Winding through the literally hundreds of titles in
John Lee Hooker
's catalog is a daunting task for even the most seasoned and learned
blues
connoisseur. This is especially true when considering
Hooker
recorded under more than a dozen aliases for as many labels during the late '40s, '50s, and early '60s.
I'm John Lee Hooker
was first issued in 1959 during his tenure with
Vee Jay
and is "the Hook" in his element as well as prime. Although many of these titles were initially cut for Los Angeles-based
Modern Records
in the early '50s, the recordings heard here are said to best reflect
's often-emulated straight-ahead primitive Detroit and
Chicago blues
styles. The sessions here comprise
, with its 12 tracks taken from six sessions spread over the course of four years (1955-1959).
works both solo -- accompanied only by his own percussive guitar and the solid backbeat of his foot rhythmically pulsating against plywood -- as well as in several different small-combo settings. Unlike the diluted, pop-oriented blues that first came to prominence in the wake of the British Invasion of the early to mid-'60s, the music on this album is infinitely more authentic in presentation. As the track list indicates,
includes many of his best-known and best-loved works. Right out of the gate comes the guttural rumble-tumble of "Dimples" in its best-known form; indeed, it can be directly traced to -- and is likewise acknowledged by -- notable purveyors of Brit rock such as
Eric Burdon
, who incorporated it into the earliest incarnation of
the Animals
,
the Spencer Davis Group
, and the decidedly more roots-influenced
Duane Allman
. Another of
's widely covered signature tunes featured on this volume is "Boogie Chillun." This rendering is arguably the most recognizable in the plethora of versions that have seemingly appeared on every
-related compilation available. Additionally, this version was prominently featured in The Blues Brothers movie as well as countless other films and adverts. Likewise, a seminal solo "Crawlin' King Snake" is included here. The tune became not only a staple of
's, it was also prominently included on
the Doors
'
L.A. Woman
and covered by notable bluesmen
Albert King
B.B. King
, and
Big Joe Williams
, whose version pre-dates this one by several decades.
is one of the great blues collections of the post-World War II era. Time has, if anything, only reinforced the significance of the album. It belongs in every blues enthusiast's collection without reservation. ~ Lindsay Planer