If you didn't catch my earlier reviews of three titles in this series (here, here, and here) or the fact that all three made the Best Of 2011 List (here), then now's the time for redemption. Catbone has two more titles for blueshounds and proto-rockers that're just as sanctified as what I covered previously, and that's damn good news. The purpose of the imprint series is to re-showcase just how funky, greasy, nasty, righteous, and straight-out rockin' the elder music-makers were and in ways not always recognized. A good deal of the material in the Jukin' series is taken from obscure sources and often stuff you ain't never heard, Jackson.
James Cotton comes in for especially hallowed treatment all through the issuances, and Jukin' is no exception. He kicks off the CD with Feeling Good before making four more appearances, and, God Almighy, that harp of his! Sure, gimme Sonny Boy, Charlie, and no end of the wailin' harmonica cats, but James has a weird something that defies description: hot, eerie, and electrifying. Sometimes makes your hair stand on end. Makes sense, then, that he'd be followed by Billy Boy Arnold, who likewise blows a mean little mouth piano.
Howlin' Wolf, perhaps the most distinctive voice in all rock and blues, makes it through the gate for four monumental tracks, and while Bloomfield gets only one, Lie to Me, man, that short little guitar intro…insane! Jimmy Reed renders his Wolf-ian Shame, Shame, Shame while George Cummings coolsides on Highway 61, a swingingly infectious shuffle. The whole affair shuts down with a loungey instrumental curiously titled Asphyxiated Swing by Jack Millman playing a muted trumpet and bringing back the 50s. And if you're sad that such good things must come to an end, and ya should be, then hop on over to the critique of Bar-B-Cue'n Blues (here) and continue the feast.
Edited by: David N. Pyles
Copyright 2012, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.
Website design by David N. Pyles