The Country Blues Of John Lee Hooker – Riverside Records (1959)/Craft Recordings CR00183 (2019) 180-gram vinyl *****:
(John Lee Hooker – acoustic guitar, vocals)
If there was a Mt. Rushmore for blues artists, John Lee Hooker could be on it. His blues pedigree and life story is the stuff of legends. With five possible years of birth, the Mississippi native (with two possible hometowns) developed a one-chord droning sound that set him apart from Delta contemporaries. But he became renowned for an up tempo boogie style that was suited to electric guitar. Over the course of decades, he recorded iconic hits like “Boogie Chillen”, “Crawling King Snake”, “Dimples”, “Boom Boom” and “One Bourbon, One Scotch, One Beer”. Hooker survived the commercial plight of many blues artists, by playing the American Blues Festivals in the 1960’s. Additionally, he teamed with rock bands on projects, most notably Canned Heat on the 1970 release, Hooker ’N’ Heat. The connection with rock resulted in a classic number from 1980’s The Blues Brothers film. There were additional collaborations with Bonnie Raitt, Carlos Santana and Van Morrison. Hooker was inducted into The Blues and Rock And Roll Halls Of Fame.
Craft Recordings has become the vanguard of re-mastered recordings with a vast lineup that includes Ray Charles, Bill Evans, Credence Clearwater revival, Joan Baez, Vince Guaraldi, Thelonious Monk, Isaac Hayes, Traveling Wilburys, R.E.M., Little Richard and Otis Redding. They have reissued a 60th anniversary 180-gram vinyl of The Country Blues Of John Lee Hooker. Unlike his signature high-voltage electric blues, this album (first released on the Riverside label) is an homage to country blues like Blind Lemon Jefferson and Ma Rainey. Accompanying himself on acoustic guitar, Hooker delivers 13 tracks of Delta authenticity. `Side 1 opens with the low-down, nasty (and some might say suggestive) “Black Snake”. It is straight ahead two chord blues with Hooker’s distinctive baritone vocals and guitar style. With an occasional moan, he does what great blues men do…take the familiar and make it seem fresh. The tempo continues on “How Long Blues” as the singer laments over lost love, a time-honored theme of this genre. Hooker picks up the pace on “Wobblin’ Baby”. There are halting chords and a visceral, forlorn “…Nobody please me like you do…” refrain. John Lee comments on the subject of his affection with a rhythmic take on “She’s Long, She’s Tall, She Weeps Like A Willow Tree”. “…She’s natural fine…and I need lovin’ now…” speaks to the urgency of his predicament. The music gets even better with “Pea Vine Special”. Hooker is rueful for his woman that took off. There is a touch of humor as the singer intones that he has no money for a train and will have to search for her on his mare. His voice simple grabs the listener. Taking on flood lore, “Tupelo Blues is haunting with a pure “talking blues” delivery. The repeat guitar licks are woven into a groove. Songs like these embrace the universality of musical storytelling. “I’m Prison Bound” emphasizes another context with gut-wrenching fatalism (“…Judge looked at me, Son you got 99 years!…”).
Side 2 continues the flow of Delta narratives. After a crisp guitar intro, “I Rowed A Little Boat” recounts another flood with understated gospel fervor. Something as subtle as an “…Oh Yeh!…” resonates. In stark contrast, “Water Boy” is a somber reflection on the futility of chain gang life. Hooker moans ”…Hot, Hot” and agonizes (“…My legs are gettin’ weak, shackles on my feat…”) to punctuate the hopelessness. Keeping with ruminative imagery, “Church Bell Tone” is deliberate with funeral references and emphatic guitar notation. Then a freewheeling transition propels the coy bemusement of the pressures of family life (“Bundle Up And Go”). It is evidence of the linear progression from blues to rockabilly. It is also prevalent on “Good Mornin’, Lil’ School Girl”. The finale, “Behind The Plow” is an earnest look at the work ethic of country life, with depictions of a so tired old grey mule, cotton farm and toiling from sunrise to sunset. “…Glad when Sunday come, sad when Monday come…” is a melancholic summary of a “lil’ old country town”.
Kudos to Craft Recordings for reissuing The Country Blues Of John Lee Hooker. The 180-gram vinyl re-mastering is excellent. The overall sound is crisp and vibrant. Hooker’s voice is rendered with muscular potency and tender emotion. It is hard to fathom that this was recorded six decades ago. This is an historical document that will excite blues fans and hopefully introduce a new generation to essential American music.
TrackList:
Side 1:
Black Snake
How Long Blues
Wobblin’ Baby
She’s Long, She’s Tall, She Weeps Like A Willow Tree
Pea Vine Special
Tupelo Blues
I’m Prison Bound
Side 2:
I Rowed A Little Boat
Water Boy
Church Bell Tone
Bundle Up And Go
Good Mornin’, Lil’ School Girl
Behind The Plow
—Robbie Gerson
