From the Used Bin 2
In the 60s I bought a record called Blues at Newport. I learned much from that record. It has outstanding stuff on it. John Lee Hooker was in his early prime then and his acoustic work superb. Warm and personal. It's been reissued on CD and I'll buy it one of these days. Other Newport records on Vanguard had John Lee Hooker live on them with other songs, again superb. Over time I learned that there were other John Lee Newport recordings and I wanted them.
There it was, with a slightly beat case, looking at me, with a $8.00 sticker. I took it home.
Sometimes I put this on the player and hit the repeat button and play it for hours. It makes me pick up the guitar and play dirtfoot licks. The great Bill Lee is playing bass on a lot of it. I don't know how it could get any warmer or more in the living room or more on the porch.
Hooker in the glory of his maturity connecting with an audience and you, introducing songs, letting Bill take solos, holding an audience in his hand. Two versions of Tupelo, two versions of Hobo Blues, an incredible Natchez Fire, and incredible microphone nuzzling as he sings, "When you walk that walk and talk that talk." Stop me now!
Now I gotta find the CD (old VJ record) called "Concert at Newport" which has different versions and such.
and of course the one that started it all-
"Stop Baby, I can't take when you touch me, when you hold me that way!"
Update: The original point of the beginning post was to highlight John Lee Hooker's 1960s work in the almost unaccompanied "folk" idiom. Hooker himself near the end of his long life said the "coffeehouse" was one of his favorite periods, "I could just show up with my guitar and connect with the peoples."
Legend has it that this 1959 acoustic album was supposed cash in on the developing folk boom and its awareness of Leadbelly. Hooker came into the studio and didn't know any of Texan Leadbelly's tunes. The producers were upset. John said "Here's what I know." and proceeded to take them back to Clarksdale in the 30s and Memphis in the 40s. Spare, controlled, and a little bit scary.
Fantasy page of Riverside and Specialty Hooker recordings
http://www.fantasyjazz.com/catalog/hooker_j_cat.html
There it was, with a slightly beat case, looking at me, with a $8.00 sticker. I took it home.
Sometimes I put this on the player and hit the repeat button and play it for hours. It makes me pick up the guitar and play dirtfoot licks. The great Bill Lee is playing bass on a lot of it. I don't know how it could get any warmer or more in the living room or more on the porch.
Hooker in the glory of his maturity connecting with an audience and you, introducing songs, letting Bill take solos, holding an audience in his hand. Two versions of Tupelo, two versions of Hobo Blues, an incredible Natchez Fire, and incredible microphone nuzzling as he sings, "When you walk that walk and talk that talk." Stop me now!
Now I gotta find the CD (old VJ record) called "Concert at Newport" which has different versions and such.
and of course the one that started it all-
"Stop Baby, I can't take when you touch me, when you hold me that way!"
Update: The original point of the beginning post was to highlight John Lee Hooker's 1960s work in the almost unaccompanied "folk" idiom. Hooker himself near the end of his long life said the "coffeehouse" was one of his favorite periods, "I could just show up with my guitar and connect with the peoples."
Legend has it that this 1959 acoustic album was supposed cash in on the developing folk boom and its awareness of Leadbelly. Hooker came into the studio and didn't know any of Texan Leadbelly's tunes. The producers were upset. John said "Here's what I know." and proceeded to take them back to Clarksdale in the 30s and Memphis in the 40s. Spare, controlled, and a little bit scary.
Fantasy page of Riverside and Specialty Hooker recordings
http://www.fantasyjazz.com/catalog/hooker_j_cat.html
posted by Rolfyboy6 | 4:43 PM
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