Albert COLLINS, Stevie Ray VAUGHAN & Jeff HEALEY - Jammin With The Boys JULY-27 1985

Albert COLLINS, Stevie Ray VAUGHAN & Jeff HEALEY - Jammin With The Boys JULY-27 1985
Alberts Hall,Toronto,Ontario
Thx To *SOUNDBOARD*

Blues

01.Cleo's Thing 7:52
02.Hideaway 8:25
03.Hour Long Jam 54:24
a)Albert's Entrance
b)SRV's Entrance (Jeff Healy Joins Later)
**

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Albert COLLINS, Robert CRAY, Johnny COPELAND - Showdown 1985

Albert COLLINS, Robert CRAY, Johnny COPELAND - Showdown 1985
AL 4743

Blues

This excellent 1985 Alligator release finds three guitar legends squaring off, cutting heads, and forming a brotherhood forged in blues. The elder statesman and leader here is the irrepressible Albert Collins, whose guitar sound and unique approach to the blues has been bending ears since the '50s. Johnny Copeland, the "Texas Twister," an early disciple and longtime friend of Collins, is also here, showing he's moved well beyond Collins's early tutelage. The youngest gun is Robert Cray, another musician Collins took under his wing (some 15 years after he first met Copeland).
Backed only by a bassist, drummer, and organist (the spare backing band helps put the guitar work at center stage), Collins, Copeland, and Cray go toe-to-toe on these tracks. What's especially intriguing is that each song gives equal air time to each musician, making room for solos all around and even, on some tracks, shared vocals. Copeland is the wildest here, with his wooly, rough-hewn voice and blistering leads, counterbalanced by Cray, who lends a laid-back air of sophistication to the proceedings. Collins brings it all together with his signature "icy" style. SHOWDOWN! is a dream come true for blues-guitar fans.
**
Far from engaging in a guitar-playing shootout, Albert Collins, Robert Cray, and Johnny Copeland work together incredibly well, achieving a kind of musical synergy that's rarely heard. Copeland and Cray handle most of the vocal duties, and Cray's smooth, soul-tinged voice (positively shiver-eliciting on "The Dream," as is Collins's lead guitar work) complements Copeland's growl perfectly. Collins doesn't get to sing as much, but he more than makes up for it with his harmonica on the slow blues "Bring Your Fine Self Home." And of course, all three turn in stellar guitar work, trading solos and rhythm parts with the greatest of ease; Cray was a relative newcomer at the time of this recording, but he more than holds his own. One would be hard pressed to find a better blues collaboration anywhere.
By Genevieve Williams. AMG.
**
A1. T-Bone Shuffle 4:54
A2. The Moon Is Full 4:59
A3. Lion's Den 3:55
A4. She's Into Something 3:49
A5. Bring Your Fine Self Home 4:30
B1. Black Cat Bone 4:54
B2. The Dream 5:28
B3. Albert's Alley 4:01
B4. Blackjack 6:26
**
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Albert COLLINS - Red Rocks Amphitheatre 1992

Albert COLLINS - Red Rocks Amphitheatre 1992
Morrison, CO.08/16/1992 SBD
Bootleg

Blues

01. Watermelon Man
02. Ice Man
03. Lights Are On But Nobody's Home
04. Put The Shoe On The Other Foot
05. The Things That I Used To Do
06. Honey Hush
07. Same Old Thing
08. Frosty
**
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Albert COLLINS - Live In San Diego '83

Albert COLLINS - Live In San Diego '83
Thx To *KitnamorKen*

Blues

01. Introduction
02. Angel Of Mercy
03. I'm A Tired Man
04. Frosty
05. Listen Here
06. If Trouble Was Money
07. San Diego Night Train
**
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Albert COLLINS - Live in Chicago June 7 1992

Albert COLLINS - Live in Chicago June 7 1992
Bootleg
Credits to *KitnamorKen*

Blues

Albert Collins- (Vocals, Guitar);
Pete Thoennes- (Guitar);
The Legendary White Trash Horns, Jon Smith, Jeff Robbins (Tenor Sax);
Steve Howard- (Trumpet);
Bobby Alexis- (Organ);
Johnny B. Gayden- (Bass);
Marty Binder- (Drums).
**
01. Instrumental
02. Iceman
03. Lights Are On But Nobody's Home
04. Put The Shoe On The Other Foot
05. Black Cat Bone
06. Instrumental
07. Same Old Thing
08. Mr. Collins
09. Things I Used To Do
10. Do You Feel It ?
11. Reconsider Baby
12. Instrumental
**
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Albert COLLINS And The Icebreakers - The Iceman At Mount Fuji 1992

Albert COLLINS And The Icebreakers - The Iceman At Mount Fuji 1992

Blues

Like no other electric blues guitarist of his generation, Albert Collins illuminated a stage win incandescent energy whenever he plugged his lethal Telecaster into an amp and let fly with his frigid, minor-key-laced licks. This album features material from his two triumphant performances at the 1992 Mt. Fuji Jazz Festival.
Blues guitar legend Albert Collins is captured live during both day and night in two performances from the 1992 Mt. Fuji Jazz Festival. Powering his way through songs such as "Same Old Thing," "Honey Bush," and his signature song "Iceman," the master of the telecaster uses his minor key extended jams to stun two Japanese festival crowds in a single day. Seven cameras were used in recording these perfomances.
**
The Iceman at Mount Fuji is a live recording from the 1992 Mt. Fuji Jazz Festival, capturing Albert Collins at the height of his powers in the year before his death. Collins was always an electrifying performer whether at a large festival or a small club, and this recording has his guitar way out front, as it should be. In fact, at many points during the set you can hear the ringing of his guitar on the verge of feedback. And his playing is fantastic; there is no holding back or playing it safe. He hits some clams here and there, but is just ripping through the entire set. The bandmembers are polished and professional (almost too much so), but when it comes time for solos, they acquit themselves admirably. There's just one problem with this album: in presenting both of Collins' sets that day, four songs are given two performances each and two of those songs (four of the 12 tracks total) account for more than half the playing time of the entire album! Both sets are excellent, but hearing virtually the same program twice is a bit much. Although the liner notes give a good history of Collins' career, the packaging really obscures the fact that this is two nearly identical sets, so let the consumer beware. Serious fans of Albert Collins' guitar playing will find a lot to enjoy here: the Iceman was on fire for this performance, but the duplication of tracks may prove to be a disappointment to more casual fans.
By Sean Westergaard. AMG.
**
01. Iceman  3:02
02. Put the Shoe On the Other Foot  4:48
03. Light's Are On But Nobody's Home  10:34
04. If You Love Me Like You Say  3:20
05. Same Old Thing  9:58
06. Travelin' South  3:20
07. Iceman [Extended Jam][Version]  4:20
08. Put the Shoe On the Other Foot [Version]  5:11
09. Light's Are On But Nobody's Home [Version]  9:44
10. Honey Hush  4:10
11. Same Old Thing [Version]  12:06
12. Frosty  5:52
**
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Albert COLLINS And Buddy GUY - The Warner Theater Washington DC 04-09-1993

