Translation of the German review:  

Big Pete Pearson was born in Kingston (Jamaica) in 1936 and grew up with his grandparents in Texas (USA). He met religious music (gospel) as a child and sang in the church choir. He was captivated by the blues, which he heard in pubs and at local parties. He played his first gig in a bar at the age of nine and became known as Arizona's King of the Blues in Phoenix in the 1950s. He wrote his own songs and developed a great passion for the stage. In the USA he performed with his band The Big Pete Blues Band, in Europe under the name Big Pete Pearson and The Gamblers. He benefits from his charismatic stage presence, his powerful voice and his ability to tell stories with his music. Over the decades, Big Pete Pearson has managed to embody the blues in its purest form and bring it into the modern age without losing its roots and grounding. As one of the last great representatives of traditional blues, he inspires young musicians. During his long career, he has worked with B. B. King, Muddy Waters, John Lee Hooker, Koko Taylor, Big Mama Thornton, Buddy Guy and many more. Big Pete Pearson is regarded as a living monument to the blues.

The way into this album is opened by Boogie Part Time Lover. Strong vocals, fluidly played blues rock guitar, very beautiful. The rhythm section plays with striking accentuation and generates a tight and driving character. On Waistin' My Time, the piano is played in a restrained solo mode and is the ideal part for the vocals. I have rarely heard the often-covered Hoochie Coochie Man by Willie Dixon interpreted so compactly, played with so much verve and dedication. It hits the heart, followed by the ballad Shotgun Blues, garnished with a fabulous electric guitar. Something On Your Mind is another fast-paced number. Sweet Life is another ballad, accompanied by a beautifully played Hammond organ. The album offers a highly interesting cross-section of the types and variations of blues and blues rock.

The packaging and accessories are very well done. A slim tape box with lid, covered with a high-gloss finish, contains the high-quality aluminum reel, a four-page booklet, a certificate, a personal letter from the publisher and information on using the tape.

I am only partially satisfied with the sound character of this album. It sounds thin in the mid-range, which means that the vocals and electric guitar are pushed into the background. The bass range is reproduced too loudly. In the treble range, the cymbal hits are a little annoying. To correct this, I looped the KLARK-TEKNIK DN360 GRAPHIC EQUALIZER (*) into my monitoring chain. By boosting the mid-range by 2-3 dB in the range from 400 Hz to 2kHz (center frequency 800 Hz), I was able to adjust the presence range. This brought the bass range into the right balance. I reduced the high frequency range from 10 kHz by approx. 1.5 dB. I corrected the slightly right-biased stereo panorama with the channel balance of the equalizer.

(*) The KLARK-TEKNIK DN360 GRAPHIC EQUALIZER studio device is suitable for stereo operation, is very noise-free and has 30 faders for each channel to adjust the frequency range between 25 Hz and 20 kHz.

Translated with DeepL.com (free version)