01. Okie Dokie Stomp [02:29]
02. Blues In D-Natural [06:28]
03. Same Old Blues [05:33]
04. Rock This House [06:45]
05. Gold Tailed Bird [07:18]
06. Why Did You Do It? [07:12]
07. Can't Sleep For Worrying [04:55]
08. Walking By Myself [04:15]
09. Left Me With A Broken Heart [05:53]
10. Got My Mojo Working [06:08]
11. You Can Read My Letter But You Can't Read My Mind [10:14]
12. Shake Your Money Maker [06:03]
13. You're Sweet [03:52]

Jimmy Rogers (vocals, guitar) (tracks 4 – 13)
Ronnie Earl (guitar) (Tracks 1 -3)
Sugar Ray Norica (harmonica)
Dave Maxwell (piano)
Michael "Mudcat" Ward (bass)
Per Hanson (drums)

Despite Earl's love and mastery of the '50s Chicago sound and Rogers's still-sharp talents, there's something about this live set that never really takes flight. Maybe it was just a matter of the two factions not being totally familiar with one another, but something's missing in the sparks department. ---Bill Dahl, allmusic.com

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CD1 1950-1956

01. That’s All Right (2:49)
02. Luedella (2:52)
03. Goin’ Away Baby (2:43)
04. Today, Today Blues (3:09)
05. I Used To Have A woman (3:08)
06. The World’s In A tangle (2:56)
07. She Loves Another Man (2:54)                  play
08. Money, Marbles And Chalk (3:18)
09. Hard Working Man (3:19)
10. Chance To Love (3:19)
11. My Little Machine (3:10)
12. Back Door Friend (3:11)
13. Crying Shame (2:48)
14. Mistreated Baby (3:29)
15. The Last Time (2:43)
16. What’s The Matter? (3:15)
17. Out On The Road (2:52)
18. Left Me With A Broken Heart (2:56)
19. Act Like You Love Me (3:01)
20. Blues All Day Long (Blues Leave Me Alone) (3:04)
21. Chicago Bound (2:40)
22. Sloppy Drunk (3:02)                           play
23. You’re The One (first version) (2:35)
24. You’re The One (2:31)
25. If It Ain’t Me (Who Are You Thinking Of) (2:03)

CD2 1956-1959

01. Walking My Myself (2:48)
02. I Can’t Believe (2:46)
03. One Kiss (2:44)
04. What Have I Done (2:43)
05. My Baby Don’t Love Me No More (2:21)           play
06. Trace Of You (2:31)
07. Don’t You Know My Baby (2:31)
08. Don’t Turn Me Down (2:16)
09. Looka Here (2:50)
10. This Has Never Been (4:28)
11. Rock This House (2:49)
12. My Last Meal (3:07)
13. You Don’t Know (2:42)
14. Can’t Keep From Worrying (2:29)
15. Luedella (alternate) (2:42)
16. Act Like You Love Me (alternate) (2:57)
17. What Have I Done (alternate) (2:25)
18. My Baby Don’t Love Me No More (alternate) (2:16)
19. Trace Of You (alternate) (2:34)
20. Don’t You Know My Baby (alternate) (2:27)
21. Don’t Turn Me Down (alternate) (2:16)
22. This Has never been (alternate) (3:28)
23. Rock This House (alternate) (2:52)               play
24. My Last Meal (alternate) (2:23)
25. You Don’t Know (alternate) (1:47)
26. Can’t Keep From Worrying (alternate) (2:30)

Backing Vocals – Margaret Whitfield
Bass – Big Crawford*, Willie Dixon
Drums – A. J. Gladney, Elgin Edmonds, Francis Clay, George Hunter, Odie Payne, S.P. Leary
Guitar – Po' Bob Woodfork, Fred Robinson, Jody Williams, Little Walter, Luther Tucker,
 Mighty Joe Young, Muddy Waters, Reggie Boyd, Robert Lockwood Jr.
Harmonica – Little Walter, Walter Horton
Piano – Eddie Ware, Henry Gray, Johnny Jones, Otis Spann
Tenor Saxophone – Ernest Cotton, J.T. Brown

USA released in April 1997 as part of their 50th Anniversary celebrations "The Complete Chess Recordings" is a 2CD set containing 51 tracks. It gathers up the A&B-sides of 13 singles between 1950 and 1957, 11 songs from the 1976 2LP Chess retrospective "Jimmy Rogers" and then tags on 14 previously unreleased tracks (1 on Disc 1, 13 on Disc 2).