Albert COLLINS And Buddy GUY - The Warner Theater Washington DC  04-09-1993
Bootleg

Blues

There's nothing like a fantastic set of Chicago Blues by two of the great Chicago blues masters of our time. Each set shows a different side of Chicago Blues, with the Albert Collins set featuring brass and Buddy Guy's set featuring both rock and blues tunes. The guitar work is blistering, mixed with funk, scorching leads, traditional blues and a nod to SRV. If you are a fan of the blues, you'll want this great double set.
**
Albert Collins- Vocals, Guitar
Pete Thoennes- Guitar
Jon Smith- Tenor Sax
Jeff Robbins- Tenor Sax
Steve Howard- Trumpet
Bobby Alexis- Organ
Johnny B. Gayden- Bass
Marty Binder- Drums
**
Disc 1 Albert Collins (52:12)

01. Trying to Work my way back home 4:18
02. If Trouble Was Money 9:22
03. Put Your Shoe On The Wrong Foot 5:47
04. Same Old Thing 7:03
05. Things I Used To Do 6:09
06. Head Rag 9:58
07. I Ain't Drunk 5:48
08. You Talk Too Much 3:47
***
Buddy Guy- Vocals, Guitar
Scott Holt- Guitar
John Cady- Keyboards
Greg Rzab- Bass
Calvin Johnson- Drums
*
Disc 2 Buddy Guy (67:57)

09. Mary Had A Little Lamb 3:15
10. Sweet Little Angel 11:31
11. I Just Want To Make Love To You Medley 8:42
12. Stormy Monday 4:49
13. Someone Else Is Slippin' In 4:55
14. Sweet Home Chicago 7:52
15. Hoochie Coochie Man Medley 9:25
16. Mustang Sally 4:30
17. Knock On Wood 12:58
**
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Albert COLLINS - Live at Montreux 1992

Albert COLLINS - Live at Montreux 1992

Blues

The Iceman is in remarkable form on this 1992 live date, offering proof positive that his smoldering Texas-style electric blues is ageless. With a set list that spans from his early hit "Frosty" to tracks from his 1991 release, ICEMAN, Albert Collins's stinging technique makes his Telecaster sing out over his no-holds-barred full electric band. A deeply satisfying blues excursion, LIVE AT MONTREAUX was recorded merely a year before Collins's death from cancer, making it a fitting tribute as well as a fine concert recording.
**
This is two separate releases a CD and a DVD from the 61 year old blues giant that was recorded in 1992. This show was one of “The Iceman’s” last, as he would be diagnosed with lung cancer within a year. Collins was far from old and crusty, as he played with a surge of electricity through his fingers on these seven tracks. Did you miss the Montreux Jazz Festival (an annual tradition since 1967 in the municipality of Vevey in canton of Vaud in Switzerland)? Me too, no worries Eagle Vision relives the magic for us on these CD & DVD releases.

Albert Collins, 1932-1993, was a blues-howlin’ guitarist extraordinaire whose soulful vocals and flamboyant performance style thrilled audiences in six different decades. “The Master Of The Telecaster” was born in Texas, a relative of rural bluesman Lightnin’ Hopkins. Performing in the Mississippi Delta and soaking up its historical blues vibe, he honed his craft while living in Chicago, Kansas City and California, with an up-and-down career until moving back to Texas and releasing Ice Pickin’ on Alligator Records in 1978. During his career he recorded with John Lee Hooker, Jack Bruce, B.B. King, John Mayall, and Robert Cray. Collins won the W.C. Handy Award in 1983 for his album “Don’t Lose Your Cool”, which won the award for best blues album of the year and then a Grammy for Showdown! (Collins with Robert Cray and Johnny Copeland) in 1985.

If you don’t like in your face, intense, smoking-hot electric blues then pass on this, if you do – buy the CD and DVD, you won’t be disappointed! I’ve been a fan of Collins for sometime, this just reminded what an incredible guitar player he was. There’s not a bad track here. This recording left me drooling for more. Like Stevie Ray Vaughan, Freddie and Albert King, Albert Collins left this world a better place and electric blues forever changed, unfortunately for all these greats died too soon.
By Cornbread.
**
01. Iceman
02. Honey Hush
03. Lights are on (But Nobody's Home)
04. If You Love Me Like You Say
05. Too Many Dirty Dishes
06. Put the Shoe on the Other Foot
07. Frosty
**
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Albert COLLINS - The Cool Sound Of Albert Collins 1965

Albert COLLINS - The Cool Sound Of Albert Collins 1965
BCCD 1310

Blues

This album plays more lick an actual LP release than it does a compilation. The Cool Sound of Albert Collins is a collection of some of his great stuff leading up to 1965 including a few singles such as "Don't Lose Your Cool" and "Frostbite." Albert Collins was the greatest artist I can think of that attached himself to a theme. In the case of Albert, he identified with anything dealing with ice. Hence, eleven of the twelve tracks on this release have something to do with ice or being cool. Even one of his nicknames, The Ice Man, solidifies this theme (although I prefer Master of the Telecaster). Albert's group is composed of two saxes, a trumpet, organ, bass and drums.

What makes this album so wonderful is the amount of classic blues tracks. Albert could play the guitar and did so well. He was not the most technically impressive guitarist, but we was very clean and clear. Not one note is faked or hidden in a mushy distorted solo. On top of this, many of the melodies he uses are so simple and straightforward. Take "Don't Lose Your Cool" for example. The opening melody uses only one guitar note played in a rhythmic fashion. This note repeats itself throughout the song as the brass take over as well as during the main guitar solo. It is so simple yet contains so much. This simplistic style is carried throughout the record. Many of the songs start with a basic theme and build from there, often resorting back to the original theme towards the end of the track. "Frostbite" is another example of this.

All of the twelve tracks are instrumentals. Albert is one of the big pioneers of modern blues music. "Frosty" is a great example of this. Take SRV's Carnegie Hall performance for example. Stevie uses brass in the same fashion that Albert uses them in this track; a short guitar blurb followed by a similar blurb done by the brass, all with jazz infused drums and light organ. "Icy Blue" is another classic combining elements of surf, blues, and music of the southwest.

