Sonny Boy Williamson - The Original Sonny Boy Williamson - Recorded Between 1937 and 1939, Released in 2007.

Review:

JSP is a reissue label sent by angels to alleviate suffering and dispel ignorance in the world. We know this because JSP has done a fantastic job of compiling remastered blues, jazz, gospel, country, Cajun and western swing recordings in reasonably priced four-CD sets packed with loads of discographical information and insightful liner notes. Released in 2007, JSP's 100-track intensive tribute to Chicago blues harmonica legend John Lee Sonny Boy Williamson  (1914-1948) zeroes in on his earliest recorded works, dating from the years 1937-1939. (This is only volume one!) Rather than confining the scope of the retrospective exclusively to 41 titles by musicians with whom he hung out, gigged, and recorded. These are guitarists Big Joe Williams, "Jackson" Joe Williams, Robert Lee "Rambling Bob" McCoy, Henry Townsend, and Elijah Jones, as well as blues mandolin man Yank Rachell and boogie-woogie pianist Speckled Red. Additional support was provided by second chair mandolinist Will Hatcher and the great Big Bill Broonzy. This is where Chicago's modern blues harmonica tradition really began. All of the genre's essential components are firmly in place; the songs tell us everything that needed to be said about living, loving, working, scuffling, and trying to survive in a city whose working class population was largely committed to the meat packing industry during the years immediately preceding the Second World War. This was Sonny BOy Williamson I, not to be confused with Sonny Boy Williamson II, an entirely different individual who lived long enough to make records with British rockers during the '60s. Williamson I was beaten to death on the way home from a gig on the first of June 1948. Posthumously honored and widely imitated, his potent musical legacy is finally getting the sort of careful attention that it has always deserved.

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mp3 224 kbps - 530 Mb
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John Lee Hooker - The Healer - 1989.

Review:

The Healer was oddly a major mainstream breakthrough for John Lee Hooker. The album was one of the first to feature a wide array of guest stars, including Bonnie Raitt, Los Lobos and Carlos Santana. The album immediately captured widespread media attention because of all the superstar musicians involved in its production and has to date been John Lee's most successful release. Recorded in analog and mixed to 1/4" 15ips analog tape, the sound is better than almost any other Hooker recording. Transferred from the original 1/4" analog tapes by Bernie Grundman using Classic's "all tube" cutting system, gives this release a warmth and comfort it has never had. If you're a John Lee Hooker fan then this a must! Great sound and classic Hooker guitar and vocal performances.

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mp3 320 kbps - 92Mb
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John Lee Hooker - Jack O'Diamonds - Recorded in 1949, Released in 2004.

Review:

The material on Jack o' Diamonds was recorded in 1949 but never released at the time due to John Lee Hooker's vast contractual problems. Even at this earliest point in his career, Hooker was tied up in contracts that would see him recording under several aliases in order to make some quick cash. These 20 cuts were recorded at a private gathering in the Detroit dining room of Gene Deitchat, who set up a primitive recording device and let Hooker play. During the course of the evening those present began requesting that he play a few spirituals and folk tunes. It's interesting to hear Hooker bite into such traditional fare as "Two White Horses," "Trouble in Mind," "John Henry," and "Jack o' Diamonds." Since these recordings have been cleaned and remastered, this disc is well worth picking up for Hooker fanatics.

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mp3 VBR - 59 Mb
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John Lee Hooker - The Legendary Modern Recordings , 1948- 1954 - Released in 1994.

Review:

From the beginning of his career, John Lee Hooker recorded prolifically, sometimes for several labels at once, sometimes under a number of pseudonyms. That makes his discography a bit difficult for the collector to sort out, but if you want just one document of his early years, this is the anthology of choice, containing 24 sides from 1948 to 1954 that were issued on the Modern label. These, more than any other, are the recordings that did the most to establish the Hooker prototype -- the over-amplified electric guitar, the moody boogies, the stomping foot rhythms performed without a rhythm section (some sides feature accompaniment by Eddie Kirkland on second guitar). Contains his two most massive early hits, "Boogie Chillen" and "I'm in the Mood," as well as his oft-covered "Crawling Kingsnake." This one can get a bit similar-sounding over the course of two dozen tracks, but little other post-war electric blues can match the stark power here.

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mp3 320 kbps - 101 Mb
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John Lee Hooker - Never Get Out Of This Blues Alive - 1972.

