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Hoodoo Man Blues [VINYL] Import


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£19.99 & FREE Delivery in the UK on orders over £20. Details Only 4 left in stock. Sold by wmdservices and Fulfilled by Amazon in certified Frustration-Free Packaging. Gift-wrap available.

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Product details

  • Vinyl (9 Oct. 2009)
  • Number of Discs: 1
  • Format: Import
  • Label: Delmark Records
  • ASIN: B00007JGQI
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (25 customer reviews)
  • Amazon Bestsellers Rank: 48,529 in Music (See Top 100 in Music)

Product Description

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

BBC Review

The blues is both the foundation and the enemy of all rock music's creativity. Foundation, because without it we'd be listening to nothing but ABBA and Cliff Richard, or any music which has had its blackness pumped out of it. Without the blues, there would be no rock'n'roll, no rock, no soul or indeed any music - even Kraftwerk - of worth made outside of the classical canon in the last 100 years. But it's also something that's often best avoided, as any 1970s music fan who's endured hours of plodding 12-bar solos, lyrics about how "mah woman done let me down", or similar blues clich�s can attest. The blues is easy to play, but hard to play well.

Fortunately, the record under discussion here is a brilliant and inventive foundation stone of blues. Junior Wells, Chicago blues vocalist and harmonica player, had been around for a while before producer Bob Koester decided to record him for the Delmark label in 1965. In his sleevenotes, Koester states he had no idea that this would be the first time a working Chicago blues band was given the full run of a studio, with no time limits or singles planned. With the presence of Buddy Guy - renamed for contractual reasons as 'Friendly Chap' - on guitar, the session was set up to be as powerful as possible.

Wells' style is at once laidback and forceful. On songs like Snatch It Back and Hold It and a louche Hound Dog, he is relaxed but not messing about. On Good Morning Schoolgirl, a staple of the 1960s British blues scenes, he's a danger to shipping, never mind young women. And when he plays the harmonica - sometimes smoothly, sometimes like it's an airbed being punished - Wells is more like Jimi Hendrix than Stevie Wonder. The band are similarly deceptively casual and enormously powerful - an effect enhanced by Guy's guitar, which was for emergency reasons often played through a Leslie organ speaker (making it sound, unsurprisingly, rather Beatles-y for a blues guitar).

And the results are timeless. Regularly voted amongst the best blues album of all time by virtually everyone since its release, Hoodoo Man Blues - here with a lovely remaster, alternate takes and "studio chatter" - is a historical artefact, a listening joy and a blues tour de force.

--David Quantick

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Customer Reviews

4.8 out of 5 stars
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Most Helpful Customer Reviews

33 of 34 people found the following review helpful By Jonny (parkerhotels@hotmail.com) on 20 Feb. 2002
Format: Audio CD
I always wondered why people bother to critique music in this type of forum - then along come Hoodoo Man Blues.
This CD has just blown me away completely.
Junior Well's vocals are incredible, moving and confident - he appears so utterley comfortable with his music. And then there is his harmonica playing, which is nothing short of intoxicating.
A young Buddy Guy accompanies Wells and shows his early mastery of electric blues guitar: highly expressive and tuneful.
The partnership of these two awesome figures was made in heaven. Also, as if things couldn't get any better, the recording is audiophile quality - I'll say that again, the recording is audiophile quality - if you can't SEE the music, your hi-fi is ready for the scrap heap. A Beautiful album that anyone with even the faintest interest in the blues must own - its the real deal, and you won't stop playing it!
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4 of 4 people found the following review helpful By Dun Ravin' on 8 May 2011
Format: Audio CD
This was recorded when blues had lost its popularity with Black Americans. Stax, Motown and James Brown reflected their aspirations much better, expressing self confidence and hope without harking back to plantations, poverty and life as a second class citizen.
There's not a moment of self doubt or worry about a disappearing audience in this session. Junior is right up there, singing his heart out and blowing on his harmonica with hunger and enthusiam - and a touch of menace when necessary. He's hungry,he's got something to say, and he's got the self-confidence to nod in the direction of James Brown without stooping to plagiarism.
Buddy is a sensitive and intelligent accompanist. He knows when to keep in the background, when to push Junior on, and when to step into the spot light and fill in empty bars. He's that rarest of things in the 1960s, a lead guitarist who wants to contribute to the music, not dominate it. If you can think of an album with a better supporting guitarist - in any genre, not just the blues- please put it on the comment page, because I'd love to hear it.
The guys on drums and bass just lay down a nice steady background with no histrionics or unecessary flourishes. It all sounds easy, but it isn't.
This wasn't the best time to be making a blues album. However, it's a classic - arguably the last great blues album.
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4 of 4 people found the following review helpful By Keith Randall on 8 April 2008
Format: Audio CD
With respect to my fellow reviewer, this album is not really fifties blues. It was recorded in the mid-sixties and was, as other reviews describe, a fine contemporary work. And, had it been recorded this year, it would still sound current. It has a vitality and presence which passes the test of time with honours. And so, it is blues - very good blues - which does not need to be slotted into a specific era.

