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John Lee Hooker - The Country Blues Of John Lee Hooker (1959) {Remastered & Expanded rel 2015}

Posted By: ruskaval
John Lee Hooker - The Country Blues Of John Lee Hooker (1959) {Remastered & Expanded rel 2015}

John Lee Hooker - The Country Blues Of John Lee Hooker (1959) {Remastered & Expanded rel 2015}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 358 Mb | MP3 @320 -> 159 Mb
Full Artwork @ 300 dpi (png) -> 54 Mb | 5% repair rar | 24bit remastered
© 1959, 2015 Riverside / Soul Jam Records | 600869
Blues / Country Blues / Delta Blues / Acoustic Blues / Detroit Blues

In 1959, John Lee Hooker signed a one-off deal with the Riverside label to record an acoustic session of the country blues. It was a key change from his earlier recordings, most of which had featured Hooker on an electric guitar with his trademark reverb and stomping foot. Folk purists of the day were delighted with COUNTRY BLUES, believing Hooker had returned to his roots, leaving the "glitzy commercialism" of R&B behind. But some Hooker fans considered COUNTRY BLUES a "betrayal" of his true sound.

The truth is probably somewhere in-between. Remember, John Lee Hooker is always John Lee Hooker, regardless of the format. If you like Hooker, or acoustic blues, buy this album. It is an intimate session featuring standards like "How Long", "Bottle Up and Go", as well as Hooker's first recorded take on "Tupelo", one of his all-time classics.

BTW- The companion album for this would be BURNING HELL; its selections are from the same session. Think of it as THE COUNTRY BLUES OF JOHN LEE HOOKER Vol 2.
John Lee Hooker - The Country Blues Of John Lee Hooker (1959) {Remastered & Expanded rel 2015}

Only during the late '50s folk revival could you sell out by picking up an acoustic guitar. For at least a decade before 1959's The Country Blues, John Lee Hooker played electric blues aimed primarily at the African-American market, a minimalist electric boogie that sold hundreds of thousands, maybe millions (no one knows for sure), of singles and made Hooker a jukebox hero. But Hooker's market was drying up — the new generation disdained the blues — so, now in his 40s, he turned to acoustic folk music, which was what earnest white kids listened to before there was indie rock. Ironically, the folk crowd deemed acoustic guitar more "authentic" — authenticity apparently being limited, as critic Ed Ward once japed, to "aged black men playing an acoustic instrument" — even though the truly authentic African-American folk music had been played on electric guitars for many years.
The Boogie Man’s classic first acoustic session.

So Hooker's regular label Vee-Jay loaned him out to the venerable New York jazz imprint Riverside for his first proper acoustic recordings, not to mention his first proper albums. (The excellent Burning Hell, released years later, comes from the same sessions.) The gambit worked: Country Blues was a success and Hooker, now calling himself a folk singer, soon played the Newport Folk Festival, leading to a good long run on the coffeehouse circuit.

The funny thing is, Hooker made a hell of a record. Sure, he was the all-time champion of electric trance-boogie, his rhythms as mesmerizingly monotonous as the auto plants of his adopted hometown of Detroit, but he'd gotten to his spectral metal machine music from other places, deep below the Mason-Dixon. Hooker certainly knew folk blues — he grew up in the near-mythical jazz mecca of Clarksdale, Mississippi, and Delta blues legends Blind Lemon Jefferson, Charley Patton (whose "Pea Vine Special" Hooker covers here), and Blind Blake all hung out with his stepfather, William Moore. In fact, it was Moore, an obscure but revered country bluesman, who imparted Hooker's "boogie lightnin'" style, having picked it up in his home state of Louisiana.

For the chin-stroking folk revival crowd, this is a sampler of southern folk styles: Delta blues (the galloping "Pea Vine," which interpolates Son House's "Pony Blues"), hokum ("Wobblin' Baby"), prison work songs ("Water Boy"), etc., but Hooker gives them his own inimitable spin. Like Japanese Zen painting, it's the spaces in between the lines that bear much of the tunes' weight and meaning; Hooker always knows just the right place to build hypnotic suspense, mercilessly interrupting a narrative line with guitar vamps that gallop like a ragged spectre, or haphazard, bad-ass squiggles of notes that somehow signify blues licks. That elliptical approach accounts for much of the quiet menace in "King Snake," a murderous monologue by an enraged cuckold, told with unsettling sangfroid; Hooker's spare guitar speaks volumes of implied sound and rhythm.

Instead of the leering, miniature tales of urban misadventure he limned in his electric singles, Hooker here details the rural life he'd left behind in his youth. But rather than a vision of bucolic splendor, the country is a sun-scorched crucible of sex, violence, toil and death, like something out of Flannery O'Connor. "Church Bell Tone" opens with four peals of a low E string, a buzzing, moaning and ominous introduction to a profoundly dark — and fascinatingly ambiguous — song. A depressed woman friend has died but it's unclear whether she took her own life. "Bye, bye, baby, I know we'll never meet again," he says in a high, eerie wail, clearly implying that one of them is going to heaven and the other isn't. "We'll never meet no more," he adds firmly, and that's when the hairs on the back of your neck stand up.

