The Complete Hightone Sessions

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The Complete Hightone Sessions album cover
Album Information

Total Tracks: 15   Total Length: 60:50

eMusic Features

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Clearing Muddy Waters

By John Morthland, eMusic Contributor

Technically, I suppose, you can divide Muddy Waters'recording career neatly into three "phases": the 1941-2, acoustic field recordings for Alan Lomax of the Library of Congress, his 1947-75 run with Chess Records and the Blue Sky albums produced by Johnny Winter beginning in 1977 and ending well before Muddy's 1983 death. Of course, that still leaves holes in his discography - such as the four 1946 tracks Muddy cut for Columbia before signing with Chess,… more »

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Nick Moss and the Flip Tops

By John Morthland, eMusic Contributor

Nick Moss learned his Chicago blues the right way - through apprenticeships. He was barely out of his teens when he took over the bass slot in Jimmy Dawkins 'band in 1993, and from there he joined the Legendary Blues Band, which had originally been staffed by Muddy Waters vets and still boasted Willie "Big Eyes" Smith on drums and Pinetop Perkins on piano. Bandleader Smith switched him to guitar, and Moss made his recording… more »

They Say All Music Guide

Pinetop Perkins’ Heritage of the Blues: The Complete Hightone Sessions is a welcome if strange reissue. In a sense, none of the tracks here have been issued before — at least not in this form. These sessions took place over two years in the Octobers of 1996 and 1997 in Chicago. There are 15 tracks here, including Perkins classic originals such as “Down in Mississippi,” “Take It Easy Baby,” “Song for Sunnyland,” “Big Fat Mama,” “Little Girl, Little Girl,” and others. Yes, “Pinetop’s Boogie Woogie” is here, too. Unaccompanied, Perkins runs through these tunes in an intimate and utterly compelling manner, turning the middle eights into wondrously dexterous right-hand workouts, and his voice is still in fine shape here. What is so strange is that some of these tunes are recorded on an electric piano, making them sound tinny, reedy, and oddly more home-style than barrelhouse. Even so, Perkins’ trademark slippery right hand is in fine supply here, as are his strange, open-ended, and extrapolated chords. It’s a gentle workout, one that is as laid-back as it is articulate and soulful, but this is a different side of Perkins, one that balances out the profile of a giant and master. Despite the weird timbres, Heritage of the Blues is a fine and even essential Perkins recording to own. – Thom Jurek

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