Amazon.com A grizzly-bear guitar tone and diamond-hard riffs are the strongest cards of this former Albert Collins and John Mayall sideman. Montoya turns them in often on these 11 tunes, right from the opening "Last Dirty Deal," which absolutely roars, to the climactic final solo of "There Ain't No Brakeman on This Train," which concludes the album with a flourish of six-string ferocity. Even the ballads, like "How Do You Sleep at Night," scream with edgy intensity. That's partly because producer Paul Barerre of Little Feat succeeded at capturing the essence of Montoya's live sound, but mostly because Montoya's mentor Collins put his fiery brand on his apprentice's style. It still burns, six albums into Montoya's solo career--especially when he's covering Collins's "Put the Shoe on the Other Foot," a funky shuffle full of bellowing sustained notes and stiletto melodies that reply to his singing. That song's declamatory style also serves Montoya's narrow vocal range well. And while his lyrics occasionally stumble into blues clichés--falling tears, dirty deals--his playing is unfailingly eloquent. --Ted Drozdowski Product Description Rawest, most explosive release of Coco's career finds him ripping it up on a hard-hitting mix of jagged blues, groove-heavy workouts, catchy blues rockers and soul-drenched ballads. Produced by Little Feat's Paul Barrere. Review He is one of the truly gifted blues artists of his generation -- Living Blues Montoya is at the forefront of the contemporary blues world -- Guitar World Smoldering blues and southern-fried rock 'n' roll with a master touch and killer soloing -- GuitarOne From the Artist Collins went out of his way to teach him. "We'd sit in hotel rooms for hours and play guitar," remembers Montoya. "He'd play that beautiful rhythm of his and just have me play along. He was always saying, `Don't think about it, just feel it.'" As Montoya's guitar playing improved, his relationship with Collins kept growing. "He was like a father to me," says Coco, who often crashed at Collins' house. When Collins declared Montoya his "son," it was the highest praise and affection he could offer About the Artist Coco Montoya was born in Santa Monica, California in 1951 and raised by working class parents. Growing up, with an immense love of music, the youngster enjoyed picking out notes on the guitar, but he was drawn to the drums. After studying and practicing constantly, he joined a series of local rock bands. In 1969, Montoya saw Albert King opening up a Creedence Clearwater Revival/Iron Butterfly concert and was transformed. "After Albert got done playing," says Montoya, "my life was changed...nothing had ever affected me to this level..." By the mid-70s, Montoya was playing drums in several local rock bands. One Sunday, Albert Collins was booked to play a matinee there and the club owner gave Collins permission to use Montoya's drums. Montoya continues the story: "I show up to pick up my equipment and I see that someone had been playing my drums and I got a little angry with the club owner. So Albert called me up at the club and was real nice and apologetic. I went down to see his show and it really just tore my head off. The thing that I had seen and felt with Albert King came pouring back on me when I saw Albert Collins." A few months later, Collins desperately needed a drummer for a tour and he called Coco. "When he called," recalls Coco, "I figured we'd rehearse for a few weeks before the tour. Instead, he told me he'd pick me up in three hours." During the tour, Albert took Montoya under his wing, teaching him about blues music and life on the road. After the tour ended, Montoya remained in Collins' band for five more years. It was during this time that Coco began doubling on guitar. Montoya left Collins' band, but the two stayed very close friends. Montoya worked as a bartender, figuring his career as a musician was over. One night in the early 80s, Montoya was jamming in a Los Angeles bar when John Mayall walked in. As a quick tribute, Montoya launched into "All Your Love I Miss Loving." Impressed, Mayall left the club with a soundboard tape. When Mayall needed a guitarist for the newly reformed Bluesbreakers, he called Coco Montoya. He joined the band, determined to become an even greater guitarist. For the next 10 years he toured the world and recorded with Mayall, soaking up everything he could. By the early 90s, Montoya was at another crossroads. He had been with the Bluesbreakers for 10 years and felt ready for a change. Albert Collins told Coco to move on and do his own thing. Montoya talked to Mayall, who understood the time was right. "Both Albert & John pushed me out of the nest nice and easy." His debut as a leader, 1995's Gotta Mind To Travel, became an instant favorite with blues fans, radio programmers and critics. The album introduced Montoya as a bandleader who immediately ranked among the best players on the contemporary blues scene. In 1996, he was n, ISBN13: B000KLNLE6 ISBN10: B000KLNLE6 Material Type: audioCDAmazon.com A grizzly-bear guitar