Reckless

1	Low Down and Dirty 3:45
2	You Can Run But You Can't Hide 3:32
3	Living in the House of the Blues 5:32
4	You Can, You Can 3:42
5	Will It Ever Change? 5:09
6	Just as I Am 4:55
7	There Comes a Time 4:12
8	Drowning at the Bottom 3:54
9	Playin' a Losin' Game 5:30
10	It's a Blues Thing 5:40
11	Cancel My Check 4:19
12	Pain in the Streets 4:43
13	You're Gonna Make Me Cry 6:13
14	I'm Back 4:12

Barnes & Noble

Arkansas-born, Chicago-bred Luther Allison lived in Europe for years, delighting crowds with marathon performances. His triumphant return to the states was cut short when he died just shy of his 58th birthday. RECKLESS, released a year before his death in 1998, is a smoothly produced affair, but it still conveys the grit and grease the man exuded onstage, thanks to the added muscle of the ever-reliable Memphis Horns. The late, great Luther hollers to his flock on "It's a Blues Thing" and "Living in the House of the Blues." and duets with his son Bernard Allison on "Playin' a Losing Game." There's a sad irony to the title "I'm Back," given his unexpected death, but this CD ensures his art is here forevermore. Tim Schuller

All Music Guide

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