Muddy Waters – His Best 1956 – 1964 (1997)

Artist: Muddy Waters
Title Of Album: His Best 1956 – 1964
Release Date : 1997
Genre: Bluse
Quality: MP3
Bitrate: 320kbps
Total Size:105 Mb

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TRACKLIST:

1. All Aboard
2. Forty Days and Forty Nights
3. Just to Be With You
4. Don’t Go No Farther
5. Diamonds at Your Feet
6. I Love the Life I Live, I Live the Life I Love
7. Rock Me
8. Got My Mojo
9. She’s Nineteen Years Old
10. Close to You
11. Walkin’ Thru the Park
12. She’s Into Something
13. I Feel So Good
14. You Shook Me
15. You Need Love
16. My Love Strikes Like Lightning
17. My Home Is in the Delta
18. Good Morning, Little School Girl
19. The Same Thing
20. You Can’t Lose What You Ain’t Never Had
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Review

By the late fifties, Muddy Waters was as rich and famous as an African-American performing a distinctly African-American form of music could be in the late fifties. The singer was now far removed from the rowdy environments, grueling day labor and lack of genuine opportunity that inspired most blues songs. Thus, this compilation, collecting Waters’ best cuts from the late fifties and early sixties, is significantly less gritty than its companion piece, His Best 1947 to 1955. A loss of rawness and gutsy-ness, however, should not be confused with a loss of ability, passion and relevance (or at least not a complete loss of ability, passion and relevance). Waters is still the powerful vocalist, clever wordsmith and dynamite guitar player he was when he released “She Moves Me” and “Mannish Boy.” Although it is not the unyielding succession of great material that is 1947 to 1955, 1956 to 1964 is home to more than a few undeniable blues classics, “You Can’t Lose What You Ain’t Never Had,” “Forty Days and Forty Nights,” “Rock Me,” and “Got My Mojo Workin’” among them.

Two musical changes signify Waters’ change in status. First of all, Waters relied less on touch-talking like that found in pervious hits such as “Rollin’ Stone” and “Hoochie Coochie Man” and more on love and relationship-related lyrics. Such songs range from breezy and gentle (“Just to Be With You,” “Rock Me”) to fast and celebratory (“Close to You,” “You Need Love”) to cool and upbeat (“She’s Into Something,” “Diamonds at Your Feet”) to painfully mournful (“You Can’t Lose What You Ain’t Never Had,” “Forty Days and Forty Nights) but are always filled with passion and gusto and continually give the impression that Waters always gave 100%. Second of all, as the words are less intense, the music is given a greater chance to breathe. These tracks feature greater emphasis on instrumentation, which is absolutely no drawback, when instrumentation is supplied by the likes of James Cotton, Jimmy Rogers, Earl Hooker, Little Walter and Buddy Guy. The tracks on which this change is most pleasantly apparent include “All Aboard,” featuring an unforgettable dual between harmonica players, Cotton and Little Walter; “Good Mourning Little School Girl” in which the backing band joins together in euphoric companionship and the astounding “Got My Mojo Workin’,” in which every performer seems to be racing against another. For moments such as these, His Best 1956 to 1964, despite being a downgrade in roughness and consistentcy from His Best 1947 to 1955, is another important addition to any blues collection.

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