Kamchatka Hoodoo

The Hoodoo Rhythm Devils rode the post-hippie wave emanating from San Francisco at the dawn of the '70s. Fusing blues boogie with country-rock rave-ups, full-throated rock & roll and a hint of soul, they didn't quite sound like any other band in the Bay Area in the early '70s…

The Hoodoo Rhythm Devils rode the post-hippie wave emanating from San Francisco at the dawn of the '70s. Fusing blues boogie with country-rock rave-ups, full-throated rock & roll and a hint of soul, they didn't quite sound like any other band in the Bay Area in the early '70s…

The Hoodoo Rhythm Devils rode the post-hippie wave emanating from San Francisco at the dawn of the '70s. Fusing blues boogie with country-rock rave-ups, full-throated rock & roll and a hint of soul, they didn't quite sound like any other band in the Bay Area in the early '70s…

Dr. John's Voodoo-inspired Gri Gri sounds meet Fats Domino! American Roots music at it's uptown best! A blend of New Orleans-inspired original R&B, trad jazz and gospel performed by one of the East Coast's hardest-working bands.

Surprisingly enough, this is not the by-the-numbers, let's-get-this-over-with album most expect when confronted by the idea of yet another blues supergroup. These grand old men of the modern blues push themselves and each other, stretching their chops and voices to the limit.

Kenny Neal is such a terrific singer that he can make any kind of blues sound good. On Hoodoo Moon, Neal does the Delta blues justice on a version of Elmore James's "It Hurts Me Too," and does a fine job on the Chicago blues with "I'm a Blues Man." He even pulls off some James Brown funk on "Just One Step." Nonetheless, Neal makes his most valuable contributions when he allows his Louisiana roots to show. On "Don't Fix Our Love," for example, Neal lays his blues-harmonica solo and gravelly vocal over a New Orleans second-line parade rhythm. Lucky Peterson plays the Professor Longhair-like piano part expertly and does the same with the Fats Domino-like piano triplets on "Why Should I Stay." "The Real Thing" and the album's title track boast the slippery shuffle beat of upstate Louisiana's swamp blues.

John Lee Hooker - Burnin' & Plays And Sings The Blues (1961-62) {The Definitive Remastered Edition - Hoodoo Records 263481 rel 2014}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 425 Mb | MP3 @320 -> 178 Mb
Full Artwork @ 300 dpi (png) -> 59 Mb | 5% repair rar | 24bit remastered
© 1961-62, 2014 Vee Jay / Chess / Hoodoo Records | 263481
Blues / Electric Blues / Delta Blues / Acoustic Blues / Detroit Blues / Blues Revival

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.