1 I See The Light / Sunny Day Strut 	6:50 	
2 Been So Long 	3:52 	
3 True Religion 	5:00 	
4 Third Week In Chelsea 	4:47 	
5 Embryonic Journey 	2:20 	
6 I Am The Light Of This World 	3:48 	
7 Watch The North Wind Rise 	6:12 	
8 Water Song 	6:02 	
9 Gypsy Fire 	7:51 	
10 Just My Way 	7:07 	
11 Hypnotation Blues 	8:33 	
12 Big Railroad Blues 	4:04 	
13 Funky #7 	11:37

Jorma Kaukonen (vocals, guitar)
Michael Falzarano (guitar)
Pete Sears (keyboards)
Jack Casady (bass)
Harvey Sorgen (drums)

A new Hot Tuna album is always something to look forward too and this one does not disappoint in the least. It's the electric band taken from the last Furthur festival tour. Jormas voice just seems to keep getting more expressive as time goes by. Stand out tracks include Third Week in Chelsa,Watch The North Wind Rise and the 11 minute plus Funky #7. The only minor downside is that on the old Dead fave song Big Railroad Blues Michael Falzarano sings the lead vocals..I would have loved to hear Jorma sing this one otherwise a great cd and one all fans should add to their collections. ---D. Brown, amazon.com

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Side A
    "Winin' Boy Blues" (Jelly Roll Morton) – 5:57
    "Keep Your Lamps Trimmed and Burning" (Reverend Gary Davis) – 3:08
    "Embryonic Journey" (Jorma Kaukonen) – 1:56
    "Killing Time in the Crystal City" (Kaukonen) – 6:35			play
Side B
    "I Wish You Would" (Billy Boy Arnold) – 4:20
    "Genesis" (Kaukonen) – 4:16
    "Extrication Love Song" (Kaukonen) – 4:26
    "Talking 'Bout You" (Chuck Berry) – 5:34
Side C
    "Funky #7" (Kaukonen, Jack Casady) – 8:49
    "Serpent of Dreams" (Kaukonen) – 6:43
    "Bowlegged Woman, Knock Kneed Man" (Bobby Rush, Calvin Carter) – 4:51
Side D
    "I See the Light" (Kaukonen) – 5:49
    "Watch the North Wind Rise" (Kaukonen) – 4:58
    "Sunrise Dance with the Devil" (Kaukonen) – 5:38
    "I Can't Be Satisfied" (McKinley Morganfield) – 4:58			play

Side A
    Jorma Kaukonen – vocals, acoustic guitar
Side B/C/D
    Jorma Kaukonen – vocals, guitar
    Jack Casady – bass
    Nick Buck – keyboards, backup vocal on "Talking 'Bout You"
    Bob Steeler – drums

Double Dose was the eighth album by the American blues rock band Hot Tuna, and their third live album recorded with Grunt Records. The album was originally released as a double-LP. After their 1977 tour, Jorma Kaukonen moved on to a solo career and Jack Casady joined the New Wave band SVT. Hot Tuna would not perform together again until 1983. The album had its highest peak at #92 on the Billboard charts. ---wiki

Hot Tuna, now a quartet with the official addition of keyboardist Nick Buck, released this two-LP live album, its first concert material in seven years, and having thus summed things up, broke up as the album hit record stores. Double Dose gave a good sense of mature Hot Tuna as a vehicle for the musical interests of Jorma Kaukonen, who used the entire first side as an acoustic solo set, then included the excellent "Genesis" from his solo album Quah on side B. Elsewhere, the electrified group alternated between Kaukonen's best Hot Tuna compositions and blues and rock standards. It was produced by Felix Pappalardi (Cream, Mountain), who gave Hot Tuna its best recorded sound; even though it's a "live" record, there seems to have been a lot of studio overdubbing. ---William Ruhlmann, allmusic.com

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1."New Song (for the Morning)" (Jorma Kaukonen) – 5:05			play
2."Been So Long" (Kaukonen) – 4:17
3."Oh Lord, Search My Heart" (Rev. Gary Davis) – 4:39
4."True Religion" (Traditional) – 7:01
5."Space Jam" (Jack Casady, Kaukonen) – 0:10
6."Intro by Bill Graham" / "Rock Me Baby" (Traditional) – 9:03
7."Want You to Know" (Bo Carter) – 4:58
8."Come Back Baby" (Lightning Hopkins) – 9:14

Jorma Kaukonen – guitars, vocals
Jack Casady – bass
Papa John Creach – violin
Sammy Piazza – drums 

Historic Live Tuna is a Hot Tuna album released in 1985 with side A containing some previously unreleased tracks from a live acoustic performance played on KSAN radio in 1971 and with side B containing some previously unreleased live material from a live electric performance in 1971 recorded at the Fillmore West auditorium in San Francisco.

