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In the 1950’s a new generation of Blues guitarists and singers appeared on the Chicago Blues scene.  Like their predecessors, such as Muddy Waters and Howlin’ Wolf, they were transplanted southerners. However, unlike Muddy Waters and Howlin’ Wolf, who played the South Side of Chicago clubs, these younger men based themselves mainly in the clubs on Chicago’s West Side.

The three main members of the West Side Chicago Blues style were Buddy Guy, Otis Rush, and the subject of this article, Magic Sam.  Magic Sam (  February 14, 1937-December 1, 1969) was born Samuel Gene Maghett  in Grenada, Mississippi. Like Buddy Guy and Otis Rush, Magic Sam came from the South and all came to Chicago to seek their fortune in music. In addition, like Guy and Rush, Magic Sam was influenced by older Blues players like Muddy Waters, but were also influenced by the popular Rhythm and Blues hits played on local Chicago radio.

Magic Sam’s album “West Side Soul” was released by the Delmark label in 1967. ”West Side Soul is considered by many Blues fans to be one of the greatest, if not the greatest, albums demonstrating the West Side of Chicago Blues style.

His arrangement of Robert Johnson’s “Sweet Home Chicago” has become a Blues standard. Magic Sam was a master of the minor key Blues form and this is best demonstrated by the song “All Your Love” which is a centerpiece of the album. The true sadness of Magic Sam’s story is his early death at the age of 32 as he was just starting to break into the more lucrative rock music market. This is an essential album for the collection of any true Blues fan.

Top three favorite songs from this album:   1. Sweet Home Chicago 2. All Your Love 3. I Don’t Want No Woman      youtube link reviews:

1.  Sweet home Chicago, is driven by Magic Sam’s high heartfelt voice and his driving guitar. Many of the lyrics were changed from the Robert Johnson version and this seminal version of this tune is a pean to joys of running the streets of Chicago in search of fun and love. The opening guitar figure in this tune recalls some of the “Dust My Broom” licks made famous by Chicago slide guitarist Elmore James.  The version referenced here is from the “West Side Soul” album.      2. All Your Love, is one of the most passionate minor key songs in the Blues and it qualifies as also one of the greatest love songs written in the history of the Blues. Magic Sam played guitar with all of the fingers of his right hand in style very similar to fellow guitar legend, Hubert Sumlin. The use of his fingers when picking his guitar set Magic Sam apart from his contemporaries Buddy guy and Otis Rush who play with guitar picks. The footage referenced here is from a European tour that Magic Sam played on shortly before his death.
3. I Don’t Want No Woman, was originally recorded by Bobby “Blue” Bland  on his classic album “Two Steps from the Blues.” Here we have the version that was originally released on “West Side Soul.”

Howlin’ Wolf, was born Chester Arthur Burnett on June 10, 1910 in White Station, Mississippi. He possessed one of the most appropriate stage monikers in the history of American music. His voice had the growl that bought to mind a wolf howling at the moon. But he would also alternate that growl with a falsetto moan that is nothing short of erie. Howlin’ Wolf was a physically massive man who played great harmonica and slide guitar, was a severe taskmaster as a band leader, and a great showman who ran one of the better organized bands in the great period of Post World War II Chicago Blues. His recordings for Sun Records and, more predominately, Chess Records are a testament to strength and durability of the human spirit.

From 1952 till 1958 Howlin Wolf’s first recordings were mainly 78 and, later, 45 RPM singles. In 1959, Chess records released his first full length album called “Moaning in the Moonlight.” The album was comprised of songs from his first singles recorded with Sam Phillips of Sun records (Like 1951’s “How Many More Years”) to the haunting “Smokestack Lightnin.” With the exception of the song “Evil”(Written by Willie Dixon) all of the songs on this album were written by Howlin’ Wolf.