Willie Dixon and/or Leonard and Phil Chess produced the original recordings in Chicago and top engineer ERICK LABSON has remastered the first generation tapes for this release (has over 900 credits to his name and has handled huge swathes of the Chess catalogue). Given the notorious limitations of the original recordings, the sound quality of the remaster is typically excellent - except on "Don't Turn Me Down" which was dubbed from disc.

Like his Muddy Waters Band contemporary, Little Walter, some of Jimmy Rogers' best work was done before he went solo. After "Luedella" broke in 1956, Rogers had already become yet another star in the galaxy that was launched by Waters' seminal band. Although the two Chess "Muddy Waters: His Best" would serve as the ideal introduction for both Rogers and Little Walter, I think this disk would be a good buy for anyone interested in Rogers guitar style or anyone that might be interested in hearing the Muddy Waters Band without Muddy Waters on lead vocals. Recommended, but not essential though the craftsmaship is, of course, superb and influential throughout.

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01. Chicago Bound (2:46)            play
02. St Louis (3:43)
03. Do You Swear (3:33)
04. Anna Lee (4:26)
05. Sloppy Drunk (5:00)
06. Lemon Squeezer (3:27)
07. Last Time (2:54)
08. Whoopin' Foolin' With You (4:27)
09. One Room Little Country Shack (5:59)
10. Goin' Away Baby (2:58)          play

Personnel:
------
Tracks 1,2,5.6.7 & 10
Jimmy Rogers guitar,vocals)
Willie Kent (bass)
John Primer (guitar)
Billy Branch (hatmonica)
Timothy Taylor (drums)
Jimmy Rogers Jr (guitar)
Tracks 3,4,8 & 9
Big Moose Walker (piano,vocals)
Willie Kent (bass)
John Primer (guitar)
Luther Adams (guitar)
Timothy Taylor (drums)

Wolf records held a session in Chicago in October 1989 we were lucky enough to have BIG MOOSE WALKER as one of our artists One ot the last living legends of the piano blues, it was a must to record Big Moose. Born June 27,1927 in Stoneville, MS, he got in touch with music tor the first lime in a church, like many blues musicans from the southern parts of the United States. He has always shown a talent for music that made him learn a string of instruments like guitar, tuba, vibes and piano, of course. This ability made it possible for him to play the piano when he joined Ike Turner's Kings of Rhythm in Clarksdale and The King Biscuit Boys in Helena and on the other hand he was able to backup other pianists on the guitar. In the fifties he used to travel many miles around the country with Lowell Fulson. It was in this time that he held his first recording sessions and the artists he worked with were no less than the legendary Elmore James and Sonny Boy Williamson. Sunnyland Slim persuaded him to move to Chicago, home of contemporary blues This move offered him even more chances to cooperate with well known musicans as there are Earl Hooker and Willie Dixon, the latter taking him to New York. He was recorded in New York by Prestige/Bluesville During a recording session in New Orleans together with Elmore James he sang a tew tunes but not to much attention had been paid to these songs In 1969 an album with the Moose as leading artist had been released. He was very close to Earl Hooker with whom he worked in Chicago and on the road Moose has shown up as a sideman in various bands in the Chicago area, working with Mighty Joe Young, Eddie Shaw and many others. But he also proved that he was-and is-able to perform at gigs of his own This was the reason to include him on this album with four titles.

You will hear another fine bluesman who has his roots in the delta-blues tradition on this album: JIMMY ROGERS, born June 3.1924 in Ruleville, MS II is funny that he was not influenced by watching those Delta-musicans in action but by listening to records! At the age of 16 he made his first public appearances at local house-parties, which was the beginning of a stunning career After meeting the late Joe Willie Wilkins, Jimmy moved to West Memphis where he got in touch with Howlin'Wolf, This encounter might have prompted him to settle in Chicago He was accepted by MUDDY WATERS -to whom this album is dedicated-as a regular member of his band. In the first half of the fifties Jimmy was Muddy's second guitar, creating the typical sound of this group. But being a sideman only was not enough for him. He always knew that he could be a leader and so it was obvious that he started a recording career of his own. He was almost a regular at the Chess-studios, where he held recording sessions with some members of the Muddy Waters band He also set up some bands playing some driving tunes backed by the ferocious piano of Eddie Ware Jimmy had been in contact with many of the great bluesmen of Chicago and they have influenced each other So Jimmy Rogers is a very significant part of the musical scene in Chicago and we truly hope that his music will prevail for a long time!

