DEEP DOWN

fantastic harp work by a fantastic player with great sidemen. I was aware of the recording from an old audio tape, but I wanted a easily accessible digital format for frequent listening. Alligator allowed Bell and his band to put down their sound rather than impose Alligator producers, with their "modern" production values on them Excellent old school Blues.

Carey Bell remains one of the underdogs of the Chicago Blues harp, even years after his passing. Not as well-known at Little Walter, James Cotton, or even Junior Wells, his musical abilities were excellent. Another alumnus of the Muddy Waters band, Carey Bell had laid-back, emotional vocals and a style all his own. "Deep Down" came later in his career and he reset the bar for himself and other harp players. Its feel is raucous, hard-driving, and genuine. Alligator Records can sometimes fine-tune their albums too much, but in this case, it sounds fantastic. Definitely an excellent place to begin if you're exploring Chicago Blues or Carey Bell.

Have Mercy, Have Mercy, Have Mercy!!!

Great cd

Very good quality

Only the definition that could be given to this album is a "harp attack" - massive, bone deep, down to tears, starting on I Got To Go and ending with final blow on the album.By the time of recording Carey was 59 and already had some great albums recorded, but this time he may wanted to make even greater record and assembled great band: Carl Weathersby, Lurrie Bell and Lucky Peterson, all three recording artists on their own, plus Johnny B. Gayden on bass and Ray "Killer" Allison on drums. Guitar work of Carl Weathersby and Carey's son Lurrie Bell is of highest standards, particularly on I Got A Rich Man's Woman. Lucky Peterson on piano gives additional groove. Here are some wonderful solos of Lurrie and Lucky not to mention Carey Bell himself but first and foremost it is a band work as known in Chicago. From technical point of view every composition is perfect, no single note is unnecessary. We have here smooth passages from harp to guitar and from guitar to piano and harp again and it's crying, crying and crying. Former sideman for Muddy Waters, disciple of great teachers Big Walter Horton and Little Walter, hardened in battles with competitors like James Cotton, Carey Bell confirms what Chicago Tribune said about him: "Terrific talent in the tradition of Sonny Boy Williamson and Little Walter".If you take a look at CD cover, you understand a lot about Carey's attitude to this album. It is dedication!This is his best work. This is the album artist could have just one throughout the career.Bravo Mr. Carey Bell! Applause!Personnel: Carey Bell (vocals, harmonica); Carl Weathersby, Lurrie Bell (guitar); Lucky Peterson (piano); Johnny B. Gayden (bass); Ray "Killer" Allison (drums).pastblues.com

I have heard a great deal of praise for this album over the several years since I became a harpist and I had long been curious if it was worth the great reviews it got. Finally, I afforded the opportunity to hear it for myself when I recieved it as a gift. My initial reaction was WOW! I had heard Carey Bell before, but not like this. This album has a distinctly tough, gritty feeling, the like of which I haven't heard since I picked up Junior Wells' outstanding "Hoodoo Man Blues."The harp is the real show stealer here. Carey Bell has always been a bit underrated, not getting quite the same recognition as James Cotton or Little Walter. On this album, Carey clearly demonstrates that he can match anyone playing today. His tone is unbelievably fat, and his phrasing is remarkably intricate. Coupled with his ability to blow chromatic harmonica like no other, Bell really is one of the greatest players out there.Carey Bell is not the most talked about vocalist, and has actually been derided as being a sub par singer. I don't get it. He's not Muddy Waters, but in his own way, Carey is a good blues singer. His rough voice works well, particularly on such tracks as "When I get Drunk."The backing band is definatly in the groove too, with Lucky Peterson giving great work on keys and Carey's son, Lurrie, puts on a show on guitar.Overall, this is a stellar blues album. I had always liked Carey's work. After I heard this, he quickly became a personal favorite in the word of harmonica players. Once you hear this disc, you'll understand exactly what I mean.

Chicago is one tough town to become a star harmonica player in. During it's long and colorful history as the Blues harmonica capitol of the world, Chicago has given us the likes of Sonny Boy Williamsons I and II, Little Walter, Big Walter, James Cotton, Paul Butterfield, Charlie Musselwhite and dozens more, also too many to count.It is a pleasure to listen to Carey Bell. A Chicago Blues veteran since the mid-1950's, Bell has worked with Little Walter, Muddy Waters, Walter Horton, John Lee Hooker and a host of others. He has been making records since the late 1960's, but this recording from the Alligator label really shines through.Bell shows himself to be a capable vocalist and frontman as well as a stellar Blues harmonica master. His back-up band includes Chicago musicians like Carl Weathersby, Lucky Peterson and his son Lurrie Bell. They are as tight a band as one could wish for and this album is a pleasure to listen to from beginning to end.Overall I'd say that this is a definite must for any Chicago Blues harmonica collection.

Bought for my dad and he loves it

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