For the guitar player this album is a treasure chest of great guitar tones with great playing by early Howlin’ Wolf guitarist Willie Johnson and the totally his own man approach of Hubert Sumlin. The more I know about Howlin’ Wolf the more impressed I am with him. He was not only a distinctive vocalist, musician, and showman, but he was also a dedicated family man and was such an organized bandleader that he actually paid for his musician’s unemployment insurance. His death on January 10, 1976 has left a void in the world of the Blues that has yet to be filled.

My three favorite tracks on this album:

1. How Many More Years
2. Smokestack Lightnin’
3. Evil

Youtube Video Reviews:

1. “How Many More Years,” was originally recorded at Sun Records in Memphis Tennessee in May of 1951. It features the wonderfully overdriven tone of guitarist Willie Johnson, the barrelhouse piano of Ike Turner ( Of Ike and Tina Turner fame) and the great pounding drums of Willie Steele. For our version we are going to use the May 20, 1965 version that was broadcast on television from the show “Shindig.” Also appearing on this show were The Rolling Stones. Legend has it that The Rolling Stones refused to do the show unless they could bring Howlin’ Wolf on as their guest. Also of note, for this version ,is back-up guitar work of genius guitarist James Burton and pianist Billy Preston.

2. “Smokestack Lightnin,” is partially a literal ode to the coal smoke fire that appeared  to be “Shining like gold” and to the dark feelings of jealousy that leave this mighty wolf howling. This is from the original “Moaning in the Moonlight” album.

3. “Evil,” is the only non-original song on this album. This great Willie Dixon song warns the singer that they need to watch their happy home for romantic rivals appear at every turn. This is a rare  live version that is in color.

Bluesman Buddy Guy( Born July 30, 1936 in Lettsworth, Louisiana), has had a long and varied career. He originally got his start towards international recognition as a side man for Chess records and he then became a recording artist with that label. But Buddy Guy’s career didn’t really started to take off until he moved from Chess records to Vanguard records and he recorded what is considered his masterpiece, “A Man and the Blues” in 1968.

“A Man and the Blues” is a fully realized artistic statement by mature artist. Backed by a crackerjack backup band, that included Bobby Bland guitarist Wayne Bennett, master pianist Otis Spann, and Chicago Blues mainstay, Fred Below on drums, “A Man and the Blues.” delivers a one two punch of the Blues from start to finish.

The title track shows the strong influence of B.B. King on Buddy Guy’s guitar playing. Buddy asks on this song “What can a poor man do when the Blues keeps following him around?” In Buddy Guy’s case, the best remedy to the Blues is to play them as beautifully as he does here. There is not a note wasted and the tone of Buddy Guy’s Fender Stratocaster sets the standard for perfect Blues playing.

The sympathetic relationship between Buddy’s voice and guitar with pianist Otis Spann is breathtaking. The masterpiece on this album is Buddy’s version of the Mercy Dee Walton classic “One Room Country Shack.” Also of note is Buddy’s Blues version of the children’s song “Mary Had a Little Lamb.”  “Mary Had a Little Lamb” has been covered to great effect by Texas Blues guitarist, Stevie Ray Vaughan.  If you own only one Buddy Guy album this should be your selection.

My favorite three songs on this album:

1. One Room Country Shack
2. A Man and the Blues
3. Mary Had a Little Lamb

Review of the youtube videos:

1. “One Room Country Shack,” is a statement of profound loneliness and desolation. Otis Spann’s piano playing stays mainly in the bottom end of the register and compliments Buddy’s stellar guitar playing on this track. Of note to guitar players is Buddy Guy’s use of the technique known as “double stops” where Buddy switches from playing with a guitar pick to playing with his thumb and index finger in order to play two strings at once. All songs referenced in these youtube video links come directly from the “A Man and the Blues” album.

2. “ A Man and the Blues,” as stated in the review in this album, mines the fields of guitar playing established by B.B. King. However, whereas B.B. plays with a lot of tone and few notes, where Buddy Guy’s playing is far more busy and the tone of his guitar is somewhat thinner. This is also due to Buddy’s use of the Fender Stratocaster and B.B. King’s use of a Gibson hollow body guitar. Buddy Guy has given B.B. King credit for encouraging him to switch from playing with his fingers alone to using a guitar pick.