The album was Hot Tuna's second release on Relix Records, and would be their last release until after the 1989 Jefferson Airplane reunion tour and reunion album, when they were signed to Epic Records for a short time before returning to Relix. In 1996 the A-side of Historic Live Tuna was expanded and released as the CD Classic Hot Tuna Acoustic and the B-side was expanded and released as the CD Classic Hot Tuna Electric.

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01 - Angel of Darkness
02 - Children of Zion
03 - Second Chances
04 - Goodbye to the Blues
05 - A Little Faster			play
06 - Mourning Interrupted
07 - Easy Now Revisited
08 - Smokerise Journey
09 - Things That Might Have Been
10 - Mama Let Me Lay It On You
11 - If This is Love
12 - Vicksburg Stomp			play

Musicians:
* Jorma Kaukonen – vocals, acoustic guitar, electric guitar
* Jack Casady – bass
* Barry Mitterhoff – electric mandolin, acoustic mandolin
* Skoota Warner – drums
Guests:
* Larry Campbell – electric/acoustic/pedal steel rhythm guitar, fiddle, violin, organs, vocals
* Teresa Williams – vocals

Steady as She Goes is the first Hot Tuna studio album since 1990. After Jorma Kaukonen recorded his solo album in 2009 at Levon Helm's studio in NY, he asked his new record company Red House if they would be interested in a Tuna album. The band started recording new tracks in November 2010 with the same producer and studio that Kaukonen used for River of Time and features the latest lineup of the band that formed in 2009 when Skoota Warner joined on drums. On March 11, Red House released Angel of Darkness as a free single. The album was released on CD and on iTunes April 5, and will be released on vinyl in May. The album first charted on the Tastemaker and Independent album lists compiled by Billboard for the week of April 23.

After years of releasing live albums, Kaukonen felt it was time to record a new electric studio album with the band when his current label for his solo work, Red House Records, was interested. Kaukonen started by writing one song, but with deadlines set and being locked in to studio time with the band, he collaborated and ended up writing six songs for the album. The band used Levon Helm's studio which Kaukonen had recorded his previous solo album at, River of Time. For the new album, Kaukonen decided to take the approach he used with Jefferson Airplane, letting others work out the charts for the rhythm section and concentrating on the lead guitar lines. Also to reflect back to Jefferson Airplane's style, Teresa Williams recorded harmony vocals similar to Grace Slick's on several tracks.

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01. Baby What You Want Me To Do
02. Hot Jelly Roll Blues
03. Free Reign
04. Sunrise Dance With The Devil
05. Song For The FIre Maiden
06. Bar Room Crystal Ball
07. Half/Time Saturation
08. Surphase Tension

    Jorma Kaukonen – vocals, guitars
    Jack Casady – bass
    Bob Steeler – drums
+
    Nick Buck – synthesizer on "Bar Room Crystal Ball"
    John Sherman – 2nd guitar on "Baby What You Want Me to Do"

Hot Tuna's second album of 1975 began with a cover of Jimmy Reed's "Baby, What You Want Me to Do" rendered in the group's characteristic noisy electric-guitar style, an approach that was typical of this more-of-the-same album. By this point, Jorma Kaukonen seemed to have found a balance between his songwriting ambitions and the need to provide springboards for the group's boogie-all-night improvisations. Here, "Sunrise Dance with the Devil" and "Bar Room Crystal Ball" feature good lyrics and excellent hooks, yet still fit into Hot Tuna's heavy approach. --- William Ruhlmann, allmusic.com

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   1. "Hesitation Blues" (traditional, arranged by Kaukonen / Casady) – 5:05
   2. "How Long Blues" (Carr) – 3:24
   3. "Uncle Sam Blues" (traditional, arranged by Kaukonen / Casady) – 5:04
   4. "Don't You Leave Me Here" (Morton) – 2:50
   5. "Death Don't Have No Mercy" (Davis) – 6:10
   6. "I Know You Rider" (traditional, arranged by Kaukonen / Casady) – 3:59
   7. "Oh Lord, Search My Heart" (Davis) – 3:47
   8. "Winin' Boy Blues" (Morton) – 5:25
   9. "New Song (For the Morning)" (Kaukonen) – 4:55
   10. "Mann's Fate" (Kaukonen) – 5:20