Review
Following the legendary bluesman's popular collaboration with Canned Heat, this album continues his work with mostly younger musicians and predates similar projects The Healer and Mr. Lucky by about 20 years. Van Morrison spans the gap by appearing on this 1972 release and Mr. Lucky. Elvin Bishop, Charlie Musselwhite, and even Steve Miller contribute here. Jazz violinist Michael White helps "Boogie With the Hook" take off and adds a mournful touch to the harrowing "T.B. Sheets," which is much more restrained here than on the earlier debut release by Morrison.

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mp3 320 kbps 75 Mb
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John Lee Hooker - The Unknown John Lee Hooker: 1949 Recordings - 2000.

Review
n 1949, Hooker played for a private gathering in the Detroit dining room of cartoonist, animator, and music fan Gene Deitch. Deitch had the foresight to record the performance on a portable machine. That acoustic performance -- together with four tracks made a few days later in another casual gathering of music fans -- was retrieved from Deitch's archives 50 years later for this hour-long, 20-cut CD. Hooker at this time had only just become a recording artist, and with the exception of four early 1949 sides done for Elmer Barbee, The Unknown John Lee Hooker represents the only known acoustic recordings by Hooker prior to the late '50s. Deitch and his friends asked Hooker to play older and more traditional songs, resulting in a set that included a greater concentration of country blues, spirituals, and folk tunes than Hooker was doing in his commercial recordings of the time. "Two White Horses," "Trouble in Mind," "John Henry," and "Jack O' Diamonds" are all here, for instance. Still, it's really not too far removed from what he was doing in the studio, given the inimitable Hooker stamp by his trademark omnipresent foot stomps and idiosyncratic rhythms. As both singer and guitarist Hooker, in this informal setting, sounds just as committed and inspired as he was on his studio dates; "Trouble in Mind," for instance, has guitar work as distinctive (and, at times, irregularly patterned and dissonant) as anything he did in the period. Nevertheless, this is primarily of historical interest, particularly as Hooker did do a wealth of similar folk/blues crossover sessions in the late '50s and early '60s that were captured in much better fidelity. The sound on this disc is listenable and certainly okay given the conditions of 1949 home recordings, but still a little hissy and muffled. This means that studio acoustic albums such as 1959's The Country Blues of John Lee Hooker are more highly recommended.

Tracks

The Unknown John Lee Hooker: 1949 Recordings

1. Guitar Blues Instrumental3:19
2. Two White Horses3:22
3. Trouble in Mind3:59
4. Catfish Blues2:52
5. John Henry3:10
6. How Long Blues3:33
7. Ezekiel Saw the Wheel2:59
8. Jack O'Diamonds2:48
9. Water Boy3:56
10. Six Little Puppies and Twelve Shaggy Hounds4:22
11. In the Evenin' (When the Sun Goes Down)4:40
12. Old Blind Barnabas2:28
13. Moses Smote the Water1:59
14. Spoken Interlude0:35
15. Rabbit on the Log4:04
16. Come on and See About Me2:16
17. 33 Blues2:06
18. She's Real Gone2:14
19. I Wonder Why2:47
20. Untitled Slow Blues3:01

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mp3 320 kbps - 118 Mb
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John Lee Hooker - Detroit Blues - 1987.

Review
Interesting collection of old 78s that Hooker recorded under various pseudonyms (Johnny Williams, John Lee) in 1950. Along with the original version of "House Rent Boogie" and five others that ended up on the Philadelphia Gotham label, we have the bonus of a half dozen tracks by Hooker sideman Eddie Burns and Detroit bluesman Baby Boy Warren's first single. The sound is rough in the extreme, but the music's great.

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mp3 320 kbps - 122 Mb
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John Lee Hooker: Come and See About Me/The Definitive DVD - 2004.

Review

The late John Lee Hooker was an icon of American blues music. Merging a spare, skeletal guitar style and unusual song structures with a propulsive sense of rhythm earned him a reputation as "the King of the Boogie." Hooker's music provided a stylistic bridge between the rural blues of the '30s and the raw, gutbucket electric sounds that emerged in the '50s and '60s. Produced with the participation of Hooker's estate, John Lee Hooker: Come and See About Me features interviews with Hooker, members of his family, and fellow musicians alongside filmed performances from 1960 to 1994. Including collaborations with Bonnie Raitt, Van Morrison, Foghat, John Hammond, Ry Cooder, and the Rolling Stones, John Lee Hooker: Come and See About Me features the songs "Boogie Chillen'," "Boom Boom," "Bottle Up and Go," "Serves Me Right To Suffer," "I'm Bad Like Jesse James," and many more.

