01 	Goin' On Main Street 	3:55
02 	I Am Worried 	9:40
03 	Heartaches and Pain 	6:27
04 	Easy To Love You 	7:27
05 	Train Ticket 	4:40
06 	When A Woman Get In Trouble 	6:23
07 	Tribute To Big Walter 	4:13
08 	I Need You So Bad 	7:21
09 	Man And The Blues 	7:03

Blues Harp – Carey Bell, Billy Branch (tracks: 7)
Drums – Theodore "Dino" Davis, Odie Payne (tracks: 8 - 9)
Electric Bass – Carey Bell Jr., Bob Stroger (tracks: 8 - 9)
Guitar – Lurrie Bell, Elisha "Eli" Murray, Hubert Sumlin (tracks: 8 - 9)
Organ – Tom Zydron 
Vocals – Carey Bell, Lurrie Bell

Originally recorded for Germany's L+R label in 1982, this studio date for Carey Bell's Blues Harp Band finds the group stretching out on seven lengthy blues jams. Son Lurrie Bell contributes some nice licks, including a tortured solo to close out a nearly ten-minute version of "I Am Worried," and other son Carey Bell Jr. anchors the rhythm section on electric bass. --John Bush, AllMusic Review

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1 	What My Mama Told Me	3:04 	
2 	Pretty Baby	3:20 		
3 	Blues With a Feeling	4:49 	
4 	85%		4:38 		
5 	Sweet Little Woman	6:02 		
6 	It's So Easy to Love You	5:37 	
7 	Strange Woman	3:50 		
8 	Last Night	5:13 

Carey Bell - Harmonica, Vocals
Geoff Nichols - Drums
Andy Pyle - Bass, Guitar (Bass)
Richard Studholme - Guitar

His place on the honor roll of Chicago blues harpists long ago assured, Carey Bell truly came into his own in the '90s as a bandleader with terrific discs for Alligator and Blind Pig. He learned his distinctive harmonica riffs from the Windy City's very best (both Walters -- Little and Big -- as well as Sonny Boy Williamson II), adding his own signature effects for good measure (an otherworldly moan immediately identifies many of his more memorable harp rides).

Born Carey Bell Harrington in the blues-fertile state of Mississippi, he was already playing the harp when he was eight and working professionally with his godfather, pianist Lovie Lee, at 13. The older and more experienced Lee brought Carey with him to Chicago in search of steady musical opportunities in 1956. Gigs frequently proved scarce, and Carey eventually took up electric bass, playing behind Robert Nighthawk, Johnny Young, and his mentor Big Walter Horton. Finally, in 1969, Bell made his debut album (on harp) for Delmark, and he was on his way.

Bell served invaluable early-'70s stints in the bands of Muddy Waters and Willie Dixon, touring extensively and recording with both legends. Alligator Records has been responsible for much of Bell's best recorded work as a leader, beginning with a joint venture with Horton back in 1972. Four cuts by Bell on the first batch of Alligator's Living Chicago Blues anthologies in 1978 preceded his participation in the 1990 harmonica summit meeting Harp Attack!, which brought him into the studio with fellow greats James Cotton, Junior Wells, and Billy Branch. His solo set for Alligator, Deep Down, rates as his finest album. Bell has sired a passel of blues-playing progeny; best-known of the brood is mercurial guitarist Lurrie Bell. ---Bill Dahl, allmusic.com

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01. Intro/Side Tracked (instrumental) - 4:28  
02. Honky Tonk (instrumental) - 4:27  
03. Low Down Dirty Shame - 5:26  
04. Leaving in the Morning - 5:37  
05. Better Break It Up - 4:33  
06. Lonesome Stranger - 6:04  
07. When I Get Drunk - 4:49  
08. Broken and Hungry - 4:36  
09. My Eyes Keep Me in Trouble - 8:06  
10. Mellow Down Easy - 6:10  
11. Jawbreaker (instrumental) - 4:01  
12. Outro (instrumental) - 3:26

Carey Bell – harp, vocals
Steve Jacobs – guitar
Tom Anderson – bass
Tom Parker – drums

The trouble with studio blues recordings is that labels didn’t stop exploiting the artists after Chess went under. As a result, even as late as the 90s, so many of those albums sound forced and furtive, everybody rushing to get their parts down before time ran out. This extremely obscure lo-fi live set recorded somewhere in Italy features the great Chicago blues harpist onstage, in his element, front and center over an anonymously competent band. Bell achieves his signature spooky, swirling, hauntingly watery sound by playing through a Leslie organ speaker. The set ranges from dark and ominous with Leaving in the Morning, Broken and Hungry, and Lonesome Stranger to the sly My Eyes Keep Me In Trouble and the big party favorite When I Get Drunk, along with a characteristically volcanic version of his big instrumental crowd-pleaser Jawbreaker. --- lucidculture.wordpress.com

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01 - Pretty Baby - 4:04
02 - Here I Am - 4:58
03 - Honey Bee, Sail On - 5:53
04 - Whee Baby Blues - 3:54						play
05 - When I Get Drunk - 4:12
06 - I Want You To Love Me - 5:50
07 - When I First Met You Baby - 3:29			
08 - Heartches And Pain - 5:45
09 - I Got My Brand On You - 4:49
10 - Good Morning Little Schoolgirl - 4:04
11 - Stop Breakin´ Down - 3:41					play

Personnel:
Carey Bell - Harmonica, Vocals
Spike Ravenswood - Guitar, Vocals

His place on the honor roll of Chicago blues harpists long ago assured, Carey Bell truly came into his own in the '90s as a bandleader with terrific discs for Alligator and Blind Pig. He learned his distinctive harmonica riffs from the Windy City's very best (both Walters -- Little and Big -- as well as Sonny Boy Williamson II), adding his own signature effects for good measure (an otherworldly moan immediately identifies many of his more memorable harp rides).