3. “Mary Had a Little Lamb,” is a true delight and shows off Buddy Guys ability to bend his guitar strings with a greater range than the average guitar player.

Howlin’ Wolf, was born Chester Arthur Burnett on June 10, 1910 in White Station, Mississippi. He possessed one of the most appropriate stage monikers in the history of American music. His voice had the growl that bought to mind a wolf howling at the moon. But he would also alternate that growl with a falsetto moan that is nothing short of erie. Howlin’ Wolf was a physically massive man who played great harmonica and slide guitar, was a severe taskmaster as a band leader, and a great showman who ran one of the better organized bands in the great period of Post World War II Chicago Blues. His recordings for Sun Records and, more predominately, Chess Records are a testament to strength and durability of the human spirit.

From 1952 till 1958 Howlin Wolf’s first recordings were mainly 78 and, later, 45 RPM singles. In 1959, Chess records released his first full length album called “Moaning in the Moonlight.” The album was comprised of songs from his first singles recorded with Sam Phillips of Sun records (Like 1951’s “How Many More Years”) to the haunting “Smokestack Lightnin.” With the exception of the song “Evil”(Written by Willie Dixon) all of the songs on this album were written by Howlin’ Wolf.

For the guitar player this album is a treasure chest of great guitar tones with great playing by early Howlin’ Wolf guitarist Willie Johnson and the totally his own man approach of Hubert Sumlin. The more I know about Howlin’ Wolf the more impressed I am with him. He was not only a distinctive vocalist, musician, and showman, but he was also a dedicated family man and was such an organized bandleader that he actually paid for his musician’s unemployment insurance. His death on January 10, 1976 has left a void in the world of the Blues that has yet to be filled.

My three favorite tracks on this album:

1. How Many More Years
2. Smokestack Lightnin’
3. Evil

Youtube Video Reviews:

1. “How Many More Years,” was originally recorded at Sun Records in Memphis Tennessee in May of 1951. It features the wonderfully overdriven tone of guitarist Willie Johnson, the barrelhouse piano of Ike Turner ( Of Ike and Tina Turner fame) and the great pounding drums of Willie Steele. For our version we are going to use the May 20, 1965 version that was broadcast on television from the show “Shindig.” Also appearing on this show were The Rolling Stones. Legend has it that The Rolling Stones refused to do the show unless they could bring Howlin’ Wolf on as their guest. Also of note, for this version ,is back-up guitar work of genius guitarist James Burton and pianist Billy Preston.

2. “Smokestack Lightnin,” is partially a literal ode to the coal smoke fire that appeared  to be “Shining like gold” and to the dark feelings of jealousy that leave this mighty wolf howling. This is from the original “Moaning in the Moonlight” album.

3. “Evil,” is the only non-original song on this album. This great Willie Dixon song warns the singer that they need to watch their happy home for romantic rivals appear at every turn. This is a rare  live version that is in color.

Albert King, ( April 23, 1923-December 21, 1992) was the creator of one of the most distinctive guitar styles in the history of the Blues. Playing left handed, on a Gibson Flying V guitar, Albert would actually pull and bend the strings down towards, as he would put it, towards “his big feet.” His use of open tunings( normally reserved for slide guitarists), his powerful guitar tone, and approach of making every note count influenced guitar players ranging from Jimi Hendrix to Son Seals to Stevie Ray Vaughan and countless other Blues and Rock guitar players. He also possessed a very powerful singing voice.

He first recorded for the Parrot record company in 1953 and had some small, regional hits. However, he truly found a home when he signed with the Memphis based record Stax records in 1966. In 1967, backed by Booker T. and the MG’s and the Stax horn section, he recorded the commercially successful, landmark album “Born Under a Bad Sign.”

