Alvin Youngblood

In many respects, you could call Hound Dog Taylor a cult artist. Respected by bluesmen and critics alike, he built a small, devoted following across America simply by constently touring. There were no hits and very few covers of hs songs, but his rowdy concerts and incendiary records on Alligator convinced any who heard him. In the process, he put Alligator Records on the blues map, so it only makes sense that the label return the favor with Hound Dog Taylor: A Tribute, one of the few blues tributes that really works. Taylor's wild, careening slide guitar became one of more influential sounds in contemporary blues, as evidenced by this quality-packed record…

Some critics have tagged this the best blues release of 1999; others weren't nearly as kind. It's a beauty-is-in-the-ear-of-the-beholder situation. Blues "purists" who lament the fact that very few artists today are playing down-home, traditional blues will very much enjoy and appreciate this return to the roots. Fans of more contemporary styles might quickly grow tired of the intense, piercing vocals and upper-register slide guitar work. There are ten originals and two covers (Robert Nighthawk's "Crying Won't Help You" and Sunnyland Slim's "It's You Baby"). Most of the tunes are sparse, gritty duets with either James Cotton on harp, Alvin Youngblood Hart on guitar/vocals, or Kenny "Blues Boss" Wayne on piano. Walker sings and plays dobro on the only solo track "Talk to Me." If you long for a modern-day artist with the delivery of a Robert Johnson or a Howlin' Wolf and you like your blues pure and raw, Silvertone Blues is right up your alley.

When Ian Siegal received the accolade of MOJO Blues Album of The Year (’09) for his Broadside album, it was the first time for a non-American artist; and when his 2011 album The Skinny was nominated for a Blues Music Award in the contemporary album category, it was the first time ever for a British artist in this category. The Blues Music Awards – made annually in Memphis TN – are the blues grammys. It has been said that had Siegal been around in the sixties he would today be accorded the same reverence as artists such as Van Morrison and Joe Cocker. Instead, he is a child of the seventies who dropped out of art college in the late eighties to go busking in Germany.