Born Carey Bell Harrington in the blues-fertile state of Mississippi, he was already playing the harp when he was eight and working professionally with his godfather, pianist Lovie Lee, at 13. The older and more experienced Lee brought Carey with him to Chicago in search of steady musical opportunities in 1956. Gigs frequently proved scarce, and Carey eventually took up electric bass, playing behind Robert Nighthawk, Johnny Young, and his mentor Big Walter Horton. Finally, in 1969, Bell made his debut album (on harp) for Delmark, and he was on his way.

Bell served invaluable early-'70s stints in the bands of Muddy Waters and Willie Dixon, touring extensively and recording with both legends. Alligator Records has been responsible for much of Bell's best recorded work as a leader, beginning with a joint venture with Horton back in 1972. Four cuts by Bell on the first batch of Alligator's Living Chicago Blues anthologies in 1978 preceded his participation in the 1990 harmonica summit meeting Harp Attack!, which brought him into the studio with fellow greats James Cotton, Junior Wells, and Billy Branch. His solo set for Alligator, Deep Down, rates as his finest album. Bell has sired a passel of blues-playing progeny; best-known of the brood is mercurial guitarist Lurrie Bell. ---Bill Dahl, allmusic.com

Spike Ravenswood (born Uwe Gleich), grew up in Dresden in East Germany, at a time when communism was the law and oppression too often the norm. East Germany's government did not appreciate the blues. But Mr. Gleich would tune in foreign music stations on his tiny radio and listen. Before he was a blues guitarist and a music promoter, the simple sound of the blues signified a better life to him.

Mr. Gleich, who eventually played some of Chicago's best blues houses, died at age 42 September 1998 in a car accident in Nebraska. Mr. Gleich first picked up a guitar when he was a law student, after moving to West Germany. He worked as the road manager for Louisiana Red, and the touring guitarist taught him how to play. Mr. Gleich began coming to Chicago about circa 1978. He worked as a promoter and road manager for some of Chicago's famous musicians.

He led a blues tour of Europe in 1996, booking clubs and helping guide a troupe of American blues artists. He was an independent promoter, and musicians who worked with him remembered him as a businessman who respected the artists and the art. But Mr. Gleich never stopped making music in addition to promoting it. He favored traditional, acoustic blues. He would sit in with the musicians he was promoting while they practiced. He even recorded a song with his friend, Zora Young. He often played the "after-work" set at Buddy Guy's Legends blues club, where he specialized in acoustic guitar. His stage name was Spike Ravenswood.

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01. Carey & Lurrie Bell - What My Mama Told Me (4:20)
02. Carey & Lurrie Bell - I'll Be Your .44 (4:16)
03. Carey & Lurrie Bell - Blues With A Feeling (4:50)
04. Carey & Lurrie Bell - Teenie Weenie Bit (4:33)
05. Carey & Lurrie Bell - Smokin' Dynamite (5:33)
06. Carey & Lurrie Bell - The Gladys Shuffle (6:08)
07. Carey & Lurrie Bell - Last Night (5:15)
08. Carey & Lurrie Bell - Cadillac Assembly Line (5:53)
09. Carey & Lurrie Bell - 85% (4:41)
10. Carey & Lurrie Bell - I Need You So Bad (3:14)
11. Carey & Lurrie Bell - Sail On (5:53)
12. Carey & Lurrie Bell - Second Hand Man (7:42) 
 
Carey Bell – harmonica. vocals
Lurrie Bell – guitar, vocals

His place on the honor roll of Chicago blues harpists long ago assured, Carey Bell truly came into his own in the '90s as a bandleader with terrific discs for Alligator and Blind Pig. He learned his distinctive harmonica riffs from the Windy City's very best (both Walters -- Little and Big -- as well as Sonny Boy Williamson II), adding his own signature effects for good measure (an otherworldly moan immediately identifies many of his more memorable harp rides).

Born Carey Bell Harrington in the blues-fertile state of Mississippi, he was already playing the harp when he was eight and working professionally with his godfather, pianist Lovie Lee, at 13. The older and more experienced Lee brought Carey with him to Chicago in search of steady musical opportunities in 1956. Gigs frequently proved scarce, and Carey eventually took up electric bass, playing behind Robert Nighthawk, Johnny Young, and his mentor Big Walter Horton. Finally, in 1969, Bell made his debut album (on harp) for Delmark, and he was on his way.

Bell served invaluable early-'70s stints in the bands of Muddy Waters and Willie Dixon, touring extensively and recording with both legends. Alligator Records has been responsible for much of Bell's best recorded work as a leader, beginning with a joint venture with Horton back in 1972. Four cuts by Bell on the first batch of Alligator's Living Chicago Blues anthologies in 1978 preceded his participation in the 1990 harmonica summit meeting Harp Attack!, which brought him into the studio with fellow greats James Cotton, Junior Wells, and Billy Branch. His solo set for Alligator, Deep Down, rates as his finest album. Bell has sired a passel of blues-playing progeny; best-known of the brood is mercurial guitarist Lurrie Bell. --- Bill Dahl, Rovi

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