "Let's Go All the Way" and the cheekily robotic new wave of "(I'm In Love with Your) Girlfriend." Even the songs that aren't as completely successful as Here We Are's highlights have something to recommend them, whether it's "Love You More"'s vaguely tropical/tribal beat, the tumbling choruses on "Nobody's Fool," or the spacey atmosphere on "I Wouldn't Want To." All in all,Here We Are is a promising debut, and Citizens! manage the impressive feat of borrowing from lots of different eras -- '70s glam, '80s synth pop, '90s Brit-pop -- without drowning in nostalgia.

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Tab Benoit

The Tune for today is:

Tab Benoit - Medicine

This is the usually prolific Louisiana guitarist Tab Benoit's first studio album in nearly four years, and although all his releases are top shelf, this one is slightly better. He teams up with New Orleans transplant Anders Osborne, who not only plays second guitar (press notes say B.B. King's famous "Lucille" was used for these sessions) but also co-writes seven of the eleven songs. Other high-profile bandmembers include Ivan Neville, Beausoleil's Michael Doucet, and drummer Brady Blade. In addition, noted roots producer David Z. recorded the project, bringing even more high wattage talent to the proceedings. Since 2003, Benoit has been an active spokesman and president for the Voice of the Wetlands environmental organization so, not surprisingly, the subject matter of some of the material leans toward the state of the bayou. That's especially true in "A Whole Lotta Soul," where Benoit sings "what you gonna tell the spirit/when the heart of the bayou bleeds" and "In It to Win It" that leads off with the line "I was born inside this Delta." Musically, Benoit sticks to his patented blend of soul, rock, blues, and Cajun, often mixed in the same song. His voice has attained a lived-in grit, always present but now somewhat accentuated by production that is spacious yet full. The electric set includes one unplugged tune; "Long Lonely Bayou" features justBenoit on acoustic and Doucet on fiddle. It's a highlight that finds the singer sounding as torn and frayed as the bluesmen who have been such a large part of his influences. He goes pure soul-blues on Toussaint McCall's slow dance classic "Nothing Takes the Place of You," this disc's Otis Redding-styled '60s entry, and rips into the lyric with tearful regret nearly equal to the original. The lovely and passionately sung Osborne-Benoit tune "Sunrise" treads similar territory. The closing zydeco rhythm of "Mudboat Melissa" allows both Doucet andBenoit to open up and solo against a festive, driving Louisiana backbeat. But the album's most riveting moment is arguably its opening title track, where Benoit and band tear into a tough, grinding, stomping blues-rocker that builds tension as it progresses and finds both guitarists unleashing slashing riffs on a song that might be Benoit's most powerful recorded performance. While nothing after quite tops it, lots comes close, making this one of the guitarist's finest overall efforts and well worth the extended wait.

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Etta James - The Dreamer

And The Chosen Tune for today is:

Apparently, Etta James' musical career ends with The Dreamer. The legendary vocalist announced a few months back that this would be her final album; she's retiring from music in order to deal with serious medical issues. Co-produced by James, Josh Sklair, and her sons Danto and Sametto, The Dreamer's 11 tracks offer an imperfect but utterly worthy portrait of the places she's been musically with a couple of selections that reveal her dictum that "every song is a blues." Her signature meld of soul, blues, rhythm & blues, rock, and country are all on display here. The production underscores her lifelong commitment to these styles and suits the material at large. Her musical accompanists include not only her co-producers, but guitarists Leo Nocentelli and Big Terry de Rouen, saxophonist Jimmy Z., trombonist Kraig Kilby, and trumpeter Lee Thornburg. Ms. James' choice of material is rigorous even if two of its selections are questionable: the cover of Guns N' Roses' "Welcome to the Jungle" doesn't lend itself well to the choogling boogie arrangement here; and the funkified reading of contemporary country stars Little Big Town's "Boondocks" sounds like she tried too hard to make it fit. These cuts aside, the rest of the material is vintage; it reflects the work of Ms. James' influences and contemporaries. Her readings ofOtis Redding's "Cigarettes & Coffee" and "Champagne & Wine," Bobby "Blue" Bland's "Dreamer," Bob Montgomery's country-pop standard "Misty Blue," Ray Charles' "In the Evening," Johnny "Guitar" Watson's "That's the Chance You Take" and "Too Tired," andLittle Milton's "Let Me Down Easy" all contain within them not only their original traces, but the musical experience necessary to bring their subtler, deeper meanings to the fore. She re-creates these songs not as mere touchstones or mementos from a career, but as signposts to the living, breathing tradition that bears the signature and considerable influence of her life upon them. The Dreamer is a fitting -- if not perfect -- bookend to one of American popular music's most iconic lives. - review written by Thom Jurek published on All Music

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