The Cool Sound of Albert Collins is one of my favorite blues albums. Albert plays with a style and sound all his own (although many have tried to copy him over the years) and there are so many wonderful tracks here that both sound wonderful and provide inspiration for future artists. I am not the biggest fan of brass with modern blues and only a few artists can pull it off well. Albert is one of these artists. I put this album right up there with some of Albert's greatest albums and certainly a blues masterpiece. Also, Albert does it all - every song is his creation and his alone.
By Rocky Sullivan.
**
A collection of single sides, all self-composed and nearly all instrumentals, recorded in Houston. Generally the instrumentation is guitar-bass-drums, with light touches of horns and organ, leaving maximum space for Collins to wail. His tone and technique seem completely developed, with the stinging vibrato, quivering high notes and effortless fluidity that would remain his hallmark. But instead of falling back on free-form solos over unvarying blues progressions, Collins crafts great hooks and honest-to-goodness verse/chorus/bridge structures - the brilliant "Thaw Out" impressed Jimi Hendrix so much he appropriated the tune, renaming it "Driving South." The vocal "Dyin' Flu" is just as good, and even the "Bag's Groove" theft ("Don't Lose Your Cool") is fun. The single format does constrain him a bit, though, with no tracks running longer than three minutes; also, the surf-rock experiment "Icy Blue" was ill-advised, and the backing can be too timid ("Tremble"). The sidemen are Bill Johnson (bass), Herbert Henderson (drums), Frank Mitchell (trumpet), Hendry Hayes (alto sax), Big Tiny (tenor sax, including a lengthy solo opening "Hot 'N Cold") and Walter McNeil (organ). Re-released in 1969 as Truckin' With Albert Collins. (DBW)
**
01. FROSTY
02. HOT ´N´ COLD
03. FROST BITE
04. TREMBLE
05. THAW OUT
06. DYIN´ FLU
07. DON´T LOSE YOUR COOL
08. BACKSTROKE
09. COOL AIDE
10. SHIVER AND SHAKE
11. ICY BLUE
12. SNOW CONE  PT. 1
13. SNOW CONE  PT. 2
14. DEFROST
15. I DON´T KNOW
16. COOKIN´ CATFISH
17. TAKIN´ MY TIME
18. FREEZE
19. SOUL ROAD
20. HOMESICK
21. SIPPIN´ SODA
22. ALBERT´S ALLEY
23. COLLIN´S SHUFFLE
**
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Albert COLLINS - Ice Pickin 1978

Albert COLLINS - Ice Pickin 1978

Blues

Until this album was released in 1978, Albert Collins had been a journeyman Texas bluesman, little known and unrecorded for six years. His guitar playing here won him a new generation of fans, and set the stage for the popularity he enjoyed until his death. His clustered, sustained, choked, and bent notes, played with his thumb and fingers, set a generation of pickers agog. The tone was piercing; the timing impeccable. Collins' vocals were never quite as strong, but it scarcely mattered as he was the man for whom the electric guitar might have been invented. The eight songs on this set include "When the Welfare Turns Its Back on You," and several jaw-dropping instrumentals.
By Colin Escott.
**
Albert Collins had been recording since the late 1950s, but until the late 1970s he'd never attracted much of an American audience outside of blues circles.  Luckily that changed in 1977 when he was signed to the newly formed Chicago-based Alligator Records.                

Co-produced by Bruce Iglauer, Richard McLeese and Dick Shurman, "Ice Pickin'" marked Collins' first studio set in six years.  The layoff was apparently quite beneficial.  Backed by a first rate band, Collins returned to the recording scene with what may have been his strongest and most consistent studio collection.  While instrumentals like the title track and 'Avalanche' aptly displayed Collins' mastery of the telecaster and alternative tunings (Steve Ray Vaughan's debt to this man is beyond calculation), to my ears the biggest surprises were Collins' voice and his sense of humor.  His vocal performances were simply great on tracks like 'Honey Hush!' and 'Cold, Cold Feeling' .  Hard to believe the man had a thing about his voice for many years ...  He also exhibited a mean sense of humor on material such as 'When the Welfare Turns Its Back On You', 'Master Charge' and 'Conversation with Collins' - a great slice of talking blues with a moral that you shouldn't let your wife have a night on the town with friends.  For goodness sake, even rock critic Robert Christgau gave this release an A.!!!
**
Only "Frostbite" can challenge this in Collins' catalog, and without "Snowed In" that next-best Alligator release wouldn't even have a fighting chance. "Ice Pickin'" is simply one of the best modern blues guitar records.

Collins wasn't known as a great singer but he steps to the plate surprisingly well here, and he would stay confident at the mic from here on in. And you know that stinging, icy guitar tone is slung all over the place. Slow-burning, moody blues? Got 'em: "Cold, Cold Feeling," "When the Welfare Turns its Back on You." Nice instrumentals? Check: "Ice Pick," "Avalanche." Woman problems? "Honey, Hush." Credit woes? Yup: "Master Charge," its name long out of date but its sentiment understood.
Then there's "Conversation with Collins," a funny, nearly nine-minute soliloquy with speech and guitar. Probably corny, but absolutely delightful.
Albert Collins collections start here.
**
Aron Burton- Bass
Casey Jones- Drums
Larry Burton- Guitar 
Albert Collins- Guitar, Vocals
Alan Batts- Keyboards
Chuck Smith- Saxophone [Baritone]
A.C. Reed- Saxophone [Tenor] 
**
A1. Talking Woman Blues 4:28
A2. When The Welfare Turns Its Back On You 5:26
A3. Ice Pick 3:08
A4. Cold, Cold Feeling 5:19
B1. Too Tired 3:00
B2. Master Charge 5:12
B3. Conversation With Collins 8:52
B4. Avalanche 2:39
**
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Albert COLLINS - Trash Talkin' 1969

Albert COLLINS - Trash Talkin' 1969
LP-12438

Blues

I'm not lyin' it's not a fake
You can tell by the look on my face
Just so much a man can take
Sooner or later he's gotta break
Yes, I'm down on my bendin' knee
Weeping an' bendin' like a willow tree
**
A1. Harris County Line-Up   2:20
A2. Conversation With Collins   5:19
A3. Jawing   2:12
A4. Grapeland Gossip   2:50
A5. Chatterbox   2:28
A6. Trash Talkin'   4:07
B1. Medley: Baby What You Want Me to Do / Rock Me Baby   4:05
B2. Lip Service   3:18
B3. The Things I Used to Do   3:22
B4. Back-Yard Back-Talk   2:51
B5. Tongue Lashing   2:55
B6. And Then It Started Raining   2:45
**
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Albert COLLINS - Truckin' With Albert Collins 1969

Albert COLLINS - Truckin' With Albert Collins 1969

Blues

This set of early sessions shows the style of this blues-guitar behemoth already clearly defined. Collins plays in minor tuning and plucks the strings aggressively with his right hand, giving his playing--even at this stage--an utterly distinctive sound. The set list features Collins's original, groove-inflected instrumentals (he turns in one vocal performance on "Dyin' Flu"), with tenor sax, alto sax, and trumpet adding punchy lines and jazzy solos over comping from a tight bass-drums-and-organ rhythm section.

