John Lee Hooker That s My Story

John Lee Hooker's 1948-1952 recordings made in Detroit, Michigan by Bernard Besman. Includes 19 previously unissued versions.

A whopping three CDs, and 56 songs, from Hooker's early sessions that were unreleased at the time, although they were available for a while in the early 1970s on some United Artists LPs. Like his more widely known material of the period, it mostly features Hooker unaccompanied, though he's aided by piano and second guitarists on a few tracks. Some of these are alternates of songs that were released in different versions, or embryonic renditions of compositions that evolved into somewhat different shapes. Especially interesting are early versions of his big hit "I'm in the Mood for Love." It's too much at once, though, and too unvarying in approach, for anyone but Hooker specialists. General fans are advised to stick with The Legendary Modern Recordings, which has 24 more renowned, and somewhat more accomplished, tracks from the same era. It's certainly a well-done package, though, containing a 38-page insert with detailed liner notes and session information.

This four-disc box from London's JSP Records collects an astounding 100 songs recorded by John Lee Hooker in Detroit from the years 1948 to 1952, including his first two sides ever, the signature tunes "Boogie Chillen" and "Sally Mae." Most of the tracks here are done solo, with Hooker's ever-present foot-stomping, although a few feature other musicians on loose-limbed blues boogies. Since Hooker never significantly altered his style during his long career, these first recordings set the stage for all that came after, and he arguably never sounded fresher or better. Four discs worth of this throwback Mississippi bluesman will be severe overkill for casual listeners, but diehard Hooker fans will find this box set absolutely essential.

This DVD was recorded in the summer of 1974 in the town of Gardner, Massachusetts, supposedly there were six-thousand people there, which is hard to tell from the audience shots provided. In fact it’s hard to tell a lot of things considering the poor overall camera work which, by the way is in black and white. Remember this is 1974, not 1954! The festival name provides the first clue as to what to expect “Down In the Dumps.” And I cannot make that up and I am not lying.

CDs from this collection began to appear in the sale of one after the other in early 1998. The collection was designed primarily for fans of blues and those wishing to join him in France, Canada and other French-speaking countries, as its literary part was originally made in French and it seems and has not been translated into other languages.

Various Artists - The Chess Story: 1947-1975 (2000) {14CD Box Set, MCA–Universal 3805962}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 4.61 Gb
Full Artwork @ 600 dpi (jpg) -> 178 Mb | 5% repair rar
© 1947-75, 2000 MCA / Universal | 3805962
Blues / Chicago Blues / Electric Blues / Regional Blues

First the good news, which is really good: the sound on this 340-song set is about as good as one ever fantasized it could be, and that means it runs circles around any prior reissues; from the earliest Aristocrat sides by the Five Blazers and Jump Jackson & His Orchestra right up through Muddy Waters' "Going Down to Main Street," it doesn't get any better than this set. The clarity pays a lot of bonuses, beginning with the impression that it gives of various artists' instrumental prowess. In sharp contrast to the past efforts in this direction by MCA, however, the producers of this set have not emasculated the sound in the course of cleaning it up, as was the case with the Chuck Berry box, in particular.

Various Artists - Chicago Hit Factory: The Vee-Jay Story 1953-1966 (2014) {10CD Set Charly Records CHARLY 915 B}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 3.39 Gb | MP3 @320 -> 1.64 Gb
Full Artwork @ 300 dpi (jpg) -> 59 Mb | 5% repair rar
© 1953-66, 2014 Charly Records / Vee-Jay | CHARLY 915 B
Rhythm & Blues / Doo-Wop / Blues / Soul / Gospel / Jazz

Celebrating sixty years since the launch of one of the most successful independent record labels in US Popular music. Received wisdom would have us believe that before Motown, no black-owned record company had made a significant impact on the US mainstream. However, the actuality is something else entirely. Way back in the early 50s, long before Berry Gordy had written his first song, VEE-JAY RECORDS - a black, family owned and run, Chicago-based label - was establishing itself via a steady stream of Blues, R&B, DooWop and Gospel hits.