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Wells, Junior - South Side Blues Jam CD Cover Art
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Junior Wells South Side Blues Jam CD

 Junior Wells Discography of CDs

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Enjoyable but less electrifying follow-up to Hoodoo Man Blues, cut in 1969-1970 -- looser, with longer songs that afford more room to stretch out instrumentally but don't quite equal the stunning precision of what came before. Buddy Guy returns on guitar; Otis Spann is the pianist, and Fred Below keeps superb time. ~ Bill Dahl

w. Buddy Guy, Otis Spann, Louis Myers +

Recording information: Sound studios (12/30/1969/01/08/1970).

Photographer: Greg Roberts.

Personnel includes: Junior Wells, Otis Spann, Buddy Guy.

Personnel: Junior Wells (vocals, harmonica); Buddy Guy (vocals, guitar); Louis Myers (guitar); Otis Spann (piano); Fred Below (drums).

Rolling Stone (10/15/70, p.36) - "...[Junior Wells is] an exceptional harp player...and a powerful, soulful singer....This is music of incredible honesty and emotion; rarely are such moments captured on tape..."
South Side Blues Jam Music


Detailed South Side Blues Jam Music Information



List Price $12.97 (You save $2.98)
Category Rock/Pop Albums, Blues CDs, Chicago Blues
Label Delmark
Orig Year 1970
All Time Sales Rank   47620  
CD Universe Part number 1187064
Catalog number 628
Discs 1
Release Date Jun 10, 1993
Studio/Live Studio
Mono/Stereo Stereo
Producer Robert G. Koester; Steve Wagner
Engineer Dave Antler
Recording Time 39 minutes
Personnel Fred Below - drums
Junior Wells - vocals, harmonica
Louis Myers - guitar

Also: Buddy Guy, Otis Spann
Junior Wells South Side Blues Jam Songs


Junior Wells South Side Blues Jam Album Track Listing



1.Stop Breaking Down
2.I Could Have Had Religion
3.I Just Want to Make Love to You
4.Baby, Please Lend Me Your Love
5.You Say You Love Me
6.Blues for Mayor Daley
7.I Wish I Knew What I Know Now
8.Trouble Don't Last Always
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On A Few Miles from Memphis, recorded by pianist Harold Mabern in 1968, he's joined by tenors George Coleman and Buddy Terry, bassist Bill Lee, and drummer Walter Perkins for a bluesy, rhythm-filled set featuring familiar fare like "A Treat for Bea" and fun originals like "Walkin' Back." There's also the odd inclusion of "There's a Kind of Hush," a pop song that comes out sounding like an old standard here. ~ Ronnie ...
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Raven's 2006 two-fer Nutbush City Limits/Feel Good combines two of Ike & Tina Turner's last albums together and adds five bonus tracks, three of which were taken from other Ike & Tina albums from the early '70s, one taken from a Tina solo record, and one disco mix of "Nutbush City Limits." The album that arrives first on this two-fer was actually the last of these two to be released: Nutbush City Limits appeared in 1973, a year after Feel Good, but its title track is one of Ike & Tina's best-known songs so it's an appropriate ...
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Many of the legends of acoustic guitar in the 20th century have already passed on -- John Fahey, Robbie Basho, Ali Farka Toure. Due partially to his spare recording career, Peter Walker's own reputation has not always been as well known as those of said giants, but his own influence has been considerable. ...
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Recorded in San Francisco for Capitol Records in 1971 but not released until 1976 on Bullfrog. This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing "wrong" about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down ...
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Letters From Sinners & Strangers
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There's an off-the-cuff manner to the opening songs of Eilen Jewell's Letters from Sinners & Strangers that makes the album easy to like. She builds "Rich Man's World" around bits and pieces of older folk songs, leaving the listener with the impression that she might have heard the song -- somewhere -- before. She follows with Eric Andersen's "Dusty Boxcar Walls," a song that likewise echoed Andersen's folk influences. Jewell's lazy Southern delivery on Letters from Sinners & Strangers, backed by full-band arrangements, reminds one of a mellower version of the Tarbox Ramblers' self-titled release. Like the Ramblers, Jewell delivers her version of traditional folk without slavishly replicating the old music in a familiar way, pulling the music into a more relevant present; unlike the Ramblers, she mixes oldies with originals and, arrangement-wise, is capable of replicating everything from Western swing crossed with rock ("Heartache Boulevard") to jazzy blues ("High Shelf Booze"). Jerry Miller's electric guitar spices up the texture of songs like "Where They Never Say Your Name," while Daniel Kellar's violin underpins the emotional depth of songs like "In the End." Jewell delivers a mellow version of Dylan's "Walking Down the Line" before closing with the sassy, upbeat "Blue Highway." Jewell's low-key, off-the-cuff strategy works well from beginning to end on Letters from Sinners & Strangers, delivering a fine contemporary folk album. ~ Ronnie D. Lankford, Jr. Once in a great while, you put on a CD by an artist you’ve never heard of before and time stops. The voice is new, yet timeless. The lyrics are original yet feel immediately familiar, lived-in, knowing. And the melodies — expertly performed by a first-rate band — carry an easy, memorable groove.This is the story of Eilen (rhymes with feelin’) Jewell. It started after her 2005 self-released debut, Boundary Country, made its way into club-owners’ hands, onto a handful of radio shows and around the press circles of Boston, her current home base. Reaction to Eilen’s ...
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South Side Blues Jam CD music
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