“Born Under a Bad Sign,” can qualify as a perfect Blues album. The stellar production, by MG’s drummer Al Jackson, the exceptional selection of songs that showcase Albert King’s unique guitar work and voice, and the sympathetic backing by a team of A-list musicians, make this a must have album in any Blues fan’s collection. The title track penned by Al Jackson and Soul singer William Bell describe a man who states “If it wasn’t for bad luck, I wouldn’t have no luck at all.” King’s rhumba version of the Sam Chatmon classic “Crosscut Saw” shows off Albert’s muscular guitar tone. The guitar solo in “Crosscut Saw” directly influenced Eric Clapton’s solo in the Cream song “Strange Brew.” If you are new to the music of Albert King this album is a great introduction to one of the legends of the Blues.

Three Favorite Songs of the album:

1. Born Under a Bad Sign
2. Crosscut Saw
3. Oh, Pretty Woman

Reviews of youtube videos:

1. “Born Under a Bad Sign,” is almost like a soundtrack for the struggle of the human condition. However, Albert King maintains his dignity throughout the story he tells. The Blues is a music of acceptance and the desire for a better day. That lesson of acceptance is put to good use here. The album “Born Under a Bad Sign” was inducted into the Blues Foundation’s Hall of Fame in 1985 and the title song was also inducted into the Blues Foundation’s Hall of Fame in 1988. The version here was originally on the “Born Under a Bad Sign” album.

2. “Crosscut Saw,” shows off a latin influence in the rhythmic backing for the track and delights the listener in the muscular guitar tone. This song was written by the Mississippi Sheiks’ guitarist Sam Chatmon. Chatmon was not apparently pleased with the lack of credit he received for this song. The version referenced here was also originally on the “Born Under a Bad Sign” album.

3. “Oh, Pretty Woman,” describes the frustration of being unable to articulate your desire for the object of your desire.  In this case, a very pretty woman. This song echoes the lyrics of the Son House song “My Black Mama” where cheap paint and powder ain’t gonna help you none.”

Memphis Slim-(September 3, 1915-February 24, 1988) was born John Len Chatman in Memphis, Tennessee.  His father was named Peter Chatman. Peter Chatman was a pianist and this helped to inspire Memphis Slim to take up the piano as his instrument of choice. Memphis Slim developed into one of the finest songwriters and the history of the Blues and he used Peter Chatman as his pen name in honor of his father. Memphis started playing professionally in the 1930’s and played the honky-tonks, dance halls, and gambling joints throughout the American South.  In 1939, he moved to Chicago where he performed as a solo performer and started to back up artists such as Big Bill Broonzy. His professional name of Memphis Slim was given to him by Bluebird Records mogul, Lester Melrose.

The songs of Memphis Slim have been covered by anyone from Ray Charles to B.B.     King. B.B. King had a huge hit with his version of “Everyday I Have the Blues.”

In 1959, Memphis Slim released one of the most important albums of his career “At the Gate of Horn.”  “At the Gate of Horn,” features Memphis Slim’s smooth, almost Charles Brown styled vocals and his rolling piano.  “At the Gate of Horn,” showcases Memphis Slim classics such as “Mother Earth” and “Steppin’ Out.” Also of note on “At the Gate of Horn” is the always exciting guitar work of Matt “Guitar” Murphy. The licks of Matt Murphy are supportive of the songs and never get in the way of Memphis Slim’s vocals and piano work.

In the 1960’s, tired of the grind of Chicago Clubs and unscrupulous record companies, Memphis Slim moved to Paris, France. He married a French woman who took over the management of his career and Memphis Slim was far more successful in Europe than he ever was in America. This is a must have album.

Three Favorite Song on the Album:

1. Mother Earth
2. Steppin’ Out
3. Sassy Mae

Youtube Video Reviews:

1. “Mother Earth,” is a stunning piece of Blues poetry. It states with Blues truth that “Don’t care how great you are and I don’t care what your worth.  When it all ends up you got to go back to Mother earth.” Memphis Slim was an outstanding lyricist and it is demonstrated with clarity and feeling in this song.  A bit of trivia:  This was the last song that Jimi Hendrix played, jamming with Eric Burdon’s band War, the night before his Hendrix’s untimely death.

