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John Lee Hooker The Folk Blues Of John Lee Hooker (LP, 180g Vinyl, Ltd.)

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  • LP6785461
  • 0.267
(2017/Vinyl Lovers) 16 Tracks, 1952 and 1959 - Reissue of the original 1959 Riverside album plus... more

John Lee Hooker: The Folk Blues Of John Lee Hooker (LP, 180g Vinyl, Ltd.)

(2017/Vinyl Lovers) 16 Tracks, 1952 and 1959 - Reissue of the original 1959 Riverside album plus 3 bonus tracks recorded in 1952! Limited collector's item!

Article properties: John Lee Hooker: The Folk Blues Of John Lee Hooker (LP, 180g Vinyl, Ltd.)

  • Interpret: John Lee Hooker

  • Album titlle: The Folk Blues Of John Lee Hooker (LP, 180g Vinyl, Ltd.)

  • Label VINYL LOVERS

  • Genre Blues

  • Year of publication 2017
  • Geschwindigkeit 33 U/min
  • Vinyl record size LP (12 Inch)
  • Mint (M)
  • Sleeve Grading Mint (M)
  • Vinyl weight 180g Vinyl
  • Artikelart LP

  • EAN: 8436544170619

  • weight in Kg 0.267
Hooker, John Lee - The Folk Blues Of John Lee Hooker (LP, 180g Vinyl, Ltd.) LP 1
01 I Rowed A Little Boat John Lee Hooker
02 Water Boy John Lee Hooker
03 Church Bell Tone John Lee Hooker
04 Bundle Up And Go John Lee Hooker
05 Good Mornin', Lil' School Girl John Lee Hooker
06 Behind The Plow John Lee Hooker
07 Sugar Mama John Lee Hooker
08 Ramblin' By Myself John Lee Hooker
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!
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