John Lee Hooker Don't Turn Me From Your Door

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catalog number: CD7412684
weight in Kg 0.1

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(1953/61 'Atco') (43:36/16) Re-release made in Japan. more

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John Lee Hooker: Don't Turn Me From Your Door

(1953/61 'Atco') (43:36/16) Re-release made in Japan.

Article properties: John Lee Hooker: Don't Turn Me From Your Door

Interpret: John Lee Hooker
Album titlle: Don't Turn Me From Your Door
Genre Blues
Label WEA JAPAN
Artikelart CD
EAN: 4943674126842
weight in Kg 0.1

Hooker, John Lee - Don't Turn Me From Your Door CD 1
01	Stuttering Blues	John Lee Hooker
02	Pouring Down Rain	John Lee Hooker
03	You Lost A Good Man	John Lee Hooker
04	Love My Baby	John Lee Hooker
05	Misbelieving Baby	John Lee Hooker
06	Drifting Blues	John Lee Hooker
07	Wobbling Baby	John Lee Hooker
08	Goin' South	John Lee Hooker
09	Don't Turn me From Your Door	John Lee Hooker
10	My Baby Don't Love Me	John Lee Hooker
11	I Ain't Got Nobody	John Lee Hooker
12	Real Real Gone	John Lee Hooker
13	Guitar Lovin' Man	John Lee Hooker
14	Talk About Your Baby	John Lee Hooker
15	Blue Monday	John Lee Hooker
16	My Baby Put Me Down	John Lee Hooker

John Lee Hooker After nomadically label-hopping for the first seven years of his... more

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"John Lee Hooker"

John Lee Hooker

After nomadically label-hopping for the first seven years of his astonishingly prolific recording career, Mississippi Delta émigré John Lee Hooker settled into a relatively exclusive relationship with Chicago’s Vee-Jay Records in 1955. Things had changed dramatically on the R&B front since 1949; no longer would a haunting solo blues piece like the Hook’s Boogie Chillen (it’s on BCD 16921, Disc One) find its way to the top of the charts now that rock 'n' roll had captured the teenage demographic.

Still, there remained a solid southern market for blues, and John Lee was happy to help fill it on Vee-Jay through 1964 (granted, there were dalliances with a number of other labels during that span). His first Vee-Jay date, conducted in Chicago in October of ’55, found him in the company of labelmate Jimmy Reed, guitarist Eddie Taylor (a steadying presence for both Reed and Hooker whenever they entered the studio), bassist George Washington, and drummer Tom Whitehead, who had been playing sessions with the Boogie Man since 1953 and clearly knew the territory.

Reed was absent for Hooker’s Vee-Jay encore session, held March 27, 1956, but the rhythm section remained constant. Among the enduring gems laid down that day was the rollicking Dimples, a standard in John Lee’s repertoire from then on. He’s listed as writing it with Jimmy Bracken, the co-owner of Vee-Jay. Hooker was fretting an electric guitar instead of the acoustic he used on his first Detroit sessions (ironically, he’d have to retrieve it when the folk-blues trend hit).

Hooker’s Vee-Jay stint produced some of the most polished recordings he ever made, thanks to stellar musicianship by Taylor and his comrades, who seemed to cope with Hooker’s erratic timing better than just about anyone else he’d recorded with. At the end of 1958, John Lee would find his way back onto the R&B charts for the first time in more than seven years with I Love You Honey. He scored nationally again in 1960 with No Shoes. But as it turned out, the John Lee Hooker story was just getting underway.

Bill Dahl
Chicago, Illinois

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