2. “Steppin’ Out,” is an exceptional instrumental that features some stunning guitar work by Matt “Guitar” Murphy.  This song was redone by John Mayall, featuring Eric Clapton, on the landmark album, “John Mayall Bluesbreakers with Eric Clapton.”

3.  “Sassy Mae,” almost reminds one of the classic Elmore James shuffles where Elmore would play signature Robert Johnson guitar lines that never failed to excite Elmore’s audiences.  Even though the title of this album gives the impression that this would be a live album, there is no audience applause of the album.

Blues artist John Mayall has been called “The Godfather of the British Blues” scene.  From the early 1960’s through his current band his groups have been the trying ground for some of the greatest guitarists in the history of the Blues. John Mayall has had an innate talent for spotting and nurturing talent. It also is a testament to his talent that many musicians in John Mayall’s groups, and not only guitarists, have gone on to join or form successful bands of their own.

The album of John Mayall that has continued to influence players of the Blues is the album “John Mayall Bluesbreakers With Eric Clapton.” Eric Clapton had recently the  Pop-Blues group, The Yardbirds.  The Yardbirds desire for commercial success was at odds with Clapton’s dedication to playing the Blues. John Mayall put Eric Clapton up in his home and gave him free rein with his record collection. The many hours of listening to and practicing the Blues lead to the stellar guitar work on the “John Mayall Bluesbreakers with Eric Clapton album.

The influence of this album was vast among British and American musicians. Specifically influential was Clapton’s use of a combination of a Gibson Les Paul guitar and a Marshall amplifier and the use of high volume on his amp. All of Clapton’s solos were cut live in the studio and his amplifier was recorded with a microphone set at a distance in the studio from his amp.

Eric Clapton was inspired to use the Les Paul guitar because of the influence of Texas Bluesman Freddie King’s use of this particular model guitar. The material covered on this album ranged from covers of classic Blues and R&B artists such as Otis Rush and Ray Charles.  In addition, the album also showcased fine originals penned by John Mayall.  In addition, this album marks the debut of Eric Clapton as a vocalist with his cover of Robert Johnson’s classic tune “Rambling on My Mind.” This is considered to be one of the finest John Mayall albums and is also considered to feature some of Eric Clapton’s finest playing.

Three favorite songs on the album:

1. All Your Love
2. Hideaway
3. Double Crossing time

Youtube Video Reviews

1. “All Your Love,” was written by Blues songwriter, Willie Dixon. The seminal version of this song was originally recorded by Chicago Bluesman Otis Rush. It is Rush’s version that provides the blueprint for Eric Clapton’s guitar work for the Mayall version. The main difference between the Otis Rush original and John Mayall’s is the passion and tough as nails tone of Clapton’s Les Paul. The video referenced here is from the “John Mayall Bluesbreakers with Eric Clapton album.

2. “Hideaway,” comes from the catalog of early Eric Clapton influence Freddie King. The Bluesbreakers band personnel were Clapton on guitar, John Mayall on keyboards and harmonica, Hughie Flint on drums, and future Fleetwood Mac member John McVie on bass. The band provides a solid backing for Clapton’s guitar and allows him room  to make his solos shine throughout. This version is also from The Bluesbreakers album.

3. “Double Crossing Time” is a John Mayall original and features one of Eric Clapton’s finest solos on the album.

For Blues guitarists coming to maturity in the 1960’s, Freddie King

(September 3, 1934-December 28, 1976) was one of the most influential Blues guitarists to come out of Texas. Freddie King possessed a marvelous singing voice. But  the greatest impression that Freddie King made in the early 1960‘s were with his finely crafted,and danceable, instrumentals. You can hear Freddie King’s direct influence as a guitar player in the work of such American players as Michael Bloomfield, Dickey Betts, Jimmy Vaughan, and Stevie Ray Vaughan and, in the U.K, Eric Clapton, Peter Green, and Mick Taylor. For these guitar players, and many others, the instrumentals of Freddie King were almost like a rite of passage in unlocking some of the secrets of playing the Blues.

