Sweet electric blues from Freddie King – and a record that features a surprising set of arrangements from Donny Hathaway! The album's more Freddie's than Donny's, but it's a great meeting of the two talents under the Atlantic-endorsed Cotillion banner – served up with an unusual studio lineup that includes Frank Wess and George Coleman on tenor sax, Willie Bridges on baritone, Ernie Royal on trumpets, and Cornell Dupree on rhythm guitar. The horns keep things full and soulful, and make the album a bit less rock-directed than some of King's other efforts from the 70s – and at some of the hipper moments, you can definitely hear some deeper sophistication on the charts that clearly marks Hathaway's presence. King Curtis arranged one track on the set – "Woke Up This Morning" – and other Donny-arranged tunes include "Yonder Wall", "Stumble", "I Wonder Why", "What'd I Say", "The Things I Used To Do", and "My Feeling For The Blues".
John Lee Hooker developed a “talking blues” style that became his trademark. Though similar to the early Delta tradition, his metrically free approach and unique sound would make him a staple of Detroit blues. Often called the “King of the Boogie,” Hooker's driving, rhythmic approach to guitar playing has become an integral part of the blues. This quintessential release includes two albums from the beginning of his career: Sings the Blues (Crown 1961) and Sings Blues (King 1960). Although the two records share nearly identical titles, each contains a different and excellent track list. The former LP features great electric numbers such as “Hug and Squeeze (You),” “Good Rockin' Mama,” and “The Syndicate,” while the latter contains Hooker's solo recordings originally issued on the Modern label. Both albums have been remastered and packaged together in this very special collector's edition, which also includes 5 bonus tracks from the same period.
For a recording fervently hyped as a special occasion – B.B. King's 50th album and all that – this one is surprisingly patchy in concept and erratic in execution…
John Lee Hooker developed a “talking blues” style that became his trademark. Though similar to the early Delta tradition, his metrically free approach and unique sound would make him a staple of the Detroit blues tradition. Often called the “King of the Boogie,” Hooker's driving, rhythmic approach to guitar playing has become an integral part of the blues. His thunderous electric guitar sounded raw, while his basic technique was riveting.
Universally hailed as the king of the blues, the legendary B.B. King was without a doubt the single most important electric guitarist of the last half of the 20th century. His bent notes and staccato picking style influenced legions of contemporary bluesmen, while his gritty and confident voice – capable of wringing every nuance from any lyric – provided a worthy match for his passionate playing. The recordings on this collection represent the very best of the sides King cut for ABC/ MCA between 1964 and 1985, proving that the thrill is most definitely still here.
Nina Simone Sings the Blues, issued in 1967, was her RCA label debut, and was a brave departure from the material she had been recording for Phillips. Indeed, her final album for that label, High Priestess of Soul, featured the singer, pianist, and songwriter fronting a virtual orchestra. Here, Simone is backed by a pair of guitarists (Eric Gale and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard "Pretty" Purdie), organist (Ernie Hayes), and harmonica player who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The song selection is key here. Because for all intents and purposes this is perhaps the rawest record Simone ever cut. It opens with the sultry, nocturnal, slow-burning original "Do I Move You," which doesn't beg the question but demands an answer: "Do I move you?/Are you willin'?/Do I groove you?/Is it thrillin'?/Do I soothe you?/Tell the truth now?/Do I move you?/Are you loose now?/The answer better be yeah…It pleases me…." As the guitarists slip and slide around her husky vocal, a harmonica wails in the space between, and Simone's piano is the authority, hard and purposely slow.