or fruitful cross-generation, cross-stylistic music one might have been led to expect from the lineup; Waters and Spann (and perhaps drummer Sam Lay) representing the modern Chicago blues mainstream, Bloomfield, Butterfield and Duck Dunn signaling more recent extensions of modern electric blues styles. No, the anticipated fusion doesn't really take place, and the younger musicians seem content in undertaking roles that are wholly subservient to Muddy's music. It gives an indication of just how highly the sons regard the father(s), and is a fine tribute to Muddy.

Mike and Paul are almost completely self-effacing throughout the album, particularly on the studio-recorded tracks—"All Aboard" (actually a remake of Crudup's "Mean Old Frisco"), "Mean Disposition," "Blow Wind Blow," "Can't Lose What You Ain't Never Had," "Walkin' Thru the Park," "Forty Days and Forty Nights," "Standin' 'Round Crying," "I'm Ready," "Twenty-Four Hours" and "Sugar Sweet." The impression left by these performances is that the participants were striving towards recreating the sounds and textures of Muddy's original recordings of them and, in this, they're fairly successful. They're also helped greatly by the fact that these are songs that have not been done to death, so there's a certain amount of freshness just due to this. Producer Norman Dayron chose wisely in determining what numbers were to be concentrated on at the sessions (I know for a fact that he sifted through virtually every Waters Chess recording, including unreleased numbers, to come up with a program of tunes that were good and strong but not over-familiar, and his advance planning paid off handsomely).

Happily, Muddy is in excellent voice throughout these performances and he comes across solidly and excitingly. This is in fact some of the best, most convincing singing from Muddy in a hell of a long time; these tracks show that when he's at the top of his game he's unbeatable. And he's there most of the way through these performances. The music takes its lead from Muddy, and everything falls in place behind him.

Butterfield is excellent, playing with a great deal of controlled power, with taste and invention to spare, and tons of energy in reserve. His amplifier tone is beautifully gutty and funky, with just the right edge of cutting intensity. And he never overplays or indulges himself; his accompaniments perfectly complement Muddy's singing—Pau