The centerpiece here, naturally, is Collins's guitar work. His sharp, carefully crafted leads are impressive throughout--he uses space to excellent effect, and he values interplay with the rhythm section over standard flashy showboating. TRUCKIN' contains many of Collins's best-known tunes, including "Frostbite" and "Frosty." (Reputedly, both Johnny Winter and Janis Joplin--teenagers at the time--were present in the studio when Collins cut "Frosty." Joplin predicted the song would be a hit. She was right--it sold millions, and became one of Collins's signature songs). For essential early offerings from this blues master, TRUCKIN' WITH ALBERT COLLINS is at the top of the list.

Principally recorded in Houston, Texas from 1962 to 1963. Originally released in 1965 as "THE COOL SOUND OF ALBERT COLLINS" (TCF-8002).
**
If you think of Albert Collins was just another axe-wielding Alligator Records blues genericist, this album is a key part of the antidote to that misconception. Originally recorded in 1965 — when Collins was fresh off a day job washing dishes at a River Oaks soda fountain -- for Bill Hall's TCF Hall label in Beaumont, this collection was re-released after Collins's rediscovery in 1969 by Canned Heat's Bob Hite. Truckin' finds Collins doing just that through ten instrumentals and one slow blues vocal. Most of the tunes here have "cool" titles and they all live up that description. There's "Frosty" and "Don't Lose Your Cool," both of the show-stopping shuffles he played right up to the end of his days, but there's also so much more here.
Back in the mid-60s, black musicians were still crafting their records for a black audience. The so-called blues boom had yet to occur; the white blues purists had yet to start sorting out who was "authentic" from those they thought weren't in accord with the Robert Johnson myth. Blues musicians like Collins were still evolving to try and keep up with black musical taste, which might then have been in a greater state of flux than it is now.
Gutbucket blues with long guitar-god shredding solos of the sort Collins would revisit on his '70s and '80s Alligator releases were resolutely out of style. In style were the funky groove-jazz nocturnes of organists like Jimmy Smith, whose shadow hangs heavy over this album, in both the funky Rhodes organ of Walter McNeill and the piercing sax leads of Henry Hayes, both of which are played off of Collins's trademark stinging,
jagged Telecaster.
And perhaps "groove blues" might be the best two-word descriptor for this album, though it also features forays into surf ("Kool Aide"), the spacey, spare jazz of "Thaw Out," whacky rumba ("Frostbite"), and the mariachi-tinged "Icy Blue," the perfect song to accompany margaritas at Third Ward's Spanish Village restaurant. (There's also "Snow-Cone II," which is every bit the equal of "Frosty" and "Don't Lose Your Cool" in the funky-butt shuffle department.) As with jazz tunes, most songs feature the three lead instruments trading off solos, but the tunes are short as blues singles of the era — most clock in at under three minutes.
Truckin' With Albert Collins is the perfect album for truckin' around Houston, preferably late at night, in a Cadillac convertible with the top down in the funky part of town.
By John Nova Lomax.
**
Albert Collins- (Vocals, Guitar);
Henry Hayes- (Alto Sax);
Big Tiny- (Tenor Sax);
Frank Mitchell- (Trumpet);
Walter McNeil- (Organ);
Herbert Henderson- (Drums).
**
A1. Frosty   3:05
A2. Hot 'N Cold   3:07
A3. Frostbite   2:08
A4. Tremble   2:44
A5. Thaw Out   2:41
A6. Dyin' Flu   3:17
B1. Don't Lose Your Cool   2:17
B2. Backstroke   2:51
B3. Kool Aide   2:47
B4. Shiver 'N Shake   2:14
B5. Icy Blue   3:02
B6. Snow-Cone II   2:35
**
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Albert COLLINS - There's Gotta Be a Change 1971

Albert COLLINS - There's Gotta Be a Change 1971
TWS 103

Blues

Although this probably isn't Albert Collins' best album, it is significant for several reasons. Producer Bill Szymczyk, who had great commercial success with B.b. King on Indianola Mississippi Seeds obviously hoped to duplicate that for his own Tumbleweed label. To that end, an all-star assemblage of players were present for these sessions at the famed Record Plant West in Los Angeles. Highlights include a slashing guitar duel between Collins and Jessie Ed Davis.
By William Ashford, All Music Guide.
**
"The Albert Collins LP is a solid blues album, but far from his best LPs, probably because the production includes too many guests (Dr John, various horn players) and features mostly white session men/musicians: Jim Keltner, Jesse Ed Davis, Brian Garofalo... Good L.A musicians but not bluesmen! Only 9 tracks, with great blues ("There's got to be a change") but also a dispensable novelty blues called "Frog jumpin". Once again, amazing packaging with gatefold and giant poster."
By Stephane Rebeschini.
**
Bud Brisbois- Trumpet
Pete Candoli- Trumpet
Albert Collins- Guitar, Vocals
James Dallam- Piano, Keyboards
Larry Daniels- Drums 
Bryan Garofalo- Bass
Jimmie Haskell- Arranger, Horn
Jim Horn- Saxophone
Plas Johnson- Saxophone
Jim Keltner- Drums 
Bobby Knight- Trombone
Richard Landis- Piano
Lew McCreary- Trombone
Jay Migliori- Saxophone
Bill Perkins- Saxophone
Mac Rebennack(Dr. John)- Piano
Judy Roderick- Vocals
Michael Rosso- Bass, Drums 
Ernie Watts- Saxophone
Brent Williamson- Vocals
Joe Zagarino- Piano, Keyboards
Bill Szymczyk- Vocals
**
01. There's Gotta Be a Change 
02. In Love Wit'cha  
03. Stickin'  
04. Today Ain't Like Yesterday
05. Somethin' on My Mind
06. Frog Jumpin'
07. I Got a Mind to Travel
08. Get Your Business Straight
09. Fade Away
**
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Albert COLLINS - Love Can Be Found Anywhere (Even in a Guitar) 1968

Albert COLLINS - Love Can Be Found Anywhere (Even in a Guitar) 1968

Blues

Albert Collins (October 1, 1932 — November 24, 1993) was a blues guitarist, singer and musician. He had many nicknames, such as “The Ice Man”, “The Master of the Telecaster” and “The Razor Blade”.

