In the liner notes, Bill Dahl points out that in many ways, John Lee Hooker and Lightnin' Hopkins were anachronisms. The acoustic country blues that they had grown up with was old hat by the late '40s. Still, both players built a repetition on idiosyncratic styles that had more in common with the old Delta than Muddy Waters. The half-dozen solo tracks by Hopkins originated from a 1969 session and the results are splendid. Old standbys like "Katie Mae" fit snugly between lovely gems like "I Hate I Got Married" and "Jailhouse ...
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In the liner notes, Bill Dahl points out that in many ways, John Lee Hooker and Lightnin' Hopkins were anachronisms. The acoustic country blues that they had grown up with was old hat by the late '40s. Still, both players built a repetition on idiosyncratic styles that had more in common with the old Delta than Muddy Waters. The half-dozen solo tracks by Hopkins originated from a 1969 session and the results are splendid. Old standbys like "Katie Mae" fit snugly between lovely gems like "I Hate I Got Married" and "Jailhouse Blues." There's something so strange about a Hopkins session when it works, a certain rough poetry in the way his lazy vocals and irregular guitar lines fall into place. Hooker kicks off his sides with a solo version of "Sally Mae" before being joined by piano, bass, and drums for a seven-minute take on "Rock With Me." While Hooker is in pretty good shape for this '70s session, the remaining tracks all run between six and nine minutes. This is a bit long for one-chord songs, and fails to match the intensity of the Hopkins material. While the Hooker material may not be the best introduction to his work, Blue on Blues does provide a good side by side comparison of two distinct, high-energy stylists. ~ Ronnie D. Lankford, Jr., Rovi
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