John Lee Hooker The Hot Spot - Soundtrack (2-LP)

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catalog number: AAPB8755
weight in Kg 0.51

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1990 'Antilles' Audiophile re-issue on Analogue Productions. High-quality vinyl,... more

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John Lee Hooker: The Hot Spot - Soundtrack (2-LP)

1990 'Antilles'

Audiophile re-issue on Analogue Productions.
High-quality vinyl, 180-gram, 45 rpm
Music to a Dennis Hopper movie, a modern film noir
Soundtrack with original recordings by John Lee Hooker and Miles Davis (most of the tracks).
Hooker and Miles are playing together

Super cool! John Lee Hooker - gtr/voc, Miles Davis - tpt, Taj Mahal & Roy Rogers - gtrs, Tim Drummond - bass, Earl Palmer - drums.

Article properties: John Lee Hooker: The Hot Spot - Soundtrack (2-LP)

Interpret: John Lee Hooker
Album titlle: The Hot Spot - Soundtrack (2-LP)
Genre Blues
Label ANALOGUE PRODUCTION
Geschwindigkeit 33 U/min
Vinyl record size LP (12 Inch)
Record Grading Mint (M)
Sleeve Grading Mint (M)
Edition 2 Audiophile Blues LP-Records
Artikelart LP
EAN: 4000127718921
weight in Kg 0.51

Hooker, John Lee - The Hot Spot - Soundtrack (2-LP) LP 1
01	Coming To Town	John Lee Hooker
02	Empty bank	John Lee Hooker
03	Harry's Philosophy	John Lee Hooker
04	Dolly's Arrival	John Lee Hooker
05	Harry And Dolly	John Lee Hooker
06	Swamill	John Lee Hooker
07	Bank Robbery	John Lee Hooker
08	Moaniin'	John Lee Hooker
09	Gloria's Story	John Lee Hooker
10	Harry Sets Up Sutton	John Lee Hooker
11	Murder	John Lee Hooker
12	Blackmail	John Lee Hooker
13	End Credits	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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