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John Lee Hooker Live At Soledad Prison - Never Get Out Of These

Live At Soledad Prison - Never Get Out Of These
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  • CDBGOCD897
  • 0.1
Two original LPs on one CD. more

John Lee Hooker: Live At Soledad Prison - Never Get Out Of These

Two original LPs on one CD.

Article properties: John Lee Hooker: Live At Soledad Prison - Never Get Out Of These

  • Interpret: John Lee Hooker

  • Album titlle: Live At Soledad Prison - Never Get Out Of These

  • Genre Blues

  • Label BGO RECORDS

  • Artikelart CD

  • EAN: 5017261208972

  • weight in Kg 0.1
Hooker, John Lee - Live At Soledad Prison - Never Get Out Of These CD 1
01 Superlover
02 I'm Your Crosscut Saw
03 What's The Matter Baby
04 Lucille
05 Boogie Everywhere I Go
06 It Serves Me Right To Suffer
07 Bang Bang Bang Bang
Hooker, John Lee - Live At Soledad Prison - Never Get Out Of These CD 2
01 Bumble Bee, Bumble Bee
02 Hit The Road
03 Country Boy
04 Boogie With A Hook
05 TB Sheets
06 Letter To My Baby
07 Never Get Out Of These Blues Alive
John Lee Hooker After nomadically label-hopping for the first seven years of his... more
"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

PLUG IT IN! TURN IT UP!
Electric Blues 1939-2005. - The Definitive Collection!

 

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