Every tune on this album is good. Moore's playing adjusts between strumming, fingerpicking and slide. He also adds in banjo and harmonica, but his great asset is his voice. Smooth and sweat, it lacks the gravel sound we've become accustomed to for the blues, but his voice is perfect for solo guitar, almost as if it matches the sound of the guitar. "Victims of Comfort" is my favorite off the album with his strumming and voice interaction. The song is just him and his guitar, almost slow and sad sounding. "Angelina" throws in drums to keep the beat and Moore's fingers pluck the strings with an upbeat tempo. "Come On In My Kitchen" is the first of the Johnson covers, and he plays with a slide, and belts out some on the harmonica, with a little help from an organ and drums. Another great cut. More of the straight blues shuffle is heard on "Love Blues" again a solo guitar bit.

Each track is good on this album, and proves that Keb' Mo' is a name to be recognized with his unique sound of yesterday. Anyone who likes the original blues players like Johnson, will love this album, as will many people who don't love the blues. Moore's voice is soothing, and his playing has a relaxed feel to it. A pure joy to listen to.

14 of 14 found the following review helpful:


Blues the way I like it....  Dec 05, 2000 By Justin Chomel
This is a very enjoyable disc. I learned of Keb Mo' from the "Austin City Limits: Big Blues Extravaganza" CD. He plays "Tell Everybody I Know" on that compilation. I liked it so much I bought this CD. His folky, blues sound is very refreshing to the typical blues that I have heard. The music on this CD runs from the light and fun of "Tell Everybody I Know", to the serious "Victims of Comfort", to the lonely "Anybody Seen My Girl". Even when he does a traditional blues tune("Am I Wrong"), it's got a brightness to it that you don't see in other blues music. The sound quality is superb, and the music is even better.

Enjoy!

13 of 14 found the following review helpful:


The Blues meets Folk meets Country meets...  Nov 06, 1999 By J. Bowling (jbowl3@paonline.com)
Keb' Mo' is simply one of the best "new" artists to come along in years. He kicked around the studios for awhile before making this recording. Close your eyes and it sounds as if this young man is already in his sixties, both by the quality of his voice and the experience of his playing. "Am I Wrong?" is one of the best blues tunes I've ever heard! You won't regret buying this CD!

9 of 9 found the following review helpful:


One of the Most Enjoyable Blues Releases in a Long Time!  Apr 27, 2000 By Ryan Costantino
Most Blues fans know that the genre is often just a rehashing of old favorites, old ways of playing, and a traditional approach via cliche to the lyrics. This album is decidedly upbeat for a a blues album and many would say it isn't a blues album at all, but a potpurri of blues, country, and rock. All I know is that every song on this album can put a smile on your face either through the music or the lyrics (although most likely both). This is destined to be a classic if it hasn't already become one. Winner of the W.C. Handy Award for country/acoustic blues album of the year. Highlights on this album full of gems are "Tell Everybody I Know", "Come On In My Kitchen", "Dirty Low Down And Bad", and "Every Morning". For any Blues, check that, for any Music fan out there who hasn't purchased this album yet what are you waiting for? Go Buy It Now!

8 of 8 found the following review helpful:


Superb country-blues debut  Feb 07, 2002 By hyperbolium
Though Mo' released an earlier R&B-flavored album under his birth name, Kevin Moore, this delta-inspired acoustic-blues release is really his artistic debut. Playing guitar, banjo, and harmonica, Mo' shows a heavy influence from Robert Johnson (whose "Come On In My Kitchen" and "Kindhearted Woman Blues" he covers alongside eleven originals). At the same time, he displays a playful, gregarious side that brings to mind Taj Mahal (with a touch of Bobby McFerrin and Lyle Lovett), and expands his songs to encompass modern folk and jazz ideas.

Mo's expressive singing and penetrating lyrics are highlighted on spare ballads, backed by the sharp fingerpicked twang of steel strings and the harmonica's mournful wail. Mid-tempo tracks retain the acoustic innocence even as the band kicks up the energy with backing organ, bass and drums. The result is an album steeped in classic blues but not enslaved by it; a recording that finds new avenues for the blues without losing any sense of its history.

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