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01. Jimmy Rogers - Goin Away Baby (2:42) 
02. Jimmy Rogers - Today, Today Blues (3:08) 
03. Jimmy Rogers - That\'s All Right (2:47) 
04. Jimmy Rogers - The World Is in a Tangle (2:58) 
05. Jimmy Rogers - Money, Marbles and Chalk (3:17) 
06. Jimmy Rogers - She Loves Another Man (2:52) 
07. Jimmy Rogers - Back Door Friend (3:10) 
08. Jimmy Rogers - Left Me with a Broken Heart (2:55) 
09. Jimmy Rogers - Blues All Day Long (3:04) 
10. Jimmy Rogers - Act Like You Love Me (2:57) 
11. Jimmy Rogers - Chicago Bound (2:41) 
12. Jimmy Rogers - Youre the One (2:30) 
13. Jimmy Rogers - Walking by Myself (2:48) 
14. Jimmy Rogers - My Baby Dont Love Me No More (2:18) 
15. Jimmy Rogers - This Has Never Been (2:51) 
16. Jimmy Rogers - My Last Meal (3:04) 
17. Jimmy Rogers - You Dont Know (2:42) 
18. Jimmy Rogers - Rock This House (2:49)

Bass – Big Crawford (tracks: 1 to 4, 6, 7), Willie Dixon (tracks: 9, 11 to 16, 18)
Drums – Cliff Rogers (tracks: 15), Elga Edmonds (tracks: 4, 6, to 11), Francis Clay (tracks: 14),
 Fred Below (tracks: 12, 13), George Hunter (3) (tracks: 17), S.P. Leary (tracks: 16, 18)
Guitar – Fred Robinson (tracks: 17), Luther Tucker (tracks: 17), Mighty Joe Young (tracks: 15),
 Muddy Waters (tracks: 1, 2, 8 to 11), Reggie Boyd (tracks: 16, 18), Robert Jr. Lockwood (tracks: 12, 13)
Guitar, Vocals – Jimmy Rogers
Harmonica – Little Walter (tracks: 1, 2, 3, 8 to 12, 17), Walter Horton (tracks: 13), Shakey Horton (tracks: 14)
Piano – Eddie Ware (tracks: 4, 6, 7), Henry Gray (tracks: 9, 11), Otis Spann (tracks: 13 to18)
Tenor Saxophone – Ernest Cotton (tracks: 4, 6), J.T. Brown (tracks: 7)

Guitarist Jimmy Rogers was the last living connection to the groundbreaking first Chicago band of Muddy Waters (informally dubbed the Headhunters for their penchant of dropping by other musicians' gigs and "cutting their heads" with a superior onstage performance). Instead of basking in worldwide veneration, he was merely a well-respected Chicago elder boasting a seminal 1950s Chess Records catalog, both behind Waters and on his own.

Born James A. Lane (Rogers was his stepdad's surname), the guitarist grew up all over: Mississippi, Atlanta, West Memphis, Memphis, and St. Louis. Actually, Rogers started out on harp as a teenager. Big Bill Broonzy, Joe Willie Wilkins, and Robert Jr. Lockwood all influenced Rogers, the latter two when he passed through Helena. Rogers settled in Chicago during the early '40s and began playing professionally around 1946, gigging with Sonny Boy Williamson, Sunnyland Slim, and Broonzy.

Rogers was playing harp with guitarist Blue Smitty when Muddy Waters joined them. When Smitty split, Little Walter was welcomed into the configuration, Rogers switched over to second guitar, and the entire postwar Chicago blues genre felt the stylistic earthquake that directly followed. Rogers made his recorded debut as a leader in 1947 for the tiny Ora-Nelle logo, then saw his efforts for Regal and Apollo lay unissued.

Those labels' monumental errors in judgment were the gain of Leonard Chess, who recognized the comparatively smooth-voiced Rogers's potential as a blues star in his own right. (He first played with Muddy Waters on an Aristocrat 78 in 1949 and remained his indispensable rhythm guitarist on wax into 1955.) With Walter and bassist Big Crawford laying down support, Rogers's debut Chess single in 1950, "That's All Right," has earned standard status after countless covers, but his version still reigns supreme.

Rogers's artistic quality was remarkably high while at Chess. "The World Is in a Tangle," "Money, Marbles and Chalk," "Back Door Friend," "Left Me with a Broken Heart," "Act like You Love Me," and the 1954 rockers "Sloppy Drunk" and "Chicago Bound" are essential early-'50s Chicago blues.

