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permeates his music, and as seen, the subjects of at least some of his songs on this set are strongly
embedded in African-American culture - but they have deep implications for all of us.

The album closer is a romantic duet between Mississippi singer Lisa Mills and Eric. That could
never have happened in 1955, and so perhaps Dear America does finish on a hopeful note.

Norman Darwen

Johnny Winter/ Muddy Waters/ James Cotton—Boston Music
Hall, Boston Ma. February 26th 1977: Great American Radio
Volume Six—Floating World Floatm6416

(www.floatingworldrecords.co.uk)

OK, what do I say? The blues seemed to be slowly dying by the
mid-70s, as Alan Robinson recalls so well in his fine sleeve notes
to this set. But, just a few short weeks prior to this recording,
Muddy Waters had released his album “Hard Again” (produced by
Winter, ED), with the same line-up as here, and soon the music
was on its way back up again.

Muddy is in great form, harpman James Cotton had enjoyed a
reasonably successful solo career (including some cross-over success) but would soon go on to

greater things, and Johnny Winter was totally reinvigorated by returning to his (very strong) blues
roots. Muddy’s regular band includes guitarist Bob Margolin, pianist Pinetop Perkins, bassist
Charles Calmese and drummer Willie “Big Eyes” Smith. Each of the featured artists gets their own
slots.

The one complaint I might make is that Cotton suffers from microphone failure early on in ‘Rocket
88’. No matter though – and not much I can do about it. These guys seem to be enjoying themselves
as much as the audience, tearing through their sets with skill and enthusiasm (and abandon
sometimes). There are also a couple of short interview segments on the second of the two CDs - one
a brief chat with Pinetop Perkins, the other with all the guys as they come off stage, and which
certainly keeps the atmosphere. Listen and enjoy. There were giants on the Earth in those days…

Norman Darwen

EG Kight—The Trio Sessions—Blue South Bsr00520

(https://egkight.wordpress.com)

Georgia-born E.G.—Eugenia Gail—Kight’s southern roots run
deep, from a grandfather who was a preacher to a friendship

with Koko Taylor. Originally playing and singing white gospel
and country music, she switched to the blues on hearing Koko
and spent time in Chicago. Koko recorded her material, as have
also Dorothy Moore, Shakura S’Aida, and Saffire—The Uppity
Blues Women.

This is indeed a beautiful album. EG has worked both solo and
with a band, but for this set, as the title implies, she is in a stripped–back mostly acoustic format.
With guitarist Ken Wynn and percussionist drummer Gary Porter, both from her regular band,