Born in Leona, Texas, Collins was a distant relative of Lightnin’ Hopkins and grew up learning about music and playing guitar. His family moved to Houston, Texas when he was seven. Throughout the 1940s and 1950s, he absorbed the blues sounds and styles from Texas, Mississippi and Chicago. His style would soon envelop these sounds.

He formed his first band in 1952 and two years later was the headliner at several blues clubs in Houston. By the late 1950s Collins began using Fender Telecasters. He later chose a “maple-cap” 1966 Custom Fender Telecaster with a Gibson PAF humbucker in the neck position and a 100 watt RMS silverfaced 1970s Fender Quad Reverb combo as his main equipment, and developed a unique sound featuring minor tunings, sustained notes and an “attack” fingerstyle. He also frequently used a capo on his guitar, particularly on the 5th, 7th, and 9th frets. He primarily favored an “open F-minor” tuning (low to high: F-C-F-Ab-C-F).

Collins began recording in 1960 and released singles, including many instrumentals such as the million selling “Frosty”. In the spring of 1965 he moved to Kansas City, Missouri and made a name for himself.

Many of Kansas City’s recording studios had closed by the mid 1960s. Unable to record, Collins moved to California in 1967. He settled in San Francisco and played many of the venues popular with the counter-culture. In early 1969 after playing a concert with Canned Heat, members of this band introduced him to Liberty Records. In appreciation, part of the title of Collins’ first record for United Artists
- “Love Can Be Found Anywhere (Even In A Guitar)/Trash Talkin’” - was taken from the lyrics of “Refried Hockey Boogie”. Collins signed and released his first album on Imperial Records, a sister label, in 1968.
**
Albert Collins- (Guitar, Vocals)
Jim Dickinson- (Piano and Guitar)
Charlie Freeman- (Guitar)
Tommy McClure- (Bass)
Mike Utley- (Organ)
Sammy Creason- (Drums)
**
A1. Do the Sissy  
A2. Collins' Mix  
A3. Let's Get It Together  
A4. Got a Good Thing Goin'  
A5. Left Overs  
A6. Doin' My Thing  
B1. Let's Get It Together Again  
B2. Ain't Got Time  
B3. Turnin' On  
B4. Whatcha Say (I Don't Know)  
B5. Pushin'  
B6. Stump Poker
**
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Albert COLLINS - Frostbite 1980

Albert COLLINS - Frostbite 1980
AL 4719

Blues

FROSTBITE gives Collins fans more of what they've come to expect--raw, rootsy blues and unparalleled guitar playing. Collins's approach to the blues guitar is distinctive, and he alternates between high, singing leads and echoey, low-end motifs, manipulating space and drawing his phrases out with unusual rhythmic variation. His tone, too, is unique; it is heavy, dark, and somewhat cool (which gave rise to his "Iceman" moniker). All of these characteristics are on full display throughout FROSTBITE.

Collins surrounds himself with an outstanding backing band of drums, bass, keys, and horns (here featuring three saxophones, a trumpet, and a trombone). The ensemble (the horns, in particular) fills out the funky bounce of "I Got a Problem" and the insistent boogie of "Don't Go Reaching Across My Plate." Collins stretches out on every track, peeling off brilliant leads left and right. On "Snowed In," a down-tempo blues about being caught in a winter storm, Collins uses his guitar to replicate starting up a car's stalled engine. Here, as always,
there seems to be little Collins can't manage on six strings...
**
Albert Collins- Guitar and Vocals
Marvin Jackson- Guitar
A.C. Reed- Sax
Allen Batts- Keyboards
Johnny "B. Goode" Gayden- Bass
Casey Jones- Drums
Paul Howard- Trumpet
Jerry Wilson- Tenor Sax
Bill MacFarland- Trombone
Henri Ford- Baritone Sax
**
A1. If You Love Me Like You Say 4:07
A2. Blue Monday Hangover 5:35
A3. I Got A Problem 4:34
A4. The Highway Is Like A Woman 5:04
B1. Brick 4:35
B2. Don't Go Reaching Across My Plate 3:44
B3. Give Me My Blues 4:13
B4. Snowed In 9:12
**
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Albert COLLINS - Ice Axe Cometh, The Collection 1978-86 (1999)

Albert COLLINS - Ice Axe Cometh, The Collection 1978-86 (1999)

Blues

It's always difficult to make a greatest hits package- you can't
be sure that everyone will like it. Still, this is a poorly compiled records with too many flaws flaws.
This record includes 13 tracks, but none of them is culled
from the excellent cooperation with Robert Cray and Johnny Copeland - Showdown. Moon is full should be here. Second- one of his
signature tunes Honey Hush isn't present as well. Albert himself liked it that much that he did a second version on Collins mix.
The same goes for If you love me like you say.
If you just want a sampler of Albert's Aligator label years, get
Deluxe edition. It has its flaws too, but it's way better than this one.
By P.T.
**
Texas blues master Albert Collins was known for his unique Telecaster style, typified by extensive use of reverb, staccato picking, unconventional minor-key tunings, and a percussive, trebly quality. For four decades, from the 1950s on, his "cool" sound was one of the most immediately identifiable in the blues guitar pantheon, inspiring both blues and rock guitarists.
**
From the opening track of this album 'Brick', Albert Collins is pushing his Fender Telecaster to the limit! His 'icy' guitar sound is still so unique and influential. No-one sounds like Albert. I think what is so great about this collection is the fact that there's, obviously blues, but also funky tracks, R'n'B and some great instrumentals including his signature track 'Frosty'. It's also a fine example of why Albert is so revered and 'up there' with Buddy Guy, BB. King and John Lee Hooker as one of the most influential electric blues guitar voices. My favourite track in this collection is 'Give My My Blues' - a real funky track with Albert singing and playing fantastic (as he does on the whole 13 tracks anyway!) This is essential stuff and if you're a real blues guitar fan, this will no doubt enlighten you and grab you're attention as Albert continues to surprise and delight you with his soulful voice and stinging Tele tone. Oh, and one more thing...Check out the track 'The Lights Are On But Nobody's Home'. It will leave you breathless!
By Mark James.
**
01. Brick   4:36
02. Ego Trip   4:34
03. Lights Are On, but Nobody's Home   6:58
04. Too Tired   3:00
05. Don't Lose Your Cool   4:41
06. Give Me My Blues   4:13
07. Highway is Like a Woman   4:57
08. Frosty (live)   4:52
09. Things I Used to Do (live)   5:21
10. Tired Man (live)   5:09
11. Master Charge   5:08
12. When a Guitar Plays the Blues   5:08
13. Hooked on You   4:24
**
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Albert COLLINS - Don´t Lose Your Cool 1983