In 1955, Rogers left Muddy Waters to venture out as a bandleader, cutting another gem, "You're the One," for Chess. He made his only appearance on Billboard's R&B charts in early 1957 with the driving "Walking by Myself," which boasted a stunning harp solo from Big Walter Horton (a last-second stand-in for no-show Good Rockin' Charles). The tune itself was an adaptation of a T-Bone Walker tune, "Why Not," that Rogers had played rhythm guitar on when Walker cut it for Atlantic.

By 1957, blues was losing favor at Chess, the label reaping the rewards of rock via Chuck Berry and Bo Diddley. Rogers's platters slowed to a trickle, though his 1959 Chess farewell, "Rock This House," ranked with his most exciting outings (Reggie Boyd's light-fingered guitar wasn't the least of its charms).

Rogers virtually retired from music for a time during the 1960s, operating a West side clothing shop that burned down in the aftermath of Dr. Martin Luther King's tragic assassination. He returned to the studio in 1972 for Leon Russell's Shelter logo, cutting his first LP, Gold-Tailed Bird (with help from the Aces and Freddie King). There were a few more fine albums -- notably Ludella, a 1990 set for Antone's -- but Rogers never fattened his discography nearly as much as some of his contemporaries have. Jimmy's son, Jimmy D. Lane, played rhythm guitar in his dad's band and fronts a combo of his own on the side. Rogers died December 19, 1997. At the time of his death, he was working on an all-star project featuring contributions from Eric Clapton, Taj Mahal, Robert Plant & Jimmy Page, and Mick Jagger & Keith Richards; upon its completion, the disc was issued posthumously in early 1999 under the title Blues, Blues, Blues. ---Bill Dahl, AllMusic Review

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01. Blow Wind Blow - (featuring Jeff Healey)
02. Blues All Day Long - (featuring Eric Clapton)
03. Trouble No More - (featuring Mick Jagger/Keith Richards)
04. Bright Lights Big City - (featuring Taj Mahal)
05. Ev'ry Day I Have The Blues - (featuring Lowell Fulson)
06. Sweet Home Chicago - (featuring Stephen Stills)
07. Don't Start Me To Talkin' - (featuring Mick Jagger/Keith Richards)
08. That's All Right - (featuring Eric Clapton)
09. Ludella - (featuring Taj Mahal)
10. Goin' Away Baby - (featuring Mick Jagger/Keith Richards)
11. Worried Life Blues - (featuring Stephen Stills)
12. Gonna Shoot You Right Down (Boom Boom) - (featuring Robert Plant/Jimmy
Page/Eric Clapton)

Personnel: 
Jimmy Rogers (vocals, guitar); 
Eric Clapton, Jeff Healey, Lowell Fulson (vocals, guitar); 
Taj Mahal (vocals, harmonica); 
Mick Jagger, Robert Plant, Stephen Stills (vocals); 
Jimmy D. Lane, Jimmy Page, Keith Richards (guitar); 
Kim Wilson, Carey Bell (harmonica); 
Johnnie Johnson (piano); 
Ted Harvey (drums). 

Jimmy Rogers was very much a musician's musician -- the kind of guitarist that earned accolades from contemporaries and successors alike -- yet one who never wins a wide, mainstream audience. Blues Blues Blues was designed as the album that would find Rogers a larger audience, and as such, it has all the bells and whistles of a big-deal blues album. It has the classics ("Trouble No More," "Bright Lights, Big City," "Sweet Home Chicago," "Don't Start Me to Talkin'"), remakes of Rogers standards ("Ludella," "That's All Right"), cult covers (Muddy Waters' "Blow Wind Blow," which kicks off the album on just the right note) and an astounding number of guest appearances, including cameos from (get ready): Jimmy Page and Robert Plant, Keith Richards and Mick Jagger, Lowell Fulson, Johnnie Johnson, Eric Clapton, Taj Mahal, Ted Harvey, Carey Bell, Stephen Stills, and Jeff Healey. That's a lot of star power -- too much, as a matter of fact -- since they occasionally overwhelm Rogers himself. And it has to be said that Rogers' playing simply isn't as dynamic or overpowering as it once was. Nevertheless, when it's judged alongside other contemporary electric blues albums, Blues Blues Blues holds up very well. Like its peers, such as John Lee Hooker's Point Blank recordings, the record is slick and well-crafted -- it may be blues-lite, but it's highly enjoyable. And it's likely that it would have broken Rogers' career wide open, if he had lived to see its release. Knowing that makes Blues Blues Blues a little bittersweet. Yes, it's enjoyable, but it would have been great to hear Rogers really tear it up on his final record. --- Stephen Thomas Erlewine, Rovi

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