The full title of the album reviewed here is “Let’s Hide Away and Dance with Freddie King.” For the sake of brevity, we will use the shortened title “Dance with Freddie King” for the rest of this review. Interestingly enough not only were these songs influential with Blues guitarists, but were also very popular with fans of “Surf” guitar players such as The Ventures and Dick Dale. This is because “Dance with Freddie King” had instrumentals with instantly memorable melodies. They always had a main melodic theme with plenty of possibilities for soloing.

The most important lesson of Freddie King’s work for the guitar player was the discipline of playing instrumentals with clearly defined parts. As the 1960’s progressed in to the 1970’s, Freddie King recorded albums that featured his vocals more prominently. He became a popular artist as a headliner and as an opening act for many popular Rock acts.

Three favorite songs on this album:

1. The Stumble
2. Hide Away
3. San Ho Say

Youtube Video Reviews:

1. “The Stumble,” shows off some of Freddie Kings powerful hammer on and bends with a groove that stays focused on the beat. There are also some fine stops” ( Pauses by the band that feature some of Freddie King’s best licks) There was a powerful cover of this tune by British guitarist Peter Green on the John Mayall album “A Hard Road.” The version featured on this video is directly from the “Dance with Freddie King” album.

2. “Hide Away,” is possibly the best known of the instrumentals of “Dance with Freddie King.” Again we have the use of stops that feature some fine guitar licks by Freddie King. There is also use of part of the theme from the television show “Peter Gunn.”
Eric Clapton recorded a stunning version of this tune on the John Mayall album
“Bluesbreakers with Eric Clapton.” The video version featured here is also from
the “Dance with Freddie King” album.

3. “San Ho Say,” is another popular instrumental from the Freddie King
instrumental catalog. Grateful Dead guitarist, Jerry Garcia has said that this one of
the Freddie King tunes that made him want to switch from acoustic guitar to electric.
The video version featured here is from The 1966  Texas television show Beat !!!
In the back up band on this video is fellow Texas guitarist (originally from Louisiana)
Clarence “Gatemouth” Brown.

Muddy Waters, is considered by many musicians and Blues fans as being the Godfather of Chicago Blues.  Howlin’ Wolf might have disagreed with that assessment and singer/harmonica player Junior used the same moniker after Muddy’s death. None of that really matters though. Muddy Waters was an amazing figure in American Blues, with his deep, almost preacher like voice and his microtonal  slide guitar the effect of his music is still effecting it’s listeners and is reaching new generations.

In the mid-sixties to early seventies the audience for the Blues had changed. The popularity of the Blues moved away from it’s original African-American urban base to white American college students, Folk musicians, and overseas musicians and audiences. Marshall Chess, son of Chess Records President Leonard Chess, was given the challenging task of re-marketing the music of Muddy  and of the other older Bluesmen on the Chess label. After a few misplaced Psychedelic experiments like the “Electric Mud” album(1968), Marshall Chess and producer Norman Dayron joined forces and struck gold with the concept album “Muddy Waters,  Fathers and Sons.” No horns or fuzz tone guitars on this one. The deep Blues of Muddy Waters stepped back into the spotlight with the “Fathers and Sons” Blues album.

The concept  of ‘Fathers and Sons was to unite two generations and races in a gesture of total respect for Muddy Waters’ music. “Fathers and Sons” boasted a a line-up of stellar musicians:  Michael Bloomfield on guitar, Paul Butterfield on harmonica, Donald “Duck” Dunn on bass, Sam Lay on drums, and former Muddy Waters bandmate, Otis Spann, on piano. Also assisting were Jeff Carp on chromatic harmonica, rhythm guitarist Paul Asbell, Phil UpChurch, on bass. “Fathers and Sons” was a double album with three of the sides recorded at studio sessions in Chicago on April 21, 22, and 23 1969. On April 24 a fourth side of the album was recorded at the Auditorium Theatre in Chicago. This side of the album was a tour de force and drummer Buddy Miles joined in on the encore reprise of “Got My Mojo Working.” This album is one of the best generational collaborations in annals of recorded Blues.

