Louisiana-born and Texas-toughened, Brooks (66 at the time of this recording), Hunter (68), and Walker (62) show what blues peers can do in what seem to be peaking years. There are three numbers where all three go full-tilt; the rest of the material varies in personnel, group, and solo emphasis. The distinctive, gutsy voice of Brooks, Walker's loping guitar lines with his slightly rough, seasoned voice, and the riveting presence of Walker on all counts, musically and vocally, are showcased to consistently satisfying levels. Of the 15 cuts, there are a handful of rockers and boogies, a few pure soul tunes and ballads, a jump blues, a Cajun calypso, and some straight blues – something for everyone. The hard-swinging "Street Walking Woman" and the slower shuffle "Feel Good Doin' Bad" are great musically, if lacking in message. Walker gets a back-to-back showcase on "I Can't Stand It No More/I Met the Blues in Person," and he tears it up. Brooks pleads and shouts on "This Should Go on Forever," while Hunter's highlights are the cautious "Alligators Around My Door" and the B.B. King cop on "Quit My Baby." Score some plus points for Kaz Kazanoff's sax and harp playing, and the horn charts are mighty fine throughout.
Although its programming has been juggled a bit, and the CD has been given liner notes, this Delmark release is a straight reissue of the original LP. Clocking in at around 38 minutes, the relatively brief set is the only recording that exists of Vinson, pianist Jay McShann, and guitarist T-Bone Walker playing together; the sextet is rounded out by the fine tenor Hal Singer, bassist Jackie Sampson, and drummer Paul Gunther. Vinson, whether singing "Plese Send Me Somebody to Love," "Just a Dream," and "Juice Head Baby" or taking boppish alto solos, is the main star throughout this album (originally on Black & Blue), a date that helped launch Vinson's commercial comeback.
Glenn Prangnell’s Trouserphonic Records label is home to Groovy Uncle and Suzi Chunk and has done an excellent job keeping the flag flying for the beat and R&B sounds of the Sixties. This release, the first on the label that doesn’t feature Prangnell or Chunk, makes it clear from the off with the band's name that record producer Jim Riley has taken a slightly different route with his debut for the label.