What a band! Four brilliant musicians at the top of their game. I'm not familiar with drummer Billy Warren but I like his style; Jack Myers was a very influential bassist with a fresh approach to a classic form; Buddy Guy was in excellent form on these sessions; and Junior Wells leads them to many peaks throughout the album. He is 'his own man' as a vocalist and harmonicist. I would hesitate to claim that he is the equal of Little Walter (although he was a very serious rival to Walter in the early 1950s) but I love what he plays. The comparison is pointless. He's who he is, and that's good enough for anybody.

So - why four stars, not five? I've docked one star for tuning problems which spoil a couple of tracks for me. I won't say which tracks because if you haven't noticed then I don't want to spoil it for you...
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12 of 13 people found the following review helpful By No Longer Used VINE VOICE on 3 Sept. 2003
Format: Audio CD
Hot foot from Muddy Waters and Earl Hooker Wells teamed up with guitar master Buddy Guy, bassist Jack Myers and drummer Billy Warren to record this Chicago masterpiece, reputedly the first LP recorded by a working Chicago blues band it crackles with menace, Junior commands you to 'Snatch it Back and Hold It' at the opener before tearing it out of your hands and pushing it back in your face, this is a superb set where everything gels, Guy (I think billed as Friendly Chap on the original cover) tears it up and Wells meaty harp compliments the onslaught parry and thrust, what it must have been to see this band in its prime.
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3 of 3 people found the following review helpful By Cliff Gater on 9 April 2009
Format: Audio CD
Hoodoo Man BluesI bought this album on a Delmark LP about 44 years ago, mail order direct from Chicago and it still sounds superb (I also have the CD). It was one of the first "Blues albums" as opposed to "a collection of singles" and set the standard which others are still trying to emulate. It became the template that many bands (my own included) tried to follow. Blues has got a lot louder since then but never as modern as this.
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1 of 1 people found the following review helpful By Victor HALL OF FAMETOP 100 REVIEWER on 28 Sept. 2009
Format: Audio CD Verified Purchase
A historic first in the history of recorded music, this wonderful album is generally considered to be the first Blues album. Recorded in 1965, albums had been around for a while, but the great blues singers and labels tended to record singles, and what albums had been put out were merely collections of singles. This was the first time a series of recordings had been made with the intention of making an album.

Even without the notable first, this would still be an essential album for any blues lover's collection. Here we have not one, but two masters of the genre starting out on their careers. We have the incomparable Junior Wells on harp and vocals, and one of my long time blues guitar heroes Buddy Guy showing us just why he would become a legend.

This is down and dirty Chicago blues of the highest order. It kicks off with the attention grabbing `snatch it back and hold it', which really sets the mood. The band then proceed to grind their way through a set of blues standards (including an impressive reworking of `good morning little schoolgirl', a tribute to the harp player extraordinaire of the previous generation, Sonny Boy Williamson I) and a couple of originals. Junior Wells shows time and time again why Muddy Waters chose him as successor to Little Walter when he left Water's band. His harmonica playing is tuneful and emotional, played with great passion. And his vocals are sublime. And as for Buddy Guy's guitar work - it just doesn't get better.

This CD from Delmark presents the original album in stereo with a decent sound quality. There are two bonus alternative takes, one of the anthemic `hoodoo man blues', and the superb instrumental workout `chitli' con carne'. These are interesting and add to the album.
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