Albert COLLINS - Don´t Lose Your Cool 1983

Blues

Keeping up with his "Iceman" moniker, Albert Collins delivers with his fourth Alligator release Don't Lose Your Cool. The title cut was one of his first instrumental hits back in the late '50s and here it's given a gritty, organ-driven workout à la one of his heroes and onetime collaborators, Jimmy McGriff. Forging on in this impressively diverse set, Collins revels in the humorous, spoken commentary of Oscar Brown, Jr.'s "But I Was Cool" (reminiscent of Collins' spoken interludes on the John Zorn piece "Spillane"), updates the jump-blues antics of Big Walter Price's "Get to Gettin'," and closes the set out with a faithful take on Guitar Slim's "Quicksand." He also adds a few of his own impressive cuts here, including the funky, syncopated New Orleans groove "Melt Down" and the Stax 'n' blues cut "Ego Trip." Throughout, of course, Collins comes up with plenty of his grating, barbed wire guitar licks and rough-hewn vocals. Riding atop his crack, seven-piece Ice Breakers band (including a fine horn section), Collins certainly keeps things burnin' on this set, while still living up to all the icy allusions with some of the most cool and urbane modern blues on record.
By Stephen Cook, All Music Guide.
**
Albert Collins- Vocals, Guitar
Johnny B. Gayden- Bass
Casey Jones- Vocals, Drums
Chris Foreman- Keyboards
Larry Burton- Guitar
Abb Locke,Dino Spells- Alto & Tenor Sax
Also:
A.C. Reed
**
01. Got Togettin'  3:12
02. My Mind Is Trying To Leave Me  7:42
03. I'm Broke  4:12
04. Don't Lose Your Cool  4:39
05. When A Guitar Plays The Blues  5:12
06. But I Was Cool  3:09
07. Melt Down  4:03
08. Ego Trip  4:32
09. Quicksand  3:28
**
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Albert COLLINS - Alive And Cool 1971

Albert COLLINS - Alive And Cool 1971
Label: Red Lightnin
At Fillmore Auditorium
Original Release Date: 30 Oct 2006

Blues

Albert Collins, "The Master of the Telecaster," "The Iceman," and "The Razor Blade" was robbed of his best years as a blues performer by a bout with liver cancer that ended with his premature death on November 24, 1993. He was just 61 years old. The highly influential, totally original Collins, like the late John Campbell, was on the cusp of a much wider worldwide following via his deal with Virgin Records' Pointblank subsidiary. However, unlike Campbell, Collins had performed for many more years, in obscurity, before finally finding a following in the mid-'80s. Collins was born October 1, 1932, in Leona, TX. His family moved to Houston when he was seven. Growing up in the city's Third Ward area with the likes of Johnny "Guitar" Watson and Johnny "Clyde" Copeland, Collins started out taking keyboard lessons. His idol when he was a teen was Hammond B-3 organist Jimmy McGriff. But by the time he was 18 years old, he switched to guitar, and hung out and heard his heroes, Clarence "Gatemouth" Brown, John Lee Hooker, T-Bone Walker and Lightnin' Hopkins (his cousin) in Houston-area nightclubs. Collins began performing in these same clubs, going after his own style, characterized by his use of minor tunings and a capo, by the mid-'50s. It was also at this point that he began his "guitar walks" through the audience, which made him wildly popular with the younger white audiences he played for years later in the 1980s. He led a ten-piece band, the Rhythm Rockers, and cut his first single in 1958 for the Houston-based Kangaroo label, "The Freeze." The single was followed by a slew of other instrumental singles with catchy titles, including "Sno-Cone," "Icy Blue" and "Don't Lose Your Cool." All of these singles brought Collins a regional following. After recording "De-Frost" b/w "Albert's Alley" for Hall-Way Records of Beaumont, TX, he hit it big in 1962 with "Frosty," a million-selling single. Teenagers Janis Joplin and Johnny Winter, both raised in Beaumont, were in the studio when he recorded the song. According to Collins, Joplin correctly predicted that the single would become a hit. The tune quickly became part of his ongoing repertoire, and was still part of his live shows more than 30 years later, in the mid-'80s. Collins' percussive, ringing guitar style became his trademark, as he would use his right hand to pluck the strings. Blues-rock guitarist Jimi Hendrix cited Collins as an influence in any number of interviews he gave. Through the rest of the 1960s, Collins continued to work day jobs while pursuing his music with short regional tours and on weekends. He recorded for other small Texas labels, including Great Scott, Brylen and TFC. In 1968, Bob "The Bear" Hite from the blues-rock group Canned Heat took an interest in the guitarist's music, traveling to Houston to hear him live. Hite took Collins to California, where he was immediately signed to Imperial Records. By later 1968 and 1969, the '60s blues revival was still going on, and Collins got wider exposure opening for groups like the Allman Brothers at the Fillmore West in San Francisco. Collins based his operations for many years in Los Angeles before moving to Las Vegas in the late '80s. He recorded three albums for the Imperial label before jumping to Tumbleweed Records. There, several singles were produced by Joe Walsh, since the label was owned by the Eagles' producer Bill Szymczyk. The label folded in 1973. Despite the fact that he didn't record much through the 1970s and into the early '80s, he had gotten sufficient airplay around the U.S. with his singles to be able to continue touring, and so he did, piloting his own bus from gig to gig until at least 1988, when he and his backing band were finally able to use a driver. Collins' big break came about in 1977, when he was signed to the Chicago-based Alligator Records, and he released his brilliant debut for the label in 1978, Ice Pickin'. Collins recorded six more albums for the label, culminating in 1986's Cold Snap, on which organist Jimmy McGriff performs. It was at Alligator Records that Collins began to realize that he could sing adequately, and working with his wife Gwen, he co-wrote many of his classic songs, including items like "Mastercharge," and "Conversation With Collins." His other albums for Alligator include Live in Japan, Don't Lose Your Cool, Frozen Alive! and Frostbite. An album he recorded with fellow guitarists Robert Cray and Johnny "Clyde" Copeland for Alligator in 1985, Showdown! brought a Grammy award for all three musicians. His Cold Snap, released in 1986, was nominated for a Grammy award. In 1989, Collins signed with the Pointblank subsidiary of major label Virgin Records, and his debut, Iceman, was released in 1991. The label released the compilation Collins Mix in 1993. Other compact-disc reissues of his early recordings were produced by other record companies who saw Collins' newfound popularity on the festival and theater circuit, and they include Complete Imperial Recordings on EMI Records (1991) and Truckin' With Albert Collins (1992) on MCA Records. Collins' sessionography is also quite extensive. The albums he performs on include David Bowie's Labyrinth, John Zorn's Spillane, Jack Bruce's A Question of Time, John Mayall's Wake Up Call, B.B. King's Blues Summit, Robert Cray's Shame and a Sin, and Branford Marsalis' Super Models in Deep Conversation. Although he'd spent far too much time in the 1970s without recording, Collins could sense that the blues were coming back stronger in the mid-'80s, with interest in Stevie Ray Vaughan at an all-time high. Collins enjoyed some media celebrity in the last few years of his life, via concert appearances at Carnegie Hall, on Late Night with David Letterman, in the Touchstone film, Adventures in Babysitting, and in a classy Seagram's Wine Cooler commercial with Bruce Willis. The blues revival that Collins, Vaughan and the Fabulous Thunderbirds helped bring about in the mid-'80s has continued into the mid-'90s. But sadly, Collins has not been able to take part in the ongoing evolution of the music.
By Richard Skelly , All Music Guide.
**
01. Intro Instrumental 4:48
02. How Blue Can You Get 8:00
03. Thaw Out 5:36
04. So Tired 6:06
05. Funky 1:58
06. Deep Freeze 3:46
07. Baby What You Want Me to Do 5:09
08. Mustang Sally 5:48
09. Backstroke 3:17
**
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Albert COLLINS & Barrelhouse - Live 1978