"Water Boy" resounds with the breathy "ha!" of men breaking rocks in the hot sun, an epiphany of regret and anger in each swing of the heavy hammer, while the sharecropper's lament "Behind the Plow" makes clear that only beasts of burden had it worse then the folks who worked on the plantation. The album's centerpiece, "Tupelo," evokes an apocalyptic flood scene with bare-bones, one-chord, single-string riffing and an almost conversational vocal delivery. Never mind that there never was a major flood in Tupelo; Hooker calmly evokes the calamity in powerfully Biblical terms. Covered by Captain Beefheart and homaged by Nick Cave, the tune sucks you in like a ghost story told around a crackling campfire.

In his liner notes for the record, Riverside co-chief Orrin Keepnews called Hooker "the most down-home of the major post-war blues figures… a most authentic singer of the way-back, close-to-the-soil kind of blues,” which completely ignores Hooker's citified art, but sure explains where this recording was coming from. Purists of the day might have rejoiced in the authenticity of the material and the approach, but whatever John Lee Hooker did was de facto authentic, and the calculated commercial motivations behind this recording simply don't stand a chance in the face of the man's profound artistry. –Michael Azerrad, Wondering Sound
John Lee Hooker - The Country Blues Of John Lee Hooker (1959) {Remastered & Expanded rel 2015}


Track Listing:
1. Black Snake
2. How Long Blues
3. Wobblin' Baby
4. She's Long, She's Tall, She Weeps Like A Willow Tree
5. Pea Vine Special
6. Tupelo Blues
7. I'm Prison Bound
8. I Rowed A Little Boat
9. Water Boy
10. Church Bell Tone
11. Bundle Up And Go
12. Good Mornin', Lil' School Girl
13. Behind The Plow

Bonus Tracks
14. Love Blues
15. Sugar Mama
16. Ramblin' by Myself
17. Down At The Landing
18. I Like To See You Walk
19. Turn Over A New Leaf
20. The Journey
21. Bluebird

Exact Audio Copy V1.2 from 12. August 2016

EAC extraction logfile from 10. November 2016, 19:25

John Lee Hooker / The Country Blues Of John Lee Hooker

Used drive : TSSTcorpCDDVDW SH-224BB Adapter: 1 ID: 0

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Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track

Used output format : User Defined Encoder
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Track | Start | Length | Start sector | End sector
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1 | 0:00.00 | 3:35.25 | 0 | 16149
2 | 3:35.25 | 2:16.51 | 16150 | 26400
3 | 5:52.01 | 2:52.29 | 26401 | 39329
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5 | 11:33.34 | 3:12.62 | 52009 | 66470
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20 | 61:08.52 | 3:42.14 | 275152 | 291815
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Track 1

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Track 2

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Track 3

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Track 4

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Track 5

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Track 6

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Track 7

Filename C:\Rips\John Lee Hooker - The Country Blues Of John Lee Hooker (1959) [FLAC] (Remastered & Expanded 2015)\07 - I'm Prison Bound.wav

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Track 8

Filename C:\Rips\John Lee Hooker - The Country Blues Of John Lee Hooker (1959) [FLAC] (Remastered & Expanded 2015)\08 - I Rowed A Little Boat.wav

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Track 9

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Track 10

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Track 11

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Track 12

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Track 13

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Track 14

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Track 15

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Track 16

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Track 17

Filename C:\Rips\John Lee Hooker - The Country Blues Of John Lee Hooker (1959) [FLAC] (Remastered & Expanded 2015)\17 - Down At The Landing.wav

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Accurately ripped (confidence 2) [71DD8A6A] (AR v2)
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Track 18

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Accurately ripped (confidence 2) [15FDFC7D] (AR v2)
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Track 19

Filename C:\Rips\John Lee Hooker - The Country Blues Of John Lee Hooker (1959) [FLAC] (Remastered & Expanded 2015)\19 - Turn Over A New Leaf.wav

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Track 20

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Track 21

Filename C:\Rips\John Lee Hooker - The Country Blues Of John Lee Hooker (1959) [FLAC] (Remastered & Expanded 2015)\21 - Bluebird.wav

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Accurately ripped (confidence 2) [05D81661] (AR v2)
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All tracks accurately ripped

No errors occurred

End of status report

–– CUETools DB Plugin V2.1.6

[CTDB TOCID: Vt.1Cgxd4uhx..k10yBk14iXoMg-] disk not present in database
Submit result: Vt.1Cgxd4uhx..k10yBk14iXoMg- has been uploaded


==== Log checksum 92407653A6D205A30CC52EF8BFEDBDBC93480080D590F012F3177881869919B8 ====


John Lee Hooker - The Country Blues Of John Lee Hooker (1959) {Remastered & Expanded rel 2015}

John Lee Hooker - The Country Blues Of John Lee Hooker (1959) {Remastered & Expanded rel 2015}




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