JazzTimes - 8/97, p.75
"...highlights Luther's soul-tinged vocals and accomplished six-string work. He sings with sanctified intesity...and stings with soulful conviction...He also flaunts some wicked slide licks...and does a nice turn on acoustic guitar....one of the modern day greats of the blues."
Option - 7-8/97, p.90
"...Allison recognizes that the blues is more of an approach than a strictly defined style....This disc proves there are some fires that just don't go out."
Personnel: Luther Allison (vocals, guitar); James Solberg, Bernard Allison (guitar); Marla Glen (harmonica); Kurt Clayton (electric piano); Mike Vlahakis, Rick Steff (electric piano and Hammond B3); Dave Smith, Ken Faltinson (bass); Lloyd Anderson, Darin James, Steve Potts, Willie Hayes (drums).
The Memphis Horns: Andrew Love (tenor saxophone); Wayne Jackson (trumpet, trombone).
Recorded at 315 Beale Studios, Memphis, Tennessee and Woodstock Studios, Paris, France.
RECKLESS was nominated for a 1998 Grammy Award for Best Contemporary Blues Album.
Personnel: Luther Allison (vocals, guitar); Bernard Allison (vocals, guitar); Marla Glen (harmonica); Andrew Love (tenor saxophone); Wayne Jackson (trumpet, trombone); Kurt Clayton, Mike Vlahakis, Rick Steff (electric piano); Darin James, Willie Hayes, Lloyd Anderson, Steve Potts (drums).
Audio Mixers: Jim Gaines; Rusty McFarland.
Recording information: 315 Beale Studios, Memphis, TN; Woodstock Studio, Paris, France.
Photographer: Philippe Pierangeli.
Luther's third album for Alligator finds the 50-something bluesman truly at the peak of his powers. His superb guitar playing has never been more focused, and his singing shows a fervent shouter in full command. But Allison's songwriting has made giant strides as well, and ten of the 14 tracks aboard feature him as a co-writer as well. The production by Jim Gaines delivers a modern-sounding album that stays firmly in the blues tradition while giving full vent to Luther's penchant for blending soul, rock and funk grooves into his musical stew. There are really no duff tracks aboard, but special attention should be paid to the sloppy but right slide guitar-meets-rock & roll groove of "Low Down And Dirty," and Allison's incredibly hot minor key soloing (at full rock volume) on "Drowning At The Bottom," an acoustic duet with his son Bernard on "Playin' A Losing Game," and the grinding social commentary of "Pain In The Streets." If Allison had made albums like this for Motown 20-some years ago, it would be very interesting to speculate on how the blues history books just might have been rewritten. ~ Cub Koda