Albert COLLINS & Barrelhouse - Live 1978
Label: Munich/Evidence 1995
Recording Date: Dec 28,

Blues

This is a live recording of Albert Collins playing with a band from Europe. The band includes guys with names like Hans and Guus. The band is good. Albert Collins is hot.
The CD includes a couple of tracks that do not include Albert's telecaster or his voice. The lead singer of Barrelhouse has a voice similar to that of Ashlee Simpson.
But on the tracks that Mr. Collins plays on, he is hot, and his telecaster is just as smooth. This CD shows his versatility, his ability to play in different situations.
By D. MILLS.
**
Born: October 01, 1932, Leona, TX
Died: November 24, 1993, Las Vegas, NV
  
Albert Collins, "The Master of the Telecaster," "The Iceman," and "The Razor Blade" was robbed of his best years as a blues performer by a bout with liver cancer that ended with his premature death on November 24, 1993. He was just 61 years old. The highly influential, totally original Collins, like the late John Campbell, was on the cusp of a much wider worldwide following via his deal with Virgin Records' Pointblank subsidiary. However, unlike Campbell, Collins had performed for many more years, in obscurity, before finally finding a following in the mid-'80s.

Collins was born October 1, 1932, in Leona, TX. His family moved to Houston when he was seven. Growing up in the city's Third Ward area with the likes of Johnny "Guitar" Watson and Johnny "Clyde" Copeland, Collins started out taking keyboard lessons. His idol when he was a teen was Hammond B-3 organist Jimmy McGriff. But by the time he was 18 years old, he switched to guitar, and hung out and heard his heroes, Clarence "Gatemouth" Brown, John Lee Hooker, T-Bone Walker and Lightnin' Hopkins (his cousin) in Houston-area nightclubs. Collins began performing in these same clubs, going after his own style, characterized by his use of minor tunings and a capo, by the mid-'50s. It was also at this point that he began his "guitar walks" through the audience, which made him wildly popular with the younger white audiences he played for years later in the 1980s. He led a ten-piece band, the Rhythm Rockers, and cut his first single in 1958 for the Houston-based Kangaroo label, "The Freeze." The single was followed by a slew of other instrumental singles with catchy titles, including "Sno-Cone," "Icy Blue" and "Don't Lose Your Cool." All of these singles brought Collins a regional following. After recording "De-Frost" b/w "Albert's Alley" for Hall-Way Records of Beaumont, TX, he hit it big in 1962 with "Frosty," a million-selling single. Teenagers Janis Joplin and Johnny Winter, both raised in Beaumont, were in the studio when he recorded the song. According to Collins, Joplin correctly predicted that the single would become a hit. The tune quickly became part of his ongoing repertoire, and was still part of his live shows more than 30 years later, in the mid-'80s. Collins' percussive, ringing guitar style became his trademark, as he would use his right hand to pluck the strings. Blues-rock guitarist Jimi Hendrix cited Collins as an influence in any number of interviews he gave.

Through the rest of the 1960s, Collins continued to work day jobs while pursuing his music with short regional tours and on weekends. He recorded for other small Texas labels, including Great Scott, Brylen and TFC. In 1968, Bob "The Bear" Hite from the blues-rock group Canned Heat took an interest in the guitarist's music, traveling to Houston to hear him live. Hite took Collins to California, where he was immediately signed to Imperial Records. By later 1968 and 1969, the '60s blues revival was still going on, and Collins got wider exposure opening for groups like the Allman Brothers at the Fillmore West in San Francisco. Collins based his operations for many years in Los Angeles before moving to Las Vegas in the late '80s.

He recorded three albums for the Imperial label before jumping to Tumbleweed Records. There, several singles were produced by Joe Walsh, since the label was owned by the Eagles' producer Bill Szymczyk. The label folded in 1973. Despite the fact that he didn't record much through the 1970s and into the early '80s, he had gotten sufficient airplay around the U.S. with his singles to be able to continue touring, and so he did, piloting his own bus from gig to gig until at least 1988, when he and his backing band were finally able to use a driver. Collins' big break came about in 1977, when he was signed to the Chicago-based Alligator Records, and he released his brilliant debut for the label in 1978, Ice Pickin'. Collins recorded six more albums for the label, culminating in 1986's Cold Snap, on which organist Jimmy McGriff performs. It was at Alligator Records that Collins began to realize that he could sing adequately, and working with his wife Gwen, he co-wrote many of his classic songs, including items like "Mastercharge," and "Conversation With Collins."

His other albums for Alligator include Live in Japan, Don't Lose Your Cool, Frozen Alive! and Frostbite. An album he recorded with fellow guitarists Robert Cray and Johnny "Clyde" Copeland for Alligator in 1985, Showdown! brought a Grammy award for all three musicians. His Cold Snap, released in 1986, was nominated for a Grammy award.