tone and diamond-hard riffs are the strongest cards of this former Albert Collins and John Mayall sideman. Montoya turns them in often on these 11 tunes, right from the opening "Last Dirty Deal," which absolutely roars, to the climactic final solo of "There Ain't No Brakeman on This Train," which concludes the album with a flourish of six-string ferocity. Even the ballads, like "How Do You Sleep at Night," scream with edgy intensity. That's partly because producer Paul Barerre of Little Feat succeeded at capturing the essence of Montoya's live sound, but mostly because Montoya's mentor Collins put his fiery brand on his apprentice's style. It still burns, six albums into Montoya's solo career--especially when he's covering Collins's "Put the Shoe on the Other Foot," a funky shuffle full of bellowing sustained notes and stiletto melodies that reply to his singing. That song's declamatory style also serves Montoya's narrow vocal range well. And while his lyrics occasionally stumble into blues clichés--falling tears, dirty deals--his playing is unfailingly eloquent. --Ted Drozdowski Product Description Rawest, most explosive release of Coco's career finds him ripping it up on a hard-hitting mix of jagged blues, groove-heavy workouts, catchy blues rockers and soul-drenched ballads. Produced by Little Feat's Paul Barrere. Review He is one of the truly gifted blues artists of his generation -- Living Blues Montoya is at the forefront of the contemporary blues world -- Guitar World Smoldering blues and southern-fried rock 'n' roll with a master touch and killer soloing -- GuitarOne From the Artist Collins went out of his way to teach him. "We'd sit in hotel rooms for hours and play guitar," remembers Montoya. "He'd play that beautiful rhythm of his and just have me play along. He was always saying, `Don't think about it, just feel it.'" As Montoya's guitar playing improved, his relationship with Collins kept growing. "He was like a father to me," says Coco, who often crashed at Collins' house. When Collins declared Montoya his "son," it was the highest praise and affection he could offer About the Artist Coco Montoya was born in Santa Monica, California in 1951 and raised by working class parents. Growing up, with an immense love of music, the youngster enjoyed picking out notes on the guitar, but he was drawn to the drums. After studying and practicing constantly, he joined a series of local rock bands. In 1969, Montoya saw Albert King opening up a Creedence Clearwater Revival/Iron Butterfly concert and was transformed. "After Albert got done playing," says Montoya, "my life was changed...nothing had ever affected me to this level..." By the mid-70s, Montoya was playing drums in several local rock bands. One Sunday, Albert Collins was booked to play a matinee there and the club owner gave Collins permission to use Montoya's drums. Montoya continues the story: "I show up to pick up my equipment and I see that someone had been playing my drums and I got a little angry with the club owner. So Albert called me up at the club and was real nice and apologetic. I went down to see his show and it really just tore my head off. The thing that I had seen and felt with Albert King came pouring back on me when I saw Albert Collins." A few months later, Collins desperately needed a drummer for a tour and he called Coco. "When he called," recalls Coco, "I figured we'd rehearse for a few weeks before the tour. Instead, he told me he'd pick me up in three hours." During the tour, Albert took Montoya under his wing, teaching him about blues music and life on the road. After the tour ended, Montoya remained in Collins' band for five more years. It was during this time that Coco began doubling on guitar. Montoya left Collins' band, but the two stayed very close friends. Montoya worked as a bartender, figuring his career as a musician was over. One night in the early 80s, Montoya was jamming in a Los Angeles bar when John Mayall walked in. As a quick tribute, Montoya launched into "All Your Love I Miss Loving." Impressed, Mayall left the club with a soundboard tape. When Mayall needed a guitarist for the newly reformed Bluesbreakers, he called Coco Montoya. He joined the band, determined to become an even greater guitarist. For the next 10 years he toured the world and recorded with Mayall, soaking up everything he could. By the early 90s, Montoya was at another crossroads. He had been with the Bluesbreakers for 10 years and felt ready for a change. Albert Collins told Coco to move on and do his own thing. Montoya talked to Mayall, who understood the time was right. "Both Albert & John pushed me out of the nest nice and easy." His debut as a leader, 1995's Gotta Mind To Travel, became an instant favorite with blues fans, radio programmers and critics. The album introduced Montoya as a bandleader who immediately ranked among the best players on the contemporary blues scene. In 1996, he was n, ISBN13: B000KLNLE6 ISBN10: B000KLNLE6 Material Type: audioCD , ISBN13: B000KLNLE6 ISBN10: B000KLNLE6 Material Type: audioCD