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John Lee Hooker - Free Beer And Chicken - 1974.

Review

In some ways this is a typical John Lee Hooker album; in other ways it is totally unlike any other he did. Being interesting can be a curse, however, as the music itself just isn't that inspired. Of course, if these tracks were released by an unknown that might be another story, but this is John Lee Hooker. Yes, this is Hooker, fiddling around under the thumb of an ABC contract and seemingly in the hands of producer Ed Michel, whose credits and track record of good albums is not to be sneezed at. Free Beer and Chicken has the sound of a collection of tracks that were salvaged from some ambitious but never finished project involving dozens of guests. That's one thing that is typical, or at least would become typical in the last, most high-profile decade of Hooker's career. His albums from the '90s became limousine rides in which faces from People magazine would wind up sitting atop the listener's speaker box, at least symbolically. Michel predicts this trend by inviting Joe Cocker as well as several other stars whose identities were lost when the label cheaped out on including the insert after the first pressing of the album sold out. Michel also invited some of the artists he was producing for ABC's sister company, Impulse!, creating some unusual partners for Hooker, such as Sam Rivers on flute and Michael White on violin. This album is thus useful to connect vast portions of the avant-garde jazz, blues, and rock scenes in degrees of separation games, but in the case of Rivers his appearance is no big deal musically. White does crank out some good violin solos, while the burbles and mutterings of strange funk guitarists such as Wa Wa Watsou and Mel Brown are diverting, if not moving. Still, Free Beer and Chicken gets a low rating due to the presence of all the talent mentioned, as well as the genius of Hooker: With all that going for it, this should have been a much better album.

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mp3 320 kbps - 89 Mb
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John Lee Hooker - Simply the Truth.

Review

Overseen by noted jazz producer Bob Thiele, this session had Hooker backed by some of his fullest arrangements to date, with noted session drummer Pretty Purdie and keyboards in addition to supplementary guitar and bass. The slightly modernized sound was ultimately neither here nor there, the center remaining Hooker's voice and lyrics. His words nodded toward contemporary concerns with "I Don't Wanna Go to Vietnam" and "Mini Skirts," but the songs were mostly consistent with his usual approaches. Another of his many characteristically solid efforts, although it's not one of his more interesting albums.

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Masters of the Country Blues: John Lee Hooker and Furry Lewis.

Review

The John Lee Hooker material which opens this DVD comes from a Seattle Folklore Society series entitled "Masters of American Traditional Music" -- specifically, a segment from a 1958 film entitled John Lee Hooker: Born With the Blues by KCTS-TV in Seattle, producer John S. Ullman, and director Ron Ciro. The then 41-year-old Hooker, seated and playing a solo electric guitar, introduces {&"It Serves Me Right to Suffer" and shows why it was often so hard for bands to work with him, as his fingers -- often depicted in extreme tight close-ups -- move as the spirit carries him across the fret board in lead guitar flourishes while he never loses the beat of what he's doing. This is the way to shoot a solo blues artist, with the camera and tightness of the shots varying from minute to minute so that there is nothing static anywhere. Once he kicks into {&"Boom Boom," the movement never slackens its pace and the image matches the inherent tension in the music. This section, even capturing his foot motion along with his playing and singing in close-up, would probably make the best John Lee Hooker video clip imaginable. Had it been available to them, one can just imagine Hilton Valentine or Keith Richards spending hours watching these clips over and over for hours at a time. In between the songs, Hooker gives full, but never overly long, thoughts on what the music means to him. The Furry Lewis segment, from the early '60s, is the video equivalent of his Riverside label Memphis recordings. Seated on a stool and playing an acoustic guitar, Lewis takes us through eight songs in his repertory, the camera a little less mobile but still showing off the way in which he drew an almost orchestral range out of his single instrument. The highlight of his set is {&"Kassie Jones;" unfortunately, he doesn't give it the extended treatment it received on his original early-'30s recording, but it's such a treat to see Lewis do this signature tune. The rest of his set, including {&"I Will Turn Your Money Green," {&"Take Me Back," and {&"East St. Louis Blues," isn't to be missed, either -- Lewis gets sounds that more properly should belong to two players. The program begins automatically on start-up and the menu -- with each song getting a chapter-marker -- must be accessed manually. The kinescope source, mastered in full-screen (1.33:1), is in amazingly good shape, with lots of detail, and the sound (mastered in Dolby Digital) is excellent and set at a healthy volume.

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