My favorite three songs on “Fathers and Sons.”

1. Mean Disposition
2. Blow Wind Blow
3.  All Aboard

youtube video reviews

For my favorite tracks, number one and two are referenced in one video. The first track featured here is “Mean Disposition.” This track demonstrates that Paul Butterfield and Michael Bloomfield learned their lessons when a decade before they started sitting in with Muddy Waters  in the Blues clubs around the South and West Side of Chicago. Muddy Waters’ slide guitar is outstanding on this track. It is a signature Muddy Waters tune that is played at a leisurely, yet intense, pace. “Blow Wind Blow,” is a great standard Chicago shuffle that fits Muddy perfectly.

My third favorite track is “All Aboard” is a wonderful track with Sam Lay’s snare drum driving the song with a train like beat and the twin harmonicas of Jeff Carp, on chromatic harmonica, and Paul Butterfield on diatonic continuing the locomotive feel with whistle like blasts on their harmonicas. All three of these tracks were featured on the original album.

Junior Wells, ( December 9, 1934-January 15, 1998) was one of foremost players of Chicago Blues harmonica. His early work as a member the Muddy Waters was enough to guarantee him a place in music history. However, Junior Wells was not meant to be anyone’s sideman. He possessed an incredible voice that was matched by his wailing harmonica. In 1965, Junior Wells cut his first full length album called “Hoodoo Man Blues” for the Delmark record label.

Hoodoo Man Blues, is the work a fully realized artist. Junior was only 31 years old when he recorded this album. But his voice and playing communicate an emotional maturity that is ageless. Hoodoo Man Blues is another essential album in the Blues collection of any serious listener.

Hoodoo Man Blues was also the beginning of a great Blues partnership with his collaboration on the album, and eventually on stage, with Chicago Blues legend, Buddy Guy. Under contract to Chess records at time, Buddy Guy is listed on as “Friendly Chap.” Also providing back-up was bassist Jack Myers and drummer Billy Warren.

The choice of material on this album is exceptional and many Rock and Blues musicians have covered the arrangements on this album. Some of the standout cuts include “Snatch it back and Hold it, Ships on the Ocean (Based on Willie Dixon’s “Just to Be With you”), Good Morning Little Schoolgirl, Chitlin Con Carne (Written by Jazz Blues guitarist Kenny Burrell), and the title track.

This is a very interesting album sonically also because of Buddy Guy’s use of an organ amplifier for his guitar which gives the guitar a sort of “watery” effect. The tempestuous partnership of Junior Wells and Buddy Guy, on and off stage, has been well documented. On Hoodoo Man Blues they are Blues brothers or, as it has been said, “the original Blues brothers.” But the ultimate star on this album is Junior Wells. A must have album.

My three favorite songs on this album:

1. Hoodoo Man Blues
2. Snatch it Back and Hold it
3. Chitlin Con Carne

Reviews of the youtube videos for this article

1. Hoodoo Man Blues, is a song where the trick is played on the Hoodoo Man. This version of this song is from one of The American Blues Festival European tours.  Playing guitar on this live version is Chicago legend, Otis Rush.  Junior Wells’ harmonica playing on this song demonstrates how much Sonny Boy Williamson II influenced Junior’s playing.

2. Snatch it Back and Hold it, demonstrates the unusual influence of James Brown on Junior’s voice. This song always got a great response when Junior Wells played it live. It is one of the most covered of the tunes associated with Junior Wells with maybe the exception of the song “Messin’ With the Kid.” The version of Snatch it Back Hold it referenced here is the original version as it appeared on the Hoodoo Man Blues album

3. Chitlin’ Con Carne, is the red herring on the album. It is totally unlike any of the other songs and is faithful to the melody originally written by Kenny Burrell. this is also the original version as it appeared on the Hoodoo Man Blues album.