In 1989, Collins signed with the Pointblank subsidiary of major label Virgin Records, and his debut, Iceman, was released in 1991. The label released the compilation Collins Mix in 1993. Other compact-disc reissues of his early recordings were produced by other record companies who saw Collins' newfound popularity on the festival and theater circuit, and they include Complete Imperial Recordings on EMI Records (1991) and Truckin' With Albert Collins (1992) on MCA Records. Collins' sessionography is also quite extensive. The albums he performs on include David Bowie's Labyrinth, John Zorn's Spillane, Jack Bruce's A Question of Time, John Mayall's Wake Up Call, B.B. King's Blues Summit, Robert Cray's Shame and a Sin, and Branford Marsalis' Super Models in Deep Conversation.

Although he'd spent far too much time in the 1970s without recording, Collins could sense that the blues were coming back stronger in the mid-'80s, with interest in Stevie Ray Vaughan at an all-time high. Collins enjoyed some media celebrity in the last few years of his life, via concert appearances at Carnegie Hall, on Late Night with David Letterman, in the Touchstone film, Adventures in Babysitting, and in a classy Seagram's Wine Cooler commercial with Bruce Willis. The blues revival that Collins, Vaughan and the Fabulous Thunderbirds helped bring about in the mid-'80s has continued into the mid-'90s. But sadly, Collins has not been able to take part in the ongoing evolution of the music.
By Richard Skelly, All Music Guide.
**
01.Frosty  4:44
02.Honey Hush     5:47
03.I've Got a Mind to Travel  7:31
04.Don't Lose Your Cool  5:37
05.Blue River Rising  6:31
06.Cock It on the Wall     Traditional  3:04
07.Conversation With Collins  9:28
08.Keep Your Business Straight      9:27
09.Things I Used to Do      4:52
**
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Albert COLLINS - Iceman 1991

Albert COLLINS - Iceman 1991
Label: Virgin
Audio CD (June 29, 1992)

Blues

This CD is a collector's item. It went out-of-print several years ago and has now been discontinued in the US. It is Albert's last studio session and it's important as it was the basis for most of the video footage we have of him, namely "Live at Mt Fuji", "Live from Austin, Texas" and the fantastic "Live at Montreux" DVDs.

This CD features the basic tunes he performed at the end of his life. They were mostly written by Collin's and his wife Grendolyn. Yes they have funk, but I would still count them as Blues. "Mr Collins, Mr Collins" is at the beginning and end (with a faded version and it is faded!!!) is a great instrumental in the Collins tradition. There is also a good version of this on the Albert Collin's instructional DVD (Warner Music) with Albert and Keith Wyatt playing together. Albert is even unplugged with his Telecaster (well it's very low)! A very clever funk-blues style with interesting changes.

"Iceman" is the feature tune in this set but it's not as good as the live versions. It's slower than he ever played it live. And the solo's are not as cutting and dynamic. But that is generally how Collin's played. As has been pointed out in so many reviews, Collins was a live performance bluesman. That was his forte. In the studio he could never get that biting sound of the Fender Quad Amp at 10 with the treble at 10 and the bright switch on.

Personally I love Albert's slow blues numbers. "Don't Mistake Kindness For Weakness" is another classic and probably the best tune in the set. It is six minutes of cool blues music and lyrics. "Travellin South" is an exceptional tune. After what I previously said, this tune is better on the album than on his live DVD sets. The mix is great and the stop time intro superb. "Put The Shoe On The Other Foot" is a funky blues with a message. Good music and lyrics, he sometimes used this number to do his crowd-walk-through at the end of his live sets, watch him on "Montreux" released this year (2008).

"I'm Beginning to Wonder" is a great blues tune in 6th chords with guest guitarist Debbie Davies, who played with Collin's in the 1980s. Her backup is superb. This number is probably the truest "Blues" tune of the set, except for "Weakness", of course. I first heard "Head Rag", written by Collin's wife, on the great Live from Austin, Texas DVD when it was a VHS tape. That version is much funkier and cool with Texan Derek O'Brien on second guitar. This version does grow on you however. It has a strange bridge and ending, but that's Collin's, funny and unpredictable.

"The Hawk" is a talking blues with Jazz overtones. Like the great Albert King, Collins enjoyed talking blues and he is also very good at it. This tune is about Chicago and it's icy wind. Listen to the first note in the solo--best on the whole album--one note-- that's Collin's he it makes a whole statement. It's similar to Mike Bloofield's famous first note in the second solo of "Killing Floor" on the Electric Flag LP. The final tune before the reprise is "Blues For Gabe" another Collin's style instrumental. Well done with a good horn solo as well.

Collin's died in 1993 aged only 61. He never received the credit he was due with his distinctive, innovative and individual sound, phrasing and tone. No one sounds like Albert Collins and no one has filled his shoes. This album was his last and it's been, at least in Australia, almost impossible to get. I secured a used copy from a music store in Sydney only a few weeks ago and paid a lot more than $10! You should get the downloaded version here and see how Collin's played at the end of his career. It is a distinctive CD. And in the last two months has just been re-released in Europe so you may be able to get a copy if you want one.
By Perry Celestino.
**
Albert Collins doesn't change anything for his major label debut, Iceman. Like its predecessors, it is slick and professional, featuring a variety of shuffles, R&B tunes, and slow blues, all stamped with Collins's trademark icy wail. None of the songs or performances are particularly noteworthy, but Iceman is a solid set that delivers the goods for fans of his style. ~ Thom Owens, All Music Guide
**
Albert Collins- (Guitar, Vocals),
Debbie Davies- (Rhythm Guitar),
Crispin Cioe- (Alto,Baritone Sax ),
Bob Funk- (Trombone),
Johnny B. Gayden- (Bass),
Eddie Harsch- (Keyboards),
Arno Hecht- (Tenor Sax),
Charles Hodges- (Organ),
Mabon "Teenie" Hodges- (Rhythm Guitar),
Jack Holder- (Rhythm Guitar),
Hollywood Paul Litteral- (Trumpet),
Debbie Jamison- (Vocals Background),
Soko Richardson- (Percussion, Drums),
Vicki Loveland- (Vocals Background))
**
01. Mr Collins, Mr Collins 5:10
02. Iceman 5:02
03. Don't Mistake Kindness For Weakness 6:10
04. Travellin' South 3:05
05. Put The Shoe On The Other Foot 5:31
06. I'm Beginning To Wonder 4:10
07. Head Rag 3:52
08. The Hawk 2:36
09. Blues For Gabe 3:41
10. Mr. Collins, Mr. Collins (Faded Version) 3:56
**
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