    * Jorma Kaukonen — acoustic guitar, vocals
    * Jack Casady — bass
    * Will Scarlett — harmonica

When Hot Tuna's self-titled debut album was released in May 1970, it seemed like the perfect spin-off project for a major rock group, Jefferson Airplane's lead guitarist and bass player indulging in a genre exercise by playing a set of old folk-blues tunes in a Berkeley coffeehouse. The music seemed as far removed from the Airplane's acid rock roar as it did from commercial prospects, and thus, it allowed these sometimes overlooked bandmembers to blow off some steam musically without threatening their day jobs. In retrospect, however, it's easy to hear that something more was going on. Friends since their teens, Jorma Kaukonen and Jack Casady had developed a musical rapport that anchored the Airplane sound but also existed independently of it, and shorn of the rock band arrangements and much of the electricity (Casady still played an electric bass), their interplay was all the more apparent. Kaukonen remained the accomplished fingerpicking stylist he had been before joining the Airplane, while Casady dispensed with the usual timekeeping duties of the bass in favor of extensive contrapuntal soloing, creating a musical conversation that was unique. It was put at the service of a batch of songs by the likes of the Reverend Gary Davis and Jelly Roll Morton with the occasional Kaukonen original thrown in, making for a distinct style. Kaukonen's wry singing showed an intense identification with the material that kept it from seeming repetitious despite the essential similarities of the tunes. (Harmonica player Will Scarlett also contributed to the mood.) The result was less an indulgence than a new direction. --- William Ruhlmann, allmusic.com

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Line-up: 
Jorma Kaukonen - guitar, vocals 
Jack Casady - bass, vocals 
Papa John Creach - violin, vocals 
Sammy Piazza - drums, percussion, vocals 
David Crosby - vocals 
Richmond Talbott - slide guitar, vocals 
Nick Buck - keyboards 

1 True Religion 4:43 
2 Highway Song [feat. David Crosby] 3:15 
3 99 Year Blues 3:58 
4 Sea Child 5:00 
5 Keep on Truckin' 3:40 
6 Water Song 5:16 
7 Ode for Billy Dean 4:50 
8 Let Us Get Together Right Down Here 3:26 
9 Sunny Day Strut 3:15

- Jorma Kaukonen - guitars, lead vocals, producer
- Jack Casady - bass, vocals, eyebrow
- Papa John Creach - violin, vocals
- Sammy Piazza - drums, tympani, other percussion, vocals
+
- Nikki Buck – organ & piano (1,5)
- Richmond Talbott - vocals & slide guitar (3)
- David Crosby – vocals (2)

Burgers, Hot Tuna's third album, marked a crucial transition for the group. Until now, Hot Tuna had been viewed as a busman's holiday for Jefferson Airplane lead guitarist Jorma Kaukonen and bassist Jack Casady. Their first album was an acoustic set of folk-blues standards recorded in a coffeehouse, their second an electric version of the same that added violinist Papa John Creach (who also joined the Airplane) and drummer Sammy Piazza. Then the Airplane launched Grunt, its own vanity label, which encouraged all bandmembers to increase their participation in side projects. Burgers, originally released as the fourth Grunt album, sounded more like a full-fledged work than a satellite effort. It was Hot Tuna's first studio album, and Kaukonen wrote the bulk of the material, not all of it in the folk-blues style that had been the group's métier. "Sea Child," for example, employed his familiar acid rock sound and would have fit seamlessly onto an Airplane album. And "Water Song," one of his most accomplished instrumentals, had a crystalline acoustic guitar part that really suggested the sound of rippling water. On the material that did recall the earlier albums, Hot Tuna split the difference between its acoustic and electric selves, sometimes, as on "True Religion," beginning in folky fingerpicking style only to add a rock band sound after the introduction. The result was more restrained than the second album, but not as free as the first, with the drums imposing steady rhythms that often kept Casady from soloing as much, though Creach's violin made for plenty of improvisation within the basic blues structures. All of which is to say that, not surprisingly, on its third album in as many years, Hot Tuna had evolved its own sound and music, and seemed less a diversion than its members' new top priority. --- William Ruhlmann, allmusic.com

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