| | John Lee Hooker Gold CD John Lee Hooker Discography of CDs
John Lee Hooker never abandoned his raw, gut bucket Mississippi-Delta-comes-to-the-city approach to the blues throughout his fifty-year career, and if he got a tad bit slicker towards the end of that career, it was only a tad and only by degree. There are innumerable Hooker collections on the market, and this two-disc set wouldn't be anything particularly special except that it actually charts through his entire history, beginning with the ageless "Boogie Chillen," which was recorded in 1948 and topped the R&B charts for Modern Records in 1949, through "Tupelo," which was recorded in 1993 and released on the Pointblank LP Chill Out in 1995. In between these two are most of Hooker's essential tracks, including 1949's "Crawlin' King Snake" from Modern, 1962's "Boom Boom" from Vee-Jay Records, 1964's "One Bourbon, One Scotch, One Beer" from Chess and "The Healer" from 1989's Chameleon Records LP of the same title that paired Hooker with various musical celebrity guests like Bonnie Raitt and Carlos Santana and gave Hooker yet another opportunity to trot out his amazingly durable song catalog. A single-disc of either Hooker's Modern or Vee-Jay sides would probably deliver more quality John Lee bang for the buck, but the historical sweep of this collection, which truly spans Hooker's whole career (which admittedly didn't vary a whole lot), gives it a good deal of added credence. ~ Steve Leggett
Recording information: Chicago, IL (11/03/1948-07/??/1993); Detroit, MI (11/03/1948-07/??/1993); Los Angeles, CA (11/03/1948-07/??/1993); New York, NY (11/03/1948-07/??/1993); San Francisco, CA (11/03/1948-07/??/1993); Sausalito, CA (11/03/1948-07/??/1993).
Photographers: David Gahr; Val Wilmer; Jan Persson; Paul Natkin.
Personnel: John Lee Hooker (vocals, guitar); Van Morrison (vocals, guitar); Bonnie Raitt (vocals, slide guitar); Joseph Barry Galbraith, Eddie Kirkland, Eddie "Guitar" Burns, Eddie Taylor, Luther "Guitar Junior" Johnson, Muddy Waters, Randy California, Sammy Lawhorn, Wayne Bennett, Roy Rogers , Lefty Bates, Buddy Guy, Carlos Santana (guitar); Elvin Bishop (slide guitar); Alan Wilson , Louis Myers (harmonica); Ivory Joe Hunter, Bob Thurman, Lafayette Leake, Mark Naftalin, Otis Spann (piano); Robert Hooker, Booker T. Jones (organ); Chester Thompson (keyboards, synthesizer); David "Panama" Francis, Richard G. Johnson, Francis Clay, Fred Below, Ken Swank, Scott Matthews, Bruce Grey, Al Duncan , Louis Hayes, Leon "Ndugu" Chancler, Benny Benjamin (drums); Armando Peraza (congas); José Chepitó Areas (timbales).
Liner Note Author: Bill Dahl.
John Lee Hooker Gold Songs Gold Review
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Bob Koester's Chicago-based Delmark Records hasn't always reflected his personal tastes, but it has always reflected his philosophy. From the 1950s to the 2000s, Koester has generally believed in supporting indie jazz and indie blues -- in other words, the sort of jazz and blues artists who major labels tend to neglect. Although Koester never really cared for avant-garde jazz -- his personal preferences are blues and very straight-ahead bop, swing, and Dixieland -- he's been great about documenting Chicago's AACM artists because he sees them as part of the indie music culture. The Delmark Sessions isn't a typical Delmark release; Frank Morey isn't jazz, and he isn't a blues artist per se (although he does provide the occasional blues-rock gem). Rather, the guitar-playing singer/songwriter favors a very bluesy, gritty approach to folk-rock and roots rock -- The Delmark Sessions is the sort of CD that would be more typical of Rounder or Flying Fish than Delmark. And yet, it is faithful to Delmark's history in that it is great indie roots music. Morey has a throaty, hoarse, rough-edged vocal style that recalls early Tom Waits and also underscores his appreciation of Chicago blues icon Howlin' Wolf -- The Delmark Sessions isn't dominated by the sort of 12-bar offerings that one finds on Wolf's CDs, but Morey is obviously well aware of Wolf's vocal style. He also has a healthy appreciation of early rock & roll -- and of course, rock & roll is a term that one will seldom hear in connection with a Delmark release. But again, Morey has such a rootsy, bluesy, rugged spirit that he does, in fact, belong on Delmark. If The Delmark Sessions is a rare example of Koester's label putting out a rock-friendly disc, it is a highly rewarding example. ~ Alex Henderson
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