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Don't Look Back is an album released by Blues legend John Lee Hooker in 1997 that was produced by Van Morrison, who also performed duets with Hooker on four of the tracks. The album was the Grammy winner in the Best Traditional Blues Album category in 1998. The title duet by Hooker and Morrison also won a Grammy for Best Pop Collaboration with Vocals.
Although Orrin Keepnews' Riverside Records was primarily a jazz label, the company dabbled in blues in the 1960s – and one of the bluesmen who recorded for Riverside was John Lee Hooker. Recorded in 1960, this Keepnews-produced session came at a time when Hooker was signed to Vee-Jay. The last thing Keepnews wanted to do was emulate Hooker's electric-oriented, very amplified Vee-Jay output, which fared well among rock and R&B audiences. Keepnews had an acoustic country blues vision for the bluesman, and That's My Story favors a raw, stripped-down, bare-bones approach – no electric guitar, no distortion, no singles aimed at rock & rollers.
Endless Boogie is a studio album by John Lee Hooker, released in 1971 through ABC Records. Produced by Bill Szymczyk and Ed Michel, the double album was recorded at Wally Heider Recording with session musicians such as Jesse Ed Davis, Carl Radle, Steve Miller, Gino Skaggs and Mark Naftalin.
John Lee Hooker's greatness lies in his ability to perform the same songs the same way yet somehow sound different and memorable in the process. He operates at maximum efficiency in minimal surroundings with little production or assistance. That was the case on a 1969 session for Black and Blue; it was just Hooker and his guitar moaning, wailing, and narrating on 10 tracks which included familiar ditties "Boogie Chillen," "Love Affair," "Big Boss Lady," and "Cold Chills." Evidence has now not only reissued these 10 but has added another six bonus cuts, bringing the CD total to 16. If you have ever heard any Hooker, you will not be surprised or stunned by these renditions; you will simply enjoy hearing him rework them one more time, finding a new word, phrase, line, or riff to inject.
Hooker was already being hailed as a living legend in the '60s, but by the time of this 1986 release he was a larger-than-life figure, his iconic stature unquestioned. From his earliest collaborations with Canned Heat and on through the '70s and '80s, the rock world never got tired of trying to endear Hooker to a crossover audience. JEALOUS is an attempt to adapt Hooker's lonesome blues to full-band arrangements. Unlike his band recordings of the '50s, though, there's a decided rock edge to his accompaniment here, providing a sharp contrast to the down-home, earthy sound of Hooker's voice and guitar. Organ, electric guitar, and a forceful rhythm section baked in reverb back Hooker on JEALOUS. Instead of overpowering Hooker, though, these new arrangements place the bluesman on a sonic pedestal, from which he sounds like the voice of God dispensing wisdom through the blues.
This four-disc box from London's JSP Records collects an astounding 100 songs recorded by John Lee Hooker in Detroit from the years 1948 to 1952, including his first two sides ever, the signature tunes "Boogie Chillen" and "Sally Mae." Most of the tracks here are done solo, with Hooker's ever-present foot-stomping, although a few feature other musicians on loose-limbed blues boogies. Since Hooker never significantly altered his style during his long career, these first recordings set the stage for all that came after, and he arguably never sounded fresher or better. Four discs worth of this throwback Mississippi bluesman will be severe overkill for casual listeners, but diehard Hooker fans will find this box set absolutely essential.
In 1959, John Lee Hooker signed a one-off deal with the Riverside label to record an acoustic session of the country blues. It was a key change from his earlier recordings, most of which had featured Hooker on an electric guitar with his trademark reverb and stomping foot. Folk purists of the day were delighted with COUNTRY BLUES, believing Hooker had returned to his roots, leaving the "glitzy commercialism" of R&B behind. But some Hooker fans considered COUNTRY BLUES a "betrayal" of his true sound. The truth is probably somewhere in-between. Remember, John Lee Hooker is always John Lee Hooker, regardless of the format. If you like Hooker, or acoustic blues, buy this album. It is an intimate session featuring standards like "How Long", "Bottle Up and Go", as well as Hooker's first recorded take on "Tupelo", one of his all-time classics.
This release presents one of John Lee Hooker's finest albums, The Big Soul of John Lee Hooker. It was recorded in 1962 and released by Vee-Jay Records. Here the bluesman explores the soul and R&B sounds of the early ‘60s, while maintaining the essence of his own boogieblues style. His gritty voice is as heavily emotive and unshakable as ever on these recordings. Hooker is backed by the seed of one of the most successful studio bands of all time, which would later be known as The Funk Brothers (the Motown studio band), as well as by a wonderful female backing vocal group. In addition to the original masterpiece, this remastered collector's edition also contains 10 bonus tracks from the same period, and constitutes one of the peaks of John Lee Hooker's incomparable musical legacy.
Two classic Hooker LPs, all digitally re-mastered, 22 solid slabs of dark, leathery, brooding nostalgia. This is the electric blues at its very roots. If there’s still anyone out there reading this magazine who hasn’t at least one Hooker album in their collection, then you’re still a long way from qualifying as a blues aficionado. So this is a good place to start. This stripped-bare, one man and a growling electric guitar (on most tracks) music is the stuff those guys who fled the south for the auto production lines in the north used to listen to.