Junior Wells

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He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack. Amazingly, Junior Wells kept at precisely this sort of thing for over 40 years -- he was an active performer from the dawn of the 1950s to his death in the late '90s. Born in Memphis, Wells learned his earliest harp licks from another future legend, Little Junior Parker, before he came to Chicago at age 12. In 1950, the teenager passed an impromptu audition for guitarists Louis and David Myers at a h...[more]

 
 

 

 

Vanguard Visionaries compiles ten previously released tracks taken from Junior Wells' stint with the label in the mid- to late '60s. These sessions were originally available on the albums It's My Life, Baby! and Coming at You, the compilation Chicago/The Blues/Today, and a few Buddy Guy dates that were also released on Vanguard. Although the packaging of this series is third-rate (including a lack of liner notes), the music is timeless. ~ Al Campbell, All Music Guide

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Recorded at two separate gigs in January 1975 but not issued until 2006, this captures Junior Wells on-stage at Theresa's, one of the most esteemed Chicago blues clubs. It's a little rawer than most live albums; the sound is good, and Wells is in good form, but his band is a little rough (and, particularly on the tracks with guitarist Sammy Lawhorn, a little off-key). But the flaws really aren't too significant, as this is a pretty enjoyable set of electric Chicago blues in its unadulterat   [ read more ]

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These three labels represent the earliest juke sides of Junior Wells recorded in Chicago. Sidemen on these sessions include Otis Spann, A.C. Reed, Syl Johnson, Popsy Dixon (currently drumming and singing with the fabulous Holmes Brothers), Earl Hooker, and Jack Myers. While it's true there isn't anything here that quite touches Hoodoo Man Blues, these blues are raw, greasy, unfiltered, and passionate. Wells' vocals are strong throughout and the ensembles literally tear the r   [ read more ]

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Culled from various live recordings Junior Wells made in his final year or so, Live Around the World: The Best Of is not a "best-of." Instead, it intends to present the legendary Chicago bluesman in a late-career renaissance -- or, as Donald E. Wilcock says in his affectionate liner notes, "This album is not the last gasps of a dying legend." To a certain extent that's true, because Wells does not sound tired, weary, or disengaged. He turns in spirited, energetic performances throughout a   [ read more ]

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Following his recorded debut as a leader for States Records, Junior Wells signed with Mel London, producing a number of sides for the producer's Chief and Profile imprints. Perhaps best-known for his spectacular harmonica playing, this period, documented on Calling All Blues, saw Wells emerging as an outstanding vocalist as well. A consummate performer with a firm grasp of the range of emotions the music can produce, Wells wrings every drop of feeling out of the lyrics. The singer gr   [ read more ]

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The title's a bit of a ringer here; this is actually what Telarc considers the best tracks Wells recorded for their label between 1993 and 1997 -- music taken from his last four albums before his untimely death in early 1998. Wells won a fair amount of trophies with this quartet of albums, and while the material isn't anything that's going to make hardline fans want to toss out their copies of Hoodoo Man Blues, the music and production are exemplary on every track. Guest appearances proliferate   [ read more ]

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Best of the Vanguard Years collects Junior Wells' material from the Chicago! The Blues! Today! various-artists series, live and studio tracks from the albums It's My Life, Baby! and Comin' at You, and a smattering of rare and/or unreleased cuts. As a Wells retrospective, it's irredeemably incomplete, covering as it does his output for only one label, but the fine-quality material does make it an engaging listen, and it may be a good way for some collectors to plug holes in their Wells d   [ read more ]

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Junior Wells' penchant for clowning around sometimes conflicts with his craftsmanship, but he's all business on Come on in This House, his most unadulterated blues record since his highly acclaimed Hoodoo Man Blues of more than 30 years vintage. This is what has come to be known as an "unplugged" session -- that is, predominately, although not exclusively, acoustic instrumentation. Producer John Snyder's concept was threefold: to team Wells with some of the era's top younger traditional   [ read more ]

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Backed by a funk-minded, James Brown-influenced band, Junior Wells is in good form on these live recordings from Buddy Guy's Legends in Chicago. Wells (who was 61 when this CD was recorded) really comes alive in front of a live audience, and he's certainly in a very extroverted mood on such familiar material as "Hoodoo Man," "Little By Little" and his signature tune, "Messin' With the Kid." Wells has been one of Brown's most ardent admirers for a long time, and he frequently shows his l   [ read more ]

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Junior Wells' penchant for clowning around sometimes conflicts with his craftsmanship, but he's all business on Come on in This House, his most unadulterated blues record since his highly acclaimed Hoodoo Man Blues of more than 30 years vintage. This is what has come to be known as an "unplugged" session -- that is, predominately, although not exclusively, acoustic instrumentation. Producer John Snyder's concept was threefold: to team Wells with some of the era